Yolande Mukagasana is well known as the first survivor of the 1994 Genocide Against the Tutsi in Rwanda to publish her testimony in 1997. Almost 20 years later, she published a new testimonial narrative focusing on life after the genocide. Similarly, survivor Annick Kayitesi-Jozan published a first testimony in 2004 and a second thirteen years later. Why this decision to return to writing after so many years? What are the specific contexts in which these recent texts are being produced? What has changed in the conditions of publication of these women’s narratives? In order to explore these questions, this paper will focus on Mukagasana’s L’Onu et le chagrin d’une négresse (Aviso, 2014) and Kayitesi-Jozan’s Même Dieu ne veut pas s’en mêler (Seuil, 2017). Both these narratives oscillate between the past and the present, intertwining painful memories of the past with reflections on these women’s active roles in post-genocide society, both in Rwanda and in the diaspora. Unlike their earlier testimonies, which were written in collaboration with and endorsed by Western intellectual and academic figures – and consequently accompanied by a large amount of paratextual material –, the later testimonies are sole-authored by women who have dedicated years of their lives to fighting for the rights of survivors of crimes against humanity. This paper will argue that these written autobiographical narratives need to be understood and interpreted alongside and in light of the lives of the individuals who write them, taking into account the stage of life during which the individual is writing and considering the act of writing as one component of a broader life’s work. Both intimate and condemning, these narratives demonstrate a desire to preserve and mobilise memory of the genocide, providing a clear indication of how testimonial writing in the diaspora is evolving and pointing to shifts in understanding of the role of autobiographical writing in the post-genocide context. I propose a reading of these recent testimonies by Rwandan women as future-oriented forms of writing that play a crucial role in facilitating reconciliation, fighting for justice and recognition for survivors, and building an important cultural legacy for future generations.