This paper will present the interplay of Nubian Arabic literature with the Nile River, which is has been the lifeline for Nubian communities for centuries before their forced displacement in the late 20th century. The Nubian peoples have inhabited the area of what is now considered south of Egypt and northern Sudan for centuries. Their existence in this region has revolved around one fluid entity, the Nile River. The Nile overwhelmingly exists in Nubian culture and heritage, from mythology to birth and death rituals to traditional dances. The Nile's proximity was vital to Nubian peoples because their livelihood depended on it, and they shared a deep spiritual connection with its water. Therefore, Nubians also centralized all their daily practices around sustaining this river in its purest form. These traditions all came to an abrupt in the 1960s, when the High Dam and Lake Nasser were established under the rule of Egypt’s president, Gamal Abdel Nasser. This rendered Nubians a diasporic people, scattered in villages east of Aswan, in Cairo and Alexandria, and around the world. Yet, the non-tangible traditions, like storytelling, singing, and dancing, that were revolved around the Nile, continued to exist in practice and in memory. Nubian people had to rely on personal and collective memories to sustain their relationship with their now drowned lands. The Nile River represents the long journey Nubians had to go through to transition from their communal life to their diasporic reality. Namely, this paper will look at the two short stories by Nubian writers, which are Haggag Oddoul’s “The River People” and Yahya Mukhtar’s “The Nile Bride.” The narratives have core common features: they centralize water bodies as critical sites of events, they depend heavily on the retelling of history and mythology, and they are told predominantly from the perspective of women. The two writers weave rememory, history, and mythology to produce these narratives. They attempt to rewrite history through storytelling and represent the journeys of their female protagonists and their families in this pivotal historical moment. This paper utilizes theories of memory studies, gender, and psychology to decipher the work of rememory in the three narratives and give a fresh account of indigenous and diasporic African cultural expression.