The purpose of this paper is to explore the possibility of articulating transnational ``we``, an alternative collective identity, who remember, narrate, and share the traumatic histories, memories and stories of the oppressed people, fully committing itself to the dissipated, fluid, and transnational nature of identity. Since the category of ``we`` has always been nationally defined and organized as such, the term ``transnational we`` may sound oxymoronic, but facing with the crisis of identity politics in the current globalization, a different ``we``, a more flexible, open, and responsible concept of collective identity is urgently needed. Since the scenes of death, mourning, and commemoration have been key to the production and reproduction of the national ``we``, the task of narrating the traumatic memories has naturalized the category, reproduced it over the generations, imposed the same experience, structured emotions, and controlled language to the ``members`` of the category. Philips imagines the way in which the histories of discrimination, oppression, and death can be narrated and shared, not necessarily through this nationally conditioned ``we.`` Phillips`s main strategy in The Nature of Blood is to depend on the other(s)`s tragedy, trauma, feeling and language. Each narrator in this novel does not stand alone; instead, he or she borrows, appropriates, and depends on other(s) stories, across the narratives, in and out of the narrative, even outside the novel itself. Such bold adventure effects the unexpected association, echoing, reverberation, unlinking the tight intimacy between narrator and narrative, individual and collective identity, memory and history, etc. ``We`` is disarticulated in this complicated and entangled process of interdependency and appropriation, reappearing and haunting as a ghostly form and movement, and ``our`` story is retold, rewritten constantly in alien languages, voices, and images, making reverberation, ripples and echoes through the different spatio-temporalities.