`` Speak, Traum Toward A Revised Understanding Of Literary Trauma Theory

The death of a loved one can result in a trauma where the painful experience causes a psychological scar. Alice Sebold’s The Lovely Bones explores the different ways in which people process grief when they lose a loved one. When young Susie Salmon is killed on her way home from school, the remaining four members of her family all deal differently with their grief. After Susie’s death, her mother, Abigail Salmon, endures the adversity of losing her daughter, her family collapsing, and accepting the loss of the life she never had the opportunity to live. Abigail uses Freud’s defence mechanisms to repress wounds, fears, her guilty desires, and to resolve conflicts, which results in her alienation and

Manhood is the defining aspect of a man’s reputation and identity, especially in the life of men who have nothing else left to lose. Toni Morrison illuminates manhood in the manner in which a man upholds or crediblizes his manhood; she enlightens this reality by thoroughly mentioning that manhood is not only credible by the gruesome physical experience a man endures, but their sustainability and mettle. Beloved centers around the life of former slaves, and the traumatic experiences as well as the resiliency they must cope with. In the novel Beloved, Morrison uses Paul D’s strong mindset and horrifying experiences to subconsciously shape his heartening and empathetic

Laurie Halse Anderosn has written a book which is considered as a trauma novel “speak”. Usually anger is a phase that begins with madness and ends with regret, but in this book anger will be tackled in different way, Melinda’s anger starts with silence and ends with speaking. In other words it’s starts with fear and ends with triumph over self. Over the course of the novel silence struggling with anger is leading to speak. Anderson incorporated all themes in anger direction with different techniques such as flashback, allusion, symbolism, and fragmentation.

Wilson Owen (1893-1918), a soldier that fought in WWI, uses aspects of prosody in his poem “Dulce et Decorum Est” (1917) to convey how trauma generates significant impact because one suffers from confusion during a deathly situation. The poet describes an experience he had while in war: “In all my dreams before my helpless sight, / he plunges at me, guttering, choking, drowning” (Owen 15-16). Owen uses imagery to set the scene by describing his situation as something he cannot help. A fellow soldier is enveloped in tear gas and cannot find a gas mask so he plunges toward the author in attempt to receive his. Furthermore, he changes the rhythmical structure from iambic to trochaic in the last two beats, “choking, drowning” (Owen 16).

It is easy to get caught up in one’s own world when life picks up the pace and everything seems hectic; along the way decisions are made unconsciously to let go of people who were once held dear. It is easy to be torn between what appears to be important and what is trivial. Amidst the mess that is life, various things contend for one’s attention, and what really matters might not be so clear. In “The Last Rung on the Ladder” the guilt that consumes the narrator over his sister’s suicide becomes an essential part of his identity even as he tries to adjust to her loss. In “Sanctuary” Jim Hammer is in the very first stages of realizing he is guilty of his friend’s death, and the responsibility has not yet taken its toll on him. The history and experiences of one’s identity affect the way an individual reacts to guilt, if one has never understood the impact that relationships have upon past and present selves then it is difficult to fully digest the impact of his/her actions.

Abuse can have a large psychological effect on an individual. Both Monkey Beach by Eden Robinson and The Death of Jayson Porter by Jaime Adoff demonstrate that abuse leads to mental instability within the characters. This is evident through the literary criticism of the psychological lens shown in the behaviour of the characters in relation to many of Freud’s theories. Some of these theories included the Oedipus complex, the interpretation of dreams and the unconscious mind (Britannica Encyclopedia, 2014). Both authors demonstrate this through three types of abuse; substance abuse, verbal abuse and neglect.

The War Within: Coping with Traumatic Stress in Lev Raphael's "The Tanteh" and Tim O'Brien's "The Things They Carried"

In Susan Farrell, the author of “Just Listen”: Witnessing Trauma in Tim O’Brien’s The Things They Carried, mentioned “...all theorists agree that the process of recovery from trauma must involve a narrativization of traumatic event--putting a sensory images into words in order to integrate trauma into a person 's life story” (186). However, without reading Cathy Caruth’s Trauma, readers will not understand that not only integrating trauma into a narrative will help them recover but it also allows the witness apprehend their flashbacks into meaning. Flashbacks, although are taunting, has the most vivid images compared to narrated memories. For one to remember a highlight or a significant moment, one must preserve it as a flashback. In The Things They Carried, Tim O’Brien convert his flashbacks into narrative memories allowing himself and readers to comprehend his experiences, but O’Brien also added flashbacks into his memories create the most graphic images for the readers.

“After a traumatic experience, the human system of self preservation seems to go into permanent alert, as if the danger might return at any moment” (Judith Lewis Herman). The psychoanalyst Lewis Herman describes how encountering agonizing pain causes individuals to become more cautious as a result. The psychoanalytic lens is based on Freudian theories and asserts that “ people’s behavior is affected by their unconscious:...the notion that human beings are motivated, even driven, by desire, fears, needs, and conflicts of which they are unaware…” (Tyson 14-15) High schools a place where tragedy are brought upon people, but their voices aren’t heard. Melinda, a high school freshman, is the protagonist in Laurie Halse Anderson’s book, Speak.

A trait that stands out in the book is the symptom of bodily memories. In Melinda’s case, during a frog dissection in her science class, she remembers the opening up and even says, “She doesn’t say a word. She is already dead. A scream starts in my gut – I can feel the cut, smell the dirt, feel the leaves in my hair.” (81). One of the other symptoms that Melinda has is self-harm. The first time that this is shown in the book, Melinda says this, “I open up a paper clip and scratch it across the inside of my left wrist. Pitiful. If a suicide attempt is a cry for help, then what is this? A whimper, a peep?” (87). Melinda also has a hard time talking to her parents about the rape to which she says, “How can I talk to them about that night? How can I start?” (72). Some victims recover from such a traumatic experience, while others don’t and live a lifetime of depression and must undergo intense therapy. In Melinda’s case, she finds redemption by talking to her parents and the guidance counselor, and putting her faith into her teachers, friends, and her art project at school. Because rape can affect anybody anywhere, everyone should be aware of the circumstances, and how to deal with it.

Susan Griffin, a feminist writer and finalist for the Pulitzer Price in non-fiction, explores the concept of forgetting in her chapter “Our Secret”. Unlike Foer, Griffin (1992) doesn’t seem to be too much a fan of remembering, describing memory to be like “a long, half-lit tunnel, a tunnel where one is likely to encounter phantoms of a self, long concealed, no longer nourished with the force of consciousness, existing in a tortured state between life and death” (p. 258). In fact, Griffin might argue that there are several benefits to forgetting, and that the collective memories of a traumatic past should not be remembered or preserved. Failure to retrieve memories may not always be a bad thing, in fact, unwanted memories – of childhood trauma, emotional rejection, or any of life’s inevitable disappointments - have the ability to torment and mentally exhaust a person. Throughout her essay, Griffin explores the hidden shame and pains that several characters carry, herself included, and the consequences they bring. She writes of one woman’s memories of the cold war, who, as a young child, witnessed “shoes in great piles. Bones. Women’s hair, clothes, stains, a terrible odor”, all of which left her sobbing and screaming in fear (Griffin, 1992, p. 233). Another gruesome account Griffin (1992) writes of, is as

Some might be outraged at the notion that rape is not to be considered a tragedy. It is, of course, a horrific act. One that inflicts so much damage that it can cause PTSD type triggers in survivors. Rape is a before/after moment, people who experience it begin to think of how life was before and now after the event. For instance, with the character Salima, her life before the incident included a loving family with her “good husband” (35) and

Repression of memories is a psychological concept that has haunted modern psychology for years. Repression of memories also known as “rememory” defined by the mind pushing away traumatic or shocking experiences into a dark corner of a person’s unconscious. As this idea developed and began to be studied more thoroughly, slavery became an institution in which researchers saw promise in drawing conclusions about the dangers of repressing memories. In Toni Morrison’s novel, Beloved, the character narratives of Paul D and Sethe exemplify the dangers of repressing memories. Both disconnect from and push away unwanted emotional traumas or experiences from their past. However, this effort doesn’t pay off and their repression of memories is not successful. Through the use of symbols such as Paul D’s tobacco tin and Sethe’s scars and lost child, Morrison demonstrates how repression of the past isn’t effective and how it always comes back to haunt a person who doesn’t correctly cope with their trauma. Paul D and Sethe live unfulfilled lives as a result of repressed memories.

In Name of the Wind, Patrick Rothfuss gives life to The Four Corners of Civilization through his storytelling. Storytelling gives the author an opportunity to show their experiences and reflect their beliefs within the world they are creating. During the time this book was being written, there was the Iraq and Afghanistan War taking place which had been sending many soldiers back home with Post-Traumatic Stress Disorder (PTSD). Rothfuss parallels this disorder within his book through the main character, Kvothe, when he experiences trauma and he shows how Kvothe copes with the persisting trauma through grief theory, “four doors of the mind” (135) . His four doors of the mind is similar to the Kubler-Ross Model, which is widely accepted by practitioners, but challenges it by believing the mind copes with pain through the central idea of numbing. However, this mindset of categorizing emotions experienced within grief can be destructive behavior towards any griever rather than helping them cope; stages of post-loss grief do not exist.

After the Civil War, the American Southerners had a strong trauma that could not be forgotten. Considering that William Faulkner was also one of these Southerners, approaching to his texts through a psychoanalytic lens would be a meaningful work. In fact, Faulkner is one of the rare writers who faced Southern racial ‘taboo’: the miscegenation. In addition, a Southern Renaissance that what Faulkner does with the South through his novels are very similar with what Freud did with the European civilization after the World War I in his work about ‘psychoanalytic mourning’ (Lee 229). Actually, Faulkner went through the World War I just like Freud did and he is one of the “Lost Generations”: a group of writers who were strongly affected by the inhumanity of war. Thus, this essay will focus on analyzing Faulkner’s “The Bear” in psychoanalytical view.