Trauma Narrative Essay

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As Judith Lewis Herman explains, “traumatic events produce profound and lasting changes in physiological arousal, emotion, cognition and memory” (34). Laurie Vickory uses the recent studies in trauma to develop trauma as a form of narrative. In her literature, she writes that trauma narratives “raise important questions and responsibilities associated with the writing and reading of trauma as they position their readers in ethical dilemmas analogous to those of trauma survivors” as a means to “help readers to access traumatic experience” (1). Roy employs Vickory’s characteristics of a trauma narrative to recreate Estha and Rahel’s experience of trauma enabling readers to better understand the damaging effects of trauma on their lives. In The God of Small Things, Roy uses a multilayered narrative structure to explore the relationship between trauma and memory, establishing the novel as a trauma narrative. While the novel’s frame story spans Rahel’s return to Kerala from the United States in a linear temporal direction, it is laced with the embedded narrative beginning the day Sophie Mol arrives in India and ending a few days after her death. While the frame story follows a linear temporal direction by moving forward, the embedded narrative – created through a series of memories and flashbacks – does not have a temporal direction as it moves freely between memories. The manipulation of the these narratives allows them to converge at the moments of two social transgressions of the Love Laws – Ammu’s affair with Velutha and Estha and Rahel’s incest – as well as recreating the trauma for readers to experience second hand. Roy uses the trauma theory in The God of Small Things to reveal that the twins’ incest can be viewed as a n... ... middle of paper ... ...ion further forces readers to consider the incest as the only source of healing for the twins because of their “Quietness and Emptiness” As aforementioned, Roy manipulates the narrations to converge at moments of sexual transgressions of societal bounds. While Ammu and Velutha’s memory is revived through a pleasurable scene, Estha and Rahel’s present action is not only comforting, but also painful. This comparison reinforces the idea that the twins’ actions are not lustful but an ethical form of coping. Because of Estha’s inability to speak, the painful but comforting incest is a compulsory expression of grief for the twins to communicate their trauma and escaping further feelings of betraying Velutha. Therefore, Roy’s narrative style reveals how he uses the trauma theory to reveal that the twins’ incest is a necessary and ethical means of healing from trauma.

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