The first decades of the twenty-first century have been beset by troubling social realities: coalition warfare, global terrorism and financial crisis, climate change, epidemics of family violence, violence toward women, addiction, neo-colonialism, continuing racial and religious conflict. While traumas involving large-scale or historical violence are widely represented in trauma theory, familial trauma is still largely considered a private matter, associated with personal failure. This book contributes to the emerging field of feminist trauma theory by bringing focus to works that contest this tendency, offering new understandings of the significance of the literary testimony and its relationship to broader society. The Poetics of Transgenerational Trauma adopts an interdisciplinary approach in examining how the literary testimony of familial transgenerational trauma, with its affective and relational contagion, illuminates transmissive cycles of trauma that have consequences across cultures and generations. It offers bold and insightful readings of works that explore those consequences in story-Alison Bechdel's Fun Home: A Family Tragicomic (2006), H�l�ne Cixous's Hyperdream (2009), Marguerite Duras's The Lover (1992), Pat Barker's Regeneration Trilogy (1999), and Alexis Wright's Carpentaria (2006) and The Swan Book (2013), concluding that such testimony constitutes a fundamentally feminist experiment and encounter. The Poetics of Transgenerational Trauma challenges the casting of familial trauma in ahistorical terms, and affirms both trauma and writing as social forces of political import.

The authors in this volume explore the interconnected issues of intergenerational trauma and traumatic memory in societies with a history of collective violence across the globe. Each chapter’s discussion offers a critical reflection on historical trauma and its repercussions, and how memory can be used as a basis for dialogue and transformation. The perspectives include, among others: the healing journey of three generations of a family of Holocaust survivors and their dialogue with third generation German students over time; traumatic memories of the British concentration camps in South Africa; reparations and reconciliation in the context of the historical trauma of Aboriginal Australians; and the use of the arts as a strategy of dialogue and transformation.

As a concept, 'trauma' has attracted a great deal of interest in literary studies. A key term in psychoanalytic approaches to literary study, trauma theory represents a critical approach that enables new modes of reading and of listening. It is a leading concept of our time, applicable to individuals, cultures, and nations. This book traces how trauma theory has come to constitute a discrete but influential approach within literary criticism in recent decades. It offers an overview of the genesis and growth of literary trauma theory, recording the evolution of the concept of trauma in relation to literary studies. In twenty-one essays, covering the origins, development, and applications of trauma in literary studies, Trauma and Literature addresses the relevance and impact this concept has in the field.

Can we remember other people's memories? The Generation of Postmemory argues we can: that memories of traumatic events live on to mark the lives of those who were not there to experience them. Children of survivors and their contemporaries inherit catastrophic histories not through direct recollection but through haunting postmemories--multiply mediated images, objects, stories, behaviors, and affects passed down within the family and the culture at large. In these new and revised critical readings of the literary and visual legacies of the Holocaust and other, related sites of memory, Marianne Hirsch builds on her influential concept of postmemory. The book's chapters, two of which were written collaboratively with the historian Leo Spitzer, engage the work of postgeneration artists and writers such as Art Spiegelman, W.G. Sebald, Eva Hoffman, Tatana Kellner, Muriel Hasbun, Anne Karpff, Lily Brett, Lorie Novak, David Levinthal, Nancy Spero and Susan Meiselas. Grappling with the ethics of empathy and identification, these artists attempt to forge a creative postmemorial aesthetic that reanimates the past without appropriating it. In her analyses of their fractured texts, Hirsch locates the roots of the familial and affiliative practices of postmemory in feminism and other movements for social change. Using feminist critical strategies to connect past and present, words and images, and memory and gender, she brings the entangled strands of disparate traumatic histories into more intimate contact. With more than fifty illustrations, her text enables a multifaceted encounter with foundational and cutting edge theories in memory, trauma, gender, and visual culture, eliciting a new understanding of history and our place in it.

A Theology of Traumatic Affect offers theological tools, language, and framework to victims/survivors of trauma and their communities. Seen through the lens of affect theory, the social dimensions of trauma emerge even for individual trauma. Using an interdisciplinary approach, Alice Kim argues that due to interconnectedness of individuals, a communal effort is necessary for trauma work. Living in a different world as imagined by public imagination is possible now with collective planetary engagement of all creatures participating in co-creation.

Traumatic Affect examines the intersection of trauma theory and affect theory, two areas of crucial relevance to contemporary thought. While both fields continue to offer insights into individual and collective experience, exploring their nexus offers timely and necessary critiques of film, literature, art, culture and politics. This collection of essays by established and emerging thinkers considers the dynamic relations within and between affect and trauma. Varied in style and approach, this volume asks how the relational subject conceived by affect theory might bring into question certain presuppositions common to trauma theory and how the ethical imperatives of trauma might require a rethinking of aspects of affect theory. Thus the contributors reimagine the unrepresentability of trauma, reveal its affective economies, and chart innovative understandings of experiences, embodiments, and events. From the silence into which Walter Benjamin fell after the suicide of his closest friend to the trauma of becoming the emblematic media figure of the London bombings, Traumatic Affect traverses diverse terrain: gesture and the everyday, cinema and torture, art and writing, civility and specters, media representation and Indigenous Australian film. Featuring essays by Shoshana Felman, Karyn Ball, Jennifer L. Biddle, Anna Gibbs, Ben O’Loughlin, Anne Rutherford, Magdalena Zolkos, Aaron Kerner, Ricardo Mbarkho, Jonathan L. Knapp, Michael Richardson and Meera Atkinson, Traumatic Affect ventures into bold new territories at the juncture between trauma and affect, illuminating pressing realities that demand engagement.

Relational Responses to Trauma in Twenty-First-Century French and Spanish Women's Writing offers new insight into what it means to write relational lives. It broadens the parameters of existing discussions in terms of geography as well as genre, drawing together two literatures whose prominence in life-writing theory to date could hardly be more different: while French women's writing has long been at the centre of international discussions of autobiography, the relative invisibility of Spanish women's writing remains striking. The dialogue that thus underpins this study, between diverse twenty-first-century case studies and broader approaches to life-writing, shines a light on what is gained from inviting different voices into the discussion. These narrative projects challenge longstanding critical assumptions in autobiography studies and trauma theory about how writers can and should represent the multiple perspectives that are at the heart of intergenerational stories. In exploring the narrative solutions that these texts propose in response to the ethical questions they navigate, this book shows that writing relational lives rests on far more than the mere recounting of a shared history. 'Relating' in these texts, it proposes, is an act embedded in the telling of the story. It is a mode of testifying together to traumatic experience, one that reveals a powerful preoccupation in contemporary women's life-writing practice with making more audible the many voices and versions that go unheard.