Seminar paper from the year 2020 in the subject American Studies, grade: 1,7, University of Paderborn (Fakultät für Kulturwissenschaften), course: American Trauma Narratives, language: English, abstract: Boy Erased can be read as a trauma narrative with a special focus on the trauma narrative's function of creating reader empathy described by Laurie Vickroy. Therefore, this paper argues that Boy Erased offers the narrative strategies of the first-person point of view, interior monologues, foregrounding, and providing insight views into another character's thoughts and feelings to fulfill the trauma narrative function of creating reader empathy. To prove this thesis, the paper's content is structured like the following. Firstly, the text gives a theoretical background on ex-gay conversion therapy, its harmful effects as well as its current relevance to the United States. Moreover, the paper defines reader empathy in trauma literature as described by Vickroy .Here, the chapter lays out the most important concepts for the analysis of reader empathy in the primary text. After that, the relevance of reader empathy specifically in Boy Erased will be pointed out. The next chapter covers an elaborate analysis of how Conley engages reader empathy throughout the memoir. Finally, the paper's central findings will be summarized in a conclusion with an outlook on further research.

While trauma theory has been adopted by contemporary literary and cultural studies as an ethical way to study depictions of suffering, there is a risk that its present use could cause more harm than good. By emphasizing inaccessible histories, unspeakable suffering, and unconscious witnessing, trauma theory may lead readers to claim others’ suffering through empathic identification. In With the Witnesses, Dale Tracy argues that poetry offers an alternative approach to engage with not only suffering in art but suffering in general. Examining the strategies of witness poetry, Tracy interrogates and reformulates the dominant models of trauma studies in which readers take over the witnessing position by identifying with the speaker as a witness. If the purpose of reading such poetry is to contribute to a chain of witnesses, what is the distinct role of a reader, and how does it differ from the role of the poem’s speaker? Tracy proposes that metonymy – a logic of nearness rather than likeness – is compassion’s formal manifestation. Analyzing poetry that emphasizes the contiguity of metonymy over the substitution of metaphor, she attends to the positions into which witnessing speakers invite readers. Poems that respond to diverse national and transnational contexts of atrocity, conflict, and marginalization guide With the Witnesses toward a compassionate response to suffering that involves feeling with – not as – another. Following each poem as a unique theory of compassion, With the Witnesses demonstrates that poems hold suffering signed as art, not claimable traces of suffering.

The New York Times bestselling memoir about identity, love and understanding. Now a major motion picture starring Nicole Kidman, Russell Crowe, and Lucas Hedges, directed by Joel Edgerton. "Every sentence of the story will stir your soul" (O Magazine). The son of a Baptist pastor and deeply embedded in church life in small town Arkansas, as a young man Garrard Conley was terrified and conflicted about his sexuality. When Garrard was a nineteen-year-old college student, he was outed to his parents, and was forced to make a life-changing decision: either agree to attend a church-supported conversion therapy program that promised to “cure” him of homosexuality; or risk losing family, friends, and the God he had prayed to every day of his life. Through an institutionalized Twelve-Step Program heavy on Bible study, he was supposed to emerge heterosexual, ex-gay, cleansed of impure urges and stronger in his faith in God for his brush with sin. Instead, even when faced with a harrowing and brutal journey, Garrard found the strength and understanding to break out in search of his true self and forgiveness. By confronting his buried past and the burden of a life lived in shadow, Garrard traces the complex relationships among family, faith, and community. At times heart-breaking, at times triumphant, this memoir is a testament to love that survives despite all odds.

A classic on all the trials and tribulations of the Santa Fé Trail, the Indian deprevations, the Mexican problems,the Fontier Military, the Fur Trappers, Fur Trade, and Mountain Men, Kit Carson, Uncle Dick Wooten, Buffalo Bill Cody, the Bents, Jim Beckwourth.

Women’s voices offering an intimate view into women’s lives Lizzie Borden in Love, a collection of poems by national bestselling author Julianna Baggott, offers poignant commentary in the voices of women as varied as Mary Todd Lincoln and Monica Lewinsky. The poems often focus on a particular moment in life: Katherine Hepburn discovers the dead body of her brother in an attic, or painter Mary Cassatt mourns the failure of her eyesight. Sometimes heartbreaking, sometimes ecstatic, the poems in this collection never fail the trust of the subjects of their intimate portrayals

Winner of the 2013 Believer Book Award. At turns heartbreaking and wise, tender and wry Bobcat and Other Stories establishes Rebecca Lee as one of the most powerful and original voices in contemporary fiction. A university student on her summer abroad is offered the unusual task of arranging a friend's marriage. Secret infidelities and one guest's dubious bobcat-related injury propel a Manhattan dinner party to its unexpected conclusion. Students at an elite architecture retreat seek the wisdom of their revered mentor but end up learning more about themselves and one another than about their shared craft. In these acutely observed and scaldingly honest stories Lee gives us characters who are complex and flawed, cracking open their fragile beliefs and exposing the paradoxes that lie within their romantic and intellectual pursuits. Whether they're in the countryside of the American Midwest, on a dusty prairie road in Saskatchewan, or among the skyscrapers and voluptuous hills of Hong Kong, the terrain is never as difficult to navigate as their own histories and desires. Rebecca Lee is the author of the critically acclaimed novel The City Is a Rising Tide and the short story collection Bobcat and Other Stories. She has been published in The Atlantic and Zoetrope, and in 2001 she received a National Magazine Award for her short fiction. Originally from Saskatchewan, Lee is a graduate of the Iowa Writers' Workshop and is now a professor of creative writing at the University of North Carolina at Wilmington. 'Bobcat and Other Stories is nothing short of brilliant. Rebecca Lee writes with the unflinching, cumulatively devastating precision of Chekhov and Munro, peeling back layer after layer of illusion until we're left with the truth of ourselves ...This extraordinary story collection is sure to confirm its author as one of the best writers of her generation.' Ben Fountain, author of Billy Flynn's Long Halftime Walk 'Mesmirisingly strange...[Lee's] eccentric eloquence...makes Bobcat so potent and powerful.' New York Times 'In all these stories, confused, sometimes misdirected men and women struggle to figure out their places in the world, stumble into often unhappy situations and sometimes, to their great misfortune, get exactly what they were hoping for...Lee captures little pieces of all of us and she does it in language so delicate and precise that you'll re-read passages for the joy of it.' Star Tribune 'Slim, sly and brilliant.' Oprah.com 'Lee writes with an unflinching eye toward the darkest and saddest aspects of life, often finding humor where least expected. This fresh, provocative collection, peerless in its vehement elucidation of contemporary foibles, is not to be missed.' Publisher's Weekly 'This is a potent, quietly daring and sturdily imagined collection, rich with a subtlety in short supply in our current short-fiction landscape, where writers seem to settle for lobbing verbal grenades in the reader's general direction. In stories like "Bobcat" and "Fialta," there is the real sense of significance, as though a whole subway system's worth of meaning is roaring beneath the text, ready to whisk the reader anywhere they need to go.' National Post

“Don’t start an art collective until you read this book.” —Guerrilla Girls “Ever since Web 2.0 with its wikis, blogs and social networks the art of collaboration is back on the agenda. Collectivism after Modernism convincingly proves that art collectives did not stop after the proclaimed death of the historical avant-gardes. Like never before technology reinvents the social and artists claim the steering wheel!” —Geert Lovink, Institute of Network Cultures, Amsterdam “This examination of the succession of post-war avant-gardes and collectives is new, important, and engaged.” — Stephen F. Eisenman, author of The Abu Ghraib Effect “Collectivism after Modernism crucially helps us understand what artists and others can do in mushy, stinky times like ours. What can the seemingly powerless do in the face of mighty forces that seem to have their act really together? Here, Stimson and Sholette put forth many good answers.” —Yes Men Spanning the globe from Europe, Japan, and the United States to Africa, Cuba, and Mexico, Collectivism after Modernism explores the ways in which collectives function within cultural norms, social conventions, and corporate or state-sanctioned art. Together, these essays demonstrate that collectivism survives as an influential artistic practice despite the art world’s star system of individuality. Collectivism after Modernism provides the historical understanding necessary for thinking through postmodern collective practice, now and into the future. Contributors: Irina Aristarkhova, Jesse Drew, Okwui Enwezor, Rubn Gallo, Chris Gilbert, Brian Holmes, Alan Moore, Jelena Stojanovi´c, Reiko Tomii, Rachel Weiss. Blake Stimson is associate professor of art history at the University of California Davis, the author of The Pivot of the World: Photography and Its Nation, and coeditor of Visual Worlds and Conceptual Art: A Critical Anthology. Gregory Sholette is an artist, writer, and cofounder of collectives Political Art Documentation/Distribution and REPOhistory. He is coeditor of The Interventionists: Users’ Manual for the Creative Disruption of Everyday Life. “To understand the various forms of postwar collectivism as historically determined phenomena and to articulate the possibilities for contemporary collectivist art production is the aim of Collectivism after Modernism. The essays assembled in this anthology argue that to make truly collective art means to reconsider the relation between art and public; examples from the Situationist International and Group Material to Paper Tiger Television and the Congolese collective Le Groupe Amos make the point. To construct an art of shared experience means to go beyond projecting what Blake Stimson and Gregory Sholette call the “imagined community”: a collective has to be more than an ideal, and more than communal craft; it has to be a truly social enterprise. Not only does it use unconventional forms and media to communicate the issues and experiences usually excluded from artistic representation, but it gives voice to a multiplicity of perspectives. At its best it relies on the participation of the audience to actively contribute to the work, carrying forth the dialogue it inspires.” —BOMB