The Mailer Review/Volume 4, 2010/Effects of Trauma on the Narrative Structures of Across the River and Into the Trees and The Naked and the Dead: Difference between revisions
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World War II, described by Studs Terkel as the “Good War,” exceeds all prior boundaries and expectations of war. The scope of World War II generates an almost unfathomable, pervasive emphasis on the relationship between “thought” and experience in the narratives chronicling the experience of war. James Dawes observes that artists reflect on this oppressive pervasiveness through a literary style equal to the task of witnessing the unbounded and unprecedented events of World War II (157). The aftermath of the trauma of World War II—the mass genocide of the Holocaust combined with the mass atomic decimation of Nagasaki and Hiroshima—introduces a set of tragic circumstances into the cultural fabric. The trauma of World War II operates on a scale that encompasses an unimaginable subjectivity— war simply pervades all perceptions of experiences—there is no outside war and there is no inside war. There simply is war. The question then arises as how do writers create narrative subjects in a period of total trauma and war.{{efn|This question differs from Fredric Jameson’s view of narratives as socially symbolic acts in his The Political Unconscious: Narrative as Socially Symbolic Act in that the question of narrative subjectivity is focused on the manner in which trauma impinges on the narrative of the text. However, the question still reflects Jameson’s desire to link narrative evolution with social change in the culture.}} | World War II, described by Studs Terkel as the “Good War,” exceeds all prior boundaries and expectations of war. The scope of World War II generates an almost unfathomable, pervasive emphasis on the relationship between “thought” and experience in the narratives chronicling the experience of war. James Dawes observes that artists reflect on this oppressive pervasiveness through a literary style equal to the task of witnessing the unbounded and unprecedented events of World War II (157). The aftermath of the trauma of World War II—the mass genocide of the Holocaust combined with the mass atomic decimation of Nagasaki and Hiroshima—introduces a set of tragic circumstances into the cultural fabric. The trauma of World War II operates on a scale that encompasses an unimaginable subjectivity— war simply pervades all perceptions of experiences—there is no outside war and there is no inside war. There simply is war. The question then arises as how do writers create narrative subjects in a period of total trauma and war.{{efn|This question differs from Fredric Jameson’s view of narratives as socially symbolic acts in his The Political Unconscious: Narrative as Socially Symbolic Act in that the question of narrative subjectivity is focused on the manner in which trauma impinges on the narrative of the text. However, the question still reflects Jameson’s desire to link narrative evolution with social change in the culture.}} | ||
The question posed at the beginning of this essay is a critical one—how might a body of literature deal with subjects who are speaking from the “abject” position of trauma. The experience of trauma operates as a complex play between knowing and not knowing that occurs in reaction to a breach in the mind’s experience of time, self, and the world. The awareness experienced in relation to trauma is abject (see Kristeva’s discussion of the abject). Modern and contemporary narratives embody the trauma and traumatic experiences of war through the treatment of an experience that cannot occur within normal subjective or objective narrative understandings or expressions of understanding. The narratives engage a structure that differs from previous narrative structures’ reliance and adherence to the myth of stable subjectivity and objectivity. In this engagement, the narratives draw on the previously silenced and abjected voice of trauma to generate a different narrative presence in the fiction following war. The fiction of war involves the placing of narrative authority in a voice of trauma.{{efn| The placement occurs in American war fiction beginning with Stephen Crane’s The Red Badge of Courage and Private Fleming.}} In giving voice to the trauma of war in the narratives, war fictions engage a previously silenced portion that allows the presentation of a reconstruction of an interior experience of trauma and reveals a necessary component of war. In this narrative reconstruction, the war narratives of trauma create a necessary counter-critique to the hegemonic war narratives{{efn|Notions of traumatic war remembrance in Ernest Hemingway’s Across the River and into the Trees and Norman Mailer’s The Naked and the Dead offer a component and link to the influence of the trauma of war on modern fiction. Elaine Scarry notes | The question posed at the beginning of this essay is a critical one—how might a body of literature deal with subjects who are speaking from the “abject” position of trauma. The experience of trauma operates as a complex play between knowing and not knowing that occurs in reaction to a breach in the mind’s experience of time, self, and the world. The awareness experienced in relation to trauma is abject (see Kristeva’s discussion of the abject). Modern and contemporary narratives embody the trauma and traumatic experiences of war through the treatment of an experience that cannot occur within normal subjective or objective narrative understandings or expressions of understanding. The narratives engage a structure that differs from previous narrative structures’ reliance and adherence to the myth of stable subjectivity and objectivity. In this engagement, the narratives draw on the previously silenced and abjected voice of trauma to generate a different narrative presence in the fiction following war. The fiction of war involves the placing of narrative authority in a voice of trauma.{{efn| The placement occurs in American war fiction beginning with Stephen Crane’s The Red Badge of Courage and Private Fleming.}} In giving voice to the trauma of war in the narratives, war fictions engage a previously silenced portion that allows the presentation of a reconstruction of an interior experience of trauma and reveals a necessary component of war. In this narrative reconstruction, the war narratives of trauma create a necessary counter-critique to the hegemonic war narratives{{efn|Notions of traumatic war remembrance in Ernest Hemingway’s Across the River and into the Trees and Norman Mailer’s The Naked and the Dead offer a component and link to the influence of the trauma of war on modern fiction. Elaine Scarry notes that "without memory, our awareness would be confined to an eternal present and our lives would be virtually devoid of meaning” (1). In this context, Mailer’s early characters appearing in his first novel and Hemingway’s later characters like Cantwell experience remembrance in a different fashion than the earlier characters in American fiction. The act of remembrance operates as a method for attempting to understand the interior self in reference to the exterior world. The memory of World War I operates similarly as it lies like a palism past beneath the surface of modern American fiction. The desire to locate meaning through an attempted recollection of past traumas echoes from the first international trauma, World War I. The post-World War I literature seeks to explore understanding through the remembrance of an exterior world fraught with trauma.}} that Paul Fussell in Wartime Understanding and Behavior in the Second World War argues have turned the experiences of trauma in World War II into sanitized, Norman Rockwell-ized narratives of war (267). | ||
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the novel, the theme of the effects of drawing back into oneself after opening up to others. Seigel’s perspective on the use of “naked” is furthered if coupled with the idea that this receding of openness, of nakedness, occurs in the acts that lead to death in the structure of the narrative (295). The coupling of the terms “naked” with “dead” produces a sense of unified disjuncture in conjunction to the work’s subject and structure. The narrative structure of the work reflects a sense of unified disjuncture in the jostling occurring between point of view perspective and structure operating in the novel. The jostling between exteriority and interiority is illustrated by the “time machine” passages. | the novel, the theme of the effects of drawing back into oneself after opening up to others. Seigel’s perspective on the use of “naked” is furthered if coupled with the idea that this receding of openness, of nakedness, occurs in the acts that lead to death in the structure of the narrative (295). The coupling of the terms “naked” with “dead” produces a sense of unified disjuncture in conjunction to the work’s subject and structure. The narrative structure of the work reflects a sense of unified disjuncture in the jostling occurring between point of view perspective and structure operating in the novel. The jostling between exteriority and interiority is illustrated by the “time machine” passages. | ||
Hemingway’s title selection also references a desire to explore the effects of war and trauma on the structure of the narrative.{{efn| Cantwell is not simply concerned with the experience (i.e. Being in it) nor is he merely concerned with thinking about the experience. This protagonist oscillates between the two representations creating the idea, as E.M. Halliday expresses, that external action is inadequate to internal meaning. In the narrative, Cantwell’s memories and understanding of the effects of war are more privileged then his actual experiences. A Cantwell figure relies on the importance of memory to make sense of his world. This character type is a post-war protagonist who has no choice but to assume a different level of narrative subjectivity when constructing meaning.}} Hemingway’s paraphrase of General Stonewall Jackson’s last words, in the title of the ''ARIT'', reflects on the question posed at the beginning of this piece: how does a body of literature deal with subjects who are speaking from an abject position of trauma? Civil War leader Stonewall Jackson, who upon death observes that, “Let us cross over the river, and rest under the shade of the trees” (Cooke 485). {{efn|On Saturday, May 2nd, 1863 Jackson was wounded at the battle of Chancellorsville. He was shot through the left upper arm just beneath the shoulder. The humerus was fractured—the rachial artery was injured. He bled profusely. A second bullet entered the lateral left upper forearm and exited diagonally from the medial lower third of the forearm. A third bullet struck his right hand fracturing the second and third metacarpal bones and lodged beneath the skin on the back of his hand. These wounds would lead to his left arm being amputated, and his living for eight days. On the following Sunday, at 1:30 PM, Dr. McGuire noted momentary consciousness and told him he had but two hours to live. Jackson whispered, | Hemingway’s title selection also references a desire to explore the effects of war and trauma on the structure of the narrative.{{efn| Cantwell is not simply concerned with the experience (i.e. Being in it) nor is he merely concerned with thinking about the experience. This protagonist oscillates between the two representations creating the idea, as E.M. Halliday expresses, that external action is inadequate to internal meaning. In the narrative, Cantwell’s memories and understanding of the effects of war are more privileged then his actual experiences. A Cantwell figure relies on the importance of memory to make sense of his world. This character type is a post-war protagonist who has no choice but to assume a different level of narrative subjectivity when constructing meaning.}} Hemingway’s paraphrase of General Stonewall Jackson’s last words, in the title of the ''ARIT'', reflects on the question posed at the beginning of this piece: how does a body of literature deal with subjects who are speaking from an abject position of trauma? Civil War leader Stonewall Jackson, who upon death observes that, “Let us cross over the river, and rest under the shade of the trees” (Cooke 485). {{efn|On Saturday, May 2nd, 1863 Jackson was wounded at the battle of Chancellorsville. He was shot through the left upper arm just beneath the shoulder. The humerus was fractured—the rachial artery was injured. He bled profusely. A second bullet entered the lateral left upper forearm and exited diagonally from the medial lower third of the forearm. A third bullet struck his right hand fracturing the second and third metacarpal bones and lodged beneath the skin on the back of his hand. These wounds would lead to his left arm being amputated, and his living for eight days. On the following Sunday, at 1:30 PM, Dr. McGuire noted momentary consciousness and told him he had but two hours to live. Jackson whispered, "Very good. It’s all right." He declined brandy and water and said, "It will only delay my departure and do no good. I want to preserve my mind to the last.” Dr. McGuire states his mind began to fail and wander. He talked as if giving commands on the battlefield—then he was at the mess table talking to his staff—now with his wife and child—now at prayers with his military family. A few moments before he died, he ordered A.P. Hill to prepare for action. “Pass the infantry to the front rapidly. Tell Major Hawks”—then stopped. Presently he smiled and said with apparent relief, "Let's us cross over the river and rest under the shade of the trees” and then seemingly in peace he died (“Ernest”).}} Hemingway’s paraphrase of Jackson’s last words removes the communal “us” and the restorative “rest.” As such, Hemingway’s title highlights a different presentation of narrative subjectivity and objectivity from the intention suggested by Jackson on his deathbed: a representation of point of view that in Hemingway’s application does not involve traditional first- or third-person narrative structures. Instead, Hemingway’s narrative speaks not from the objective “you” or the subjective “I” but instead from a more abjective narrative perspective. Thus, Hemingway’s title intimates a focus on the giving of voice to a previously silenced experience and point of view of war and trauma inherent in not only the subject but, more important, in the structure of the novel. | ||
Hemingway’s and Mailer’s titles suggests another tangent to the previous question of how a body of literature speaks from a position of trauma: why does a body of literature desire to speak from this previously-silenced abject position. Twentieth century war narratives differ from those following the Civil War. For Craig Warren, the constraints of the Victorian narrative structure in correspondence with codes of social propriety limit the earlier narratives that choose war and trauma as their subjects. The limitations of previous era’s narrative structures first appearing following the Civil War betray a silence—a narrative gap—that authors following the World Wars address as they attempt to generate stories of and from the dark tragedy and | Hemingway’s and Mailer’s titles suggests another tangent to the previous question of how a body of literature speaks from a position of trauma: why does a body of literature desire to speak from this previously-silenced abject position. Twentieth century war narratives differ from those following the Civil War. For Craig Warren, the constraints of the Victorian narrative structure in correspondence with codes of social propriety limit the earlier narratives that choose war and trauma as their subjects. The limitations of previous era’s narrative structures first appearing following the Civil War betray a silence—a narrative gap—that authors following the World Wars address as they attempt to generate stories of and from the dark tragedy and | ||
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<blockquote> remind postwar readers of what was already being excised (both deliberately and inadvertently) from Americans’ memory of World War II. Drawing upon his own experience as an infantryman, Mailer takes great care to highlight the brutality of combat and the physical and mental abuse suffered by “common soldiers” throughout the war. {{sfn|Kinder|2005|p=191}}</blockquote> | <blockquote> remind postwar readers of what was already being excised (both deliberately and inadvertently) from Americans’ memory of World War II. Drawing upon his own experience as an infantryman, Mailer takes great care to highlight the brutality of combat and the physical and mental abuse suffered by “common soldiers” throughout the war. {{sfn|Kinder|2005|p=191}}</blockquote> | ||
The narrative evolution occurring in Mailer and Hemingway emboldens a different type of narrative structure that takes the tragedy of trauma not only as subject matter for the fiction but, more important, takes the experience of the tragedy of trauma as structure. This evolved form of narrative is a tragedy not involving hegemonic, external dei ex machina and internal heroic flaws as the impetus for the structure of the fiction, but a narrative structure that instead uses the previously silenced experience of | The narrative evolution occurring in Mailer and Hemingway emboldens a different type of narrative structure that takes the tragedy of trauma not only as subject matter for the fiction but, more important, takes the experience of the tragedy of trauma as structure. This evolved form of narrative is a tragedy not involving hegemonic, external dei ex machina and internal heroic flaws as the impetus for the structure of the fiction, but a narrative structure that instead uses the previously silenced experience of suffering{{efn|Cathy Caruth asserts that “[l]iterature, like psychoanalysis, is interested in the complex relation between knowing and not knowing. And it is at the specific point at which knowing and not knowing intersect that the language of literature and the psychoanalytic theory of traumatic experience meet”(3). In Across the River, Hemingway echoes Caruth’s point as Cantwell asks himself, “How can I remember if I am not bitter?”(230). Cantwell’s question illustrates the complex relation between the knowing and not knowing which arises in trauma. More importantly, his question focuses on the very nature of attempting to remember from the abject position of trauma.}} to generate and provide structure for the narrative. | ||
== NARRATIVE CALCULUS AND THE WW II FICTION OF | == NARRATIVE CALCULUS AND THE WW II FICTION OF | ||
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War II, his writing—in content and structure—no longer focuses only on presenting the arithmetic—the subjects and objects of his stories—or the geometry—shapes and senses evoked by his stories—or the algebra— equations and consequences apparent in the themes of his stories. Hemingway asserts, in a | War II, his writing—in content and structure—no longer focuses only on presenting the arithmetic—the subjects and objects of his stories—or the geometry—shapes and senses evoked by his stories—or the algebra— equations and consequences apparent in the themes of his stories. Hemingway asserts, in a 1950 interview with Harvey Breit concerning the narrative construction of ARIT, that "I have moved through arithmetic, through plane geometry and algebra, and now I am in calculus” (Hemingway, “Talk” ). Hemingway’s focus on crafting a text using a narrative calculus is not just about treating or representing an inner reconciliation to the outer experience of trauma in the fiction. Instead, the emphasis is on the play between the inner and the outer effects as a result of trauma on the structure of the narrative. As calculus is the study of change, of space, and of time, Hemingway draws attention to the manner in which change is represented in the structure of a narrative as a result of the experience of trauma in war. Hemingway seeks to capture the illusive element of change, space, and time in his narrative construction mirroring of the experience of trauma in the structure of the narrative. | ||
Calculus, as the study of change and space, operates as a narrative method for structuring the presentation and representation of the trauma of war in fiction. The study of change, which Hemingway engages in the narrative structure of calculus in ARIT and Mailer appropriates in the structuring of NAD, is illustrated through the memory of war and trauma in the narratives. Samuel Hynes observes in Soldier’s Tale of the effect of war trauma on the construction and structuring of narratives involving the experience of war trauma. Hynes observes that | Calculus, as the study of change and space, operates as a narrative method for structuring the presentation and representation of the trauma of war in fiction. The study of change, which Hemingway engages in the narrative structure of calculus in ARIT and Mailer appropriates in the structuring of NAD, is illustrated through the memory of war and trauma in the narratives. Samuel Hynes observes in Soldier’s Tale of the effect of war trauma on the construction and structuring of narratives involving the experience of war trauma. Hynes observes that | ||
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place. These evolved structural adaptations can be seen through the specific experiences and re-experiences of soldiers. Exploring Hemingway’s widely panned novel and Mailer’s widely lauded work focusing on the effects of trauma on the structure of the narrative represents an opportunity to examine how the narrative calculus contributes to understanding the evolution of the narrative structure. | place. These evolved structural adaptations can be seen through the specific experiences and re-experiences of soldiers. Exploring Hemingway’s widely panned novel and Mailer’s widely lauded work focusing on the effects of trauma on the structure of the narrative represents an opportunity to examine how the narrative calculus contributes to understanding the evolution of the narrative structure. | ||
Mailer’s novel adopts narrative strata that also illustrates a questioning of the previous representation of objectivity and subjectivity in war narratives. John Limon observes that NAD displays four levels of narrative influence in the work’s content and structure. For Limon, Mailer’s work reflects the in fluence of World War I—in its modernist meanderings, World War II—in its witnessing, interrogation, and visioning of totalitarianism, Cold War—in the book’s ideology, and World War III—in its prediction and inchoate eschatology ().These four elements of influence on Mailer’s text contribute to an understanding of how the “Time Machine” sections operate in the structuring of the narrative. | The illustration of Hemingway’s calculus in ARIT encourages an understanding of his earlier narrative structures — arithmetic, geometry, and algebra. The experience of trauma in the culture-at-large also privileges a sense of awareness of the past mythic narrative structures of war. Hemingway’s narrative structure of calculus captures the experience of war trauma in ARIT embodies yet transcends previous narrative structures. Hemingway{{efn|Hemingway, in a (1959) introduction unpublished until 1981, examines the progression of his writing career. In this essay written two years before his suicide, he hits on the importance of trauma in relation to his evolution as a writer. Towards the end of the passage meant for a collection of Hemingway’s short fiction, Hemingway writes, | ||
<blockquote>It is very bad for writers to be hit on the head too much. Sometimes you lose months when you should have and perhaps would have worked well but sometimes a long time after the memory of the sensory distortions of these woundings will produce a story which, while not justifying the temporary cerebral damage, will palliate it. “A Way You’ll Never Be” was written at Key West, Florida, some fifteen years after the damage it depicts, both to a man, a village, and a countryside, had occurred. No questions? I understand. I understand completely. However, do not be alarmed. We are not going to call for a moment of silence. Nor for the man in the white suit. Nor for the net. Now gentlemen, and I notice a sprinkling of ladies who have drifted in attracted I hope by the sprinkling of applause. Thank you. Just what stories do you yourselves care for? I must not impose on you exclusively those that find favor with their author. Do you too care for any of them? (“Art” 10–1)</blockquote> | |||
Hemingway captures in this section the progression of his work in relation to the trauma he experienced. The various “woundings” Hemingway experiences contribute “after the damage” depicted is long gone to the creation of narratives, including the oft-dismissed ARIT. These narratives capture a sense of the trauma experienced and remembered by Hemingway. Ernest Hemingway in Across the River and into the Trees reflects the unhinging and play of certain thought-to-be-stable notions of subjectivity and objectivity in his fiction. The evolution of Hemingway as a writer is a result of the trauma experienced and remembered. He observes, “but sometimes a long time after the memory of the sensory distortions of these woundings will produce a story which, while not justifying the temporary cerebral damage, will palliate it” (10). | |||
Hemingway’s ''Across the River'' and ''Into the Trees'' correlates his experiences and memories of trauma to his fiction.}} offers in the narrative calculus of ARIT a study of change in relation to the experience of trauma as the focus of his fiction, instead of the exploration of the effects of trauma or the spatial experience of trauma. Hemingway writes that Richard Cantwell observes that “[h]e [Gran Maestro] and the Colonel both remembered the men who decided that they did not wish to die; not thinking that he who dies on Thursday does not have to die on Friday” (). In this passage, the external observations of the men are characterized as coalescing with the internal impressions of the narrator. The narrative calculus unfolds as Hemingway appears to examine the alterations of the narrative presence via the figure of Cantwell and his experiences of trauma. The presentation and representation of trauma, as an abject awareness and state, represents a variable that enables a narrative evolution in the structure of ARIT. The narrative’s treatment of trauma, which gives voice to an experience that is abject, alters the presentation of person, space, and time in the narrative structure of the novel. | |||
Mailer’s novel adopts narrative strata that also illustrates a questioning of the previous representation of objectivity and subjectivity in war narratives. John Limon observes that NAD displays four levels of narrative influence in the work’s content and structure. For Limon, Mailer’s work reflects the in fluence of World War I—in its modernist meanderings, World War II—in its witnessing, interrogation, and visioning of totalitarianism, Cold War—in the book’s ideology, and World War III—in its prediction and inchoate eschatology ().These four elements of influence on Mailer’s text contribute to an understanding of how the “Time Machine” sections operate in the structuring of the narrative. {{efn|The time machine sections notably display the influence of John Dos Passos on Mailer’s writing and textual construction.}} Similar to Hemingway’s treatment involving | |||
{{pg| 321 | 322}} | {{pg| 321 | 322}} | ||