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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 == HEMINGWAY AND MAILER: TRAUMA’S TREATMENT IN PRESENTING WWII ==
-Ernest Hemingway’s ''''Across the River and into the Trees'' (1957){{efn|. Hemingway’s title selection for the work references his desire to explore the effects of war and trauma. The title of the work is a paraphrase of the last words of Civil War Leader Stonewall Jackson,“Let us cross over the river, and rest under the shade of the trees” (Cooke 485). Hemingway’s paraphrase removes the communal “us” and the restorative “rest.” As such, the title highlights a different subjectivity from Jackson: a subjectivity that in Hemingway does not involve a “you” or an “I.” Instead, this narrative speaks not from the objective you or the subjective I but instead from the space of the abjective.}} and Norman Mailer’s ''The Naked and the Dead'' (1948) illustrate necessary components and adaptations of the exploration of the narrative engagement of the traumas of war into and onto the structures of fiction. Carlos Baker observes that Hemingway’s ARIT projects an “atmosphere” that “was darkened by a strange psychological malaise, as if Ernest were using the pages of his novel as the equivalent of a psychiatrist’s couch” (477). While Baker—like many Hemingway scholars— is keen to link Hemingway’s second-to-last novel to the author’s personal experiences, Hemingway’s novel does not exist merely as an autobiographical account of trauma. Instead, Hemingway’s oft-dismissed novel captures the sentiment of a culture affected by the trauma of war in the work’s evolved narrative structure. Baker is partially correct in his observations; however, the atmosphere of the novel is not merely darkened by Hemingway’s personal malaise, so much as the novel presents the dark malaise of a culture attempting to reconcile narratives that speak from the abject position of trauma.
+Ernest Hemingway’s ''''Across the River and into the Trees'' (1957){{efn|. Hemingway’s title selection for the work references his desire to explore the effects of war and trauma. The title of the work is a paraphrase of the last words of Civil War Leader Stonewall Jackson,“Let us cross over the river, and rest under the shade of the trees” (Cooke 485). Hemingway’s paraphrase removes the communal “us” and the restorative “rest.” As such, the title highlights a different subjectivity from Jackson: a subjectivity that in Hemingway does not involve a “you” or an “I.” Instead, this narrative speaks not from the objective you or the subjective I but instead from the space of the abjective.}} and Norman Mailer’s ''The Naked and the Dead'' (1948) illustrate necessary components and adaptations of the exploration of the narrative engagement of the traumas of war into and onto the structures of fiction. Carlos Baker observes that Hemingway’s ARIT projects an “atmosphere” that “was darkened by a strange psychological malaise, as if Ernest were using the pages of his novel as the equivalent of a psychiatrist’s couch” (477). While Baker—like many Hemingway scholars— is keen to link Hemingway’s second-to-last novel to the author’s personal experiences, Hemingway’s novel does not exist merely as an autobiographical account of trauma.{{efn|Hemingway, in “Battle for Paris,” observes, “during this epoch I was addressed as ‘Captain.’ This is a very low rank to have at the age of forty-five years, and so, in the presence of strangers, they would address me, usually, as ‘Colonel.’ But they were a little upset and worried by my low rank. . . The main highlights of this period that I remember, outside of being scared a number of times, are not publishable at this time. Sometime I would like to be able to write an account of the actions of the colonel both by day and by night. But you cannot write it yet” (By-line 370–371).}}  Instead, Hemingway’s oft-dismissed novel captures the sentiment of a culture affected by the trauma of war in the work’s evolved narrative structure. Baker is partially correct in his observations; however, the atmosphere of the novel is not merely darkened by Hemingway’s personal malaise, so much as the novel presents the dark malaise of a culture attempting to reconcile narratives that speak from the abject position of trauma.
-Mailer’s ''NAD'' is the author’s first novel, and the reviews—unlike the reviews for Hemingway’s second-to-last-novel ''ARIT''—refer to Mailer’s novel as successful at its attempt of providing commentary on the war; in fact, reviewers deemed it “the best novel yet about World War II.” Mailer’s work captures the experiences of war in a non-romantic fashion with its focus on the disunity surrounding the trauma of war in the structure of the narrative. The narrative disunity captured and implemented in the structure of both Mailer’s and Hemingway’s WW II novels involve a point of view that differs from the prior structures of war fiction. In the aftermath of the Second World War, American fiction—illustrated in ''ARIT'' and ''NAD''—engages a different narrative point of view involving abjection and drawing on the trauma of war to generate a different structure of narrative.
+Mailer’s ''NAD'' is the author’s first novel, and the reviews—unlike the reviews for Hemingway’s second-to-last-novel ''ARIT''—refer to Mailer’s novel as successful at its attempt of providing commentary on the war; in fact, reviewers deemed it “the best novel yet about World War II.” Mailer’s work captures the experiences of war in a non-romantic fashion with its focus on the disunity surrounding the trauma of war in the structure of the narrative. The narrative disunity captured and implemented in the structure of both Mailer’s and Hemingway’s WW II novels involve a point of view that differs from the prior structures of war fiction. In the aftermath of the Second World War, American fiction—illustrated in ''ARIT'' {{efn|In ARIT, Hemingway opens the novel by presenting Colonel Richard Cantwell’s memories that occur in the past. These moments appear early in the narrative as an interior representation of an objective self. Cantwell remembers, “That was the day before yesterday. Yesterday, he had driven down from Trieste to Venice along the old road . . . he relaxed [and] looked out all this country he had known when he was a boy”(21).Hemingway’s use of a frame device in the novel, according to John Paul Russo, is one that provokes an unsettling, uncanny response (155). The placement of the majority of the novel as focused on Cantwell’s memories give subjective voice to his interior landscape. Thus, Hemingway’s representations of memory and remembering in ARIT imbricate creating a protagonist who differs from Hemingway’s prior heroes. In the novel, Cantwell does not operate objectively nor does he operate subjectively; instead, he encompasses another space that seeks to find understanding through his memories of a lifetime of war trauma.}} and ''NAD''—engages a different narrative point of view involving abjection and drawing on the trauma of war to generate a different structure of narrative.
 The titles of the two works preface influence of trauma on the structure of the narratives. Mailer’s title calls attention to a shift in position in the structure of his narrative. "Naked" does not suggest the indicator of a physical objective state but, instead, projects an interior subjective state experienced abjectly during the trauma of war. Paul Seigel observes that the use of “naked” in Mailer’s title connects to a sense that the appearance of the term throughout the novel intimates a feeling of openness and vulnerability (294). For Seigel, the term showcases a central theme of
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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.
-Hemingway’s title selection also references a desire to explore the effects of war and trauma on the structure of the narrative. 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). 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 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