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

narrative calculus in his ARIT Mailer, too, plays with a variety of narrative positions in his novel in relation to trauma in war. The shifts in person, place, and even in thought contribute to providing a narrative voice to a previously silenced voicing of the experience of trauma during war. Mailer’s novel opens with, “Nobody could sleep” and continues in the second paragraph with “[a] solider lies flat on his bunk, closes his eyes, and remains wide awake” (Naked ). In this passage, the narrative voice assumes a point-of-view situation that operates without a traditional deployment of narrative subjectivity or objectivity. This altered point of view is illustrated in the focus presented through the experience of “nobody,” and then it is further engaged by the assumption of a narrative position relegated to war trauma—“a soldier” (). The opening passages of the novel illustrate a shifting point of view in the structure of the novel that moves beyond traditional subjective and objective narrative presentations of war trauma.

Hemingway’s and Mailer’s focus on capturing the traumas of modern war and experience engages and deploys a testimony of questioning and confusion related to the trauma of war. The experience of trauma, in war, often is illustrated in the fictional narratives of war as not simply the threatening of one’s life but the recognition of the threat by the mind as occurring “one moment too late” (Caruth ). The necessity and impossibility of truly grasping the threat to one’s life is repeatedly confronted by both the act of survival and the traumatic experience itself. Thus, in the fictional retellings of traumas in narratives, the attempt is made to capture both the timeliness and timelessness of the experience of trauma. However, conventional narrative structures often do not allow the space or place for the representation of these abject understandings or experiences. The inability of traditional narrative structures to embody and reflect the experience of trauma in a narrative relates to the structuring of these conventional narratives which follow the lines of narrative arithmetic, geometry, and algebra.

Hemingway and Mailer adopt a different structuring of their narratives involving the trauma of war. Instead of trying to use the traditional elements of narrative to engage the experience in a narrative, these authors use trauma to engage the structuring of the narrative. James Dawes asserts in The Language of War that “war thus initiates a semantic crisis, a crisis of meaning