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• W4384345143 abstract "Estrangement as Method in Trauma Narratives1 Sohomjit Ray (bio) In the preface to Imperial Intimacies, a multigenerational memoir of her family, Hazel Carby cautions readers that they should not expect a seamless narrative in the story about to unfold, that [o]rphan threads have been left broken because I do not know how they should connect (4). It is advice easy to forget or dismiss as routine authorial modesty while we follow Carby's journey into public and private archives as she illuminates the lives of familial figures one by one, the details adding up until we are faced with a grand collage of seemingly small moments that stand revealed as the intimate consequences of immense structural forces like slavery and colonialism. But in a short chapter named Lost, her prefatory remark proves true. The narrative thread unspools, going nowhere and everywhere as she struggles to cast her glance back to the brutal rape she endured as a nine-year-old girl. The chapter opens with a statement of fact that seems unremarkable: In the late 1950s, in Mitcham, a girl was lost (56). That is until we recall how the first chapter of the memoir had begun: During the first bitterly cold month of 1948 in Britain, a girl was born (7). This rhetorical doubling, along with the strange use of third person, transforms an otherwise ordinary sentence, striking a note of dread the reason for which is not immediately clear. In an interview, Carby explains the decision to use the third person to refer to her younger self: The character of 'the girl' [young Hazel] was a mechanism that enabled me to create a critical distance and make sense of what the child does not necessarily understand at the time and what it is the adult who's writing knows—the adult who is [End Page 264] also an academic and has thought a lot about the questions of race. This narrative technique is essential to tell the story of the racialization of young Hazel—the child of a Jamaican father and a Welsh mother—who is always given to understand while growing up in postwar Britain that she does not quite belong. It is not possible for young Hazel to know the history that contextualizes her life and its particularities; and the weight of this unknowing appropriately separates her from the adult narrator who deftly reaches into a historian's toolbox to trace these details and shape them into a story. But this acquired knowledge that separates the girl from the adult narrator is of no use when trauma enters the text. The critical detachment works until young Hazel is invited into the home of a white classmate by her elder brother, a teenager who rapes her, leaving her with a warning to never speak of it: Searing pain inside, radiating up and out. A hand clamped over her mouth, a scream died in her throat as her body convulsed. On her side she fought to bring her knees up to her chest and wrapped her arms around herself lying on rough carpet that rubbed and burned her skin. She knew how to turn inward. I can no longer watch the girl. I am teetering on the edge of a cliff; a small trembling body falls and I take flight after her. Our bodies land, beached, but then I look and I am alone. The girl I carry inside me is different, she changed. We changed (57–8). Two simultaneous movements mark the narration of this incident: the character of the girl suddenly fuses with the narrative agent (I) to become first person plural (our), but then this fusion is immediately thrown into doubt, signaling an uneasy assimilation (the girl I carry inside me is different); and the details presented in the narrative turn from incredibly specific sensory recall (hand clamped over mouth, roughness of the carpet chafing against skin) to describe a precipice that is clearly metaphorical. These movements converge as we witness the small trembling body of the girl (a precursor to the narrator) fall off a symbolic cliff, resulting in irrevocable changes to both. Taken together, they also establish the signs of trauma..." @default.
• W4384345143 created "2023-07-15" @default.
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• W4384345143 date "2023-06-01" @default.
• W4384345143 modified "2023-10-18" @default.
• W4384345143 title "Estrangement as Method in Trauma Narratives" @default.
• W4384345143 doi "https://doi.org/10.1353/jnt.2023.a901899" @default.
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