Mustapha Kharoua

This article reads Radwa Ashour’s Granada (1995) as a novel that examines the cumulativeness of trauma in Arab/Muslim cultures. It is representative of postcolonial trauma novels’ rethinking of the Eurocentric event-based model that lays the postcolonial question by the wayside. A barbed critique that links the colonial past to its postcolonial aftermath is thus leveled at the lasting aftereffects of a violent Western coloniality/modernity. By deploying the family trope, it recasts the undeterrable advance of Western globalism as the instigator of post-generational trauma. Ashour’s angst-ridden narrative especially laments the foreclosure inflicted on potentialities by the Western discourse of salvation in that the latter submits the Arab/Muslim Other’s attempt at conserving one’s legacy to processes of incrimination and obliteration. In view of her full awareness of the looming death that triggers her existential dilemma as an intellectual, Ashour insists on excavating the archive as an act of survival against external forces that threaten to annihilate her cultural heritage . By mourning the loss of al-Andalus , she therefore exhibits unwavering determination to lay bare the dark underside of a long and single history of Western modernity.

As a searing narrative which grapples with the trauma of the past, Chimamanda Ngozi Adichie’s novel Half of a Yellow Sun (2006) has managed to garner quite considerable critical acclaim. Acknowledging the nuances of documenting the violence inflicted upon the Igbo people in Nigeria in the 1967-1970 war, this postcolonial text convincingly rethinks the narrative of trauma beyond the event-based paradigm. Out of responsibility, its pressing demands for justice against the enduring effects of colonialism typify postcolonial trauma theory’s attempt at probing into the everyday suffering of African subjects. Reading Adichie’s text through Michael Rothberg’s notion “traumatic realism”, this article examines the novel’s attempt to both document the past and to implicate the Western reader. To resist objectification, the novel sets out to redirect the attention of the reader toward the “pogroms” committed on racial grounds. The main focus will be on Ugwu’s re-writing the enduring effects of colonial violence in post-generational terms and of blurring the boundaries between the extreme and the everyday. Keywords: trauma-realism-documentation-the public-commodification

Abstract Abdulrazak Gurnah’s novel By the Sea (2001) is a compelling narrative of the trauma of displacement in postcolonial Africa. Set mainly between Zanzibar and Britain, it brings into focus the trauma of imprisonment as a defining feature of dislocation and unbelonging in postcolonial African cultures. The work critiques the forces of separation bred by racism in nationalist discourse, forces that act as the legacies of colonialism that limits the freedom of the oppressed colonial Other. This article supplements Michael Rothberg’s notion of “traumatic realism” with Paul Gilroy’s concept of “camp mentality”. I argue that the novel‘s underlying purpose is to bear responsible witness to nationalist racism in Zanzibar and Britain as a holdover of the same ideological structures that made colonialism and slavery possible. As a bystander of the trauma of postcolonial displacement, the diasporic Zanzibari writer’s narrative seeks to break free from the discursive and literal restrictions of a world marked by the racial division of subjectivities into “units of camps”. Keywords: trauma-colonialism-nationalism-freedom-geography-unbelonging.

Abstract: This article is a contribution to Postcolonial Trauma Studies. It aims to examine the ways in which Arab cultures bear the lasting aftereffects of the loss of al-Andalus that took place in 1492. Its focus is especially on the ramifications of such a key juncture in history that has enduringly contributed to the legitimation of the destruction of the Arab/Muslim cultures’ heritage. Western-centric knowledge came to license violence based on the demonization of the Other’s ways of knowing. Based on a postcolonial rethinking of trauma, the Arab cultures bear witness to the existence of the same discursive frameworks that made the destruction of the cultural heritage of al-Andalus possible. Keywords: Postcolonial. Trauma. Epistemicide. Memoricide. Modernity.

This dissertation aims to address literary texts written in English by diasporic writers of African descent in the context of trauma. Drawing on Michael Rothberg’s concept of “traumatic realism,” it seeks to question the Eurocentrism that marks cultural trauma studies and bring into focus the anxieties of home and (un)belonging as indicators of post-traumatic African cultures. The three analyzed works by Abdulrazak Gurnah, Chimamanda Ngozi Adichie, and Caryl Phillips are placed at the crossroads of cultures, beyond the victim/perpetrator dichotomy, in order to construct new cartographies that question the history of colonial modernity. The spatiotemporal intricacies of postmemory in the texts problematize the “realism” of nationalist narratives and question the prefix “post” in “post-colonial” that claims a “working through” the ills of the past. Confronted with the detritus of the “real,” the African diaspora seeks to provide an ethical understanding of the past as it lays bare the far-reaching aftereffects of colonial and slave-holding enterprises on the daily lives of the displaced Africans. In “traumatic realist” terms, the writers negotiate the politics of space and race as they are constantly implicated as postgenerations of colonialism and slavery, while engaging contemporary readers ethically in the repercussions of a painful past. Several studies have addressed displacement as a traumatic aftereffect of colonialism and slavery. Yet, “traumatic realism” and its exploration of the overarching notion of “the implicated subject” by writers of African descent has not been given enough consideration. This dissertation follows a chronotopic (Bakhtin) line of investigation that realigns the dichotomous past and present, or the extreme and the everyday, as it draws on the intricacies of postmemory that bring forth the “lived” manifestations of the colonial discourse. Central to this study is the way in which the structures of nation-states, especially in Africa and/or Britain, continue to foster the forces of forgetting and separation that blight the realities of the displaced African subjects. Today, we bear witness to the growing numbers of refugees, exiles, and immigrants, particularly African ones, who are confronted with oppression, genocide, and racism between the structures of the nation-states in Africa and Europe. This context stresses the need to address pressing questions that highlight what Michael Rothberg refers to as “historical responsibility which engages other subjects, be they descendants or non-descendants of colonial violence, to bear responsible witness to the lasting aftereffects of the colonial and slaveholding pasts. The critical double bind of their representation of the past brings two issues to the fore: Although they need to provide a particularized documentation of the past, the writers resort to a non-competitive model that locates the violence inflicted on the displaced Africans side by side with those suffering from other forms of violence centered in the West. Keywords: African literature, trauma, realism, memory, diaspora, Abdulrazak Gurnah, Chimamanda Ngozi Adichie, Caryl Phillips