This dissertation examines how contemporary Anglophone, Hispanophone, and Francophone literature from Africa, Latin America, the Caribbean, and South Asia (1984-present) reconfigures historical archives to negotiate the ethics of representing state violence in repressive societies. I identify new literary forms politically conscious writers are devising to capture and contest human rights violations. Using an interdisciplinary decolonial feminist framework, I closely read works by Cristina Peri Rossi, Michael Ondaatje, M. NourbeSe Philip, Edwidge Danticat, Boubacar Boris Diop, and Roberto Bolaño— a diverse set of postcolonial and post-dictatorship writers never before compared in comparative literature. I call these writers’ endeavors to reframe traumatic history “arts of the impossible,” which defy the alleged unrepresentability of collective trauma to secure justice and forestall impunity. I compare representations of wide-ranging atrocities including forced disappearance, slavery, genocide, and femicide— crimes exemplifying what I term “ontological erasure.” At stake in ontological erasure are not simply lost perspectives from multiply marginalized victims, like women and queer people of color, but the very possibility of citizenship and the will to dissent state recognition enables. To resist the threats posed by the authorization of these crimes to political freedom, these writers, I argue, reinvent evidentiary forms historically suppressed by authoritarian states, including court transcripts, testimonies, forensic reports, and national archives. These authors’ innovations push the boundaries of what counts as “evidence” in acts of state violence that are uniquely determined by erasure; they also imagine new methods for remembering past atrocities without compromising recognition for stigmatized minorities in the future.

This dissertation argues that works of literature offer a valuable critical supplement to historical and legal accounts of colonial violence, due to the common investment of literary texts in thematizing moral complexity and complicity, and by drawing attention to intimate and social forms of harm that might otherwise go unaccounted for. Following the recent successful lawsuit against the British government by elderly Kenyans who survived torture in the 1950s, as well as recent historical scholarship on the colonial government's brutal counterinsurgency, I argue that the paradigmatic anticolonial event commonly referred to as the “Mau Mau” uprising has been reframed in terms of a series of grave human rights abuses. I examine the diverse ways in which the Mau Mau struggle has been figured in narrative fiction, focusing on works by Ngũgĩ wa Thiong'o, Yvonne Adhiambo Owuor, Marjorie Oludhe Macgoye, and the white supremacist Robert Ruark. The dissertation shows literary texts to be sites of distinct forms of knowledge concerning the harms of political violence. My readings demonstrate that fictions of Mau Mau have figured that crisis as both a crime that demands urgent redress and an event whose damage is permanent and irreparable, each text staging in distinct ways the structuring paradox of historical reparation as an impossible ethical demand that must nonetheless be insisted upon. I think of reparations claims as radical decolonizing demands, countering recent critiques of the “politics of reparations” as a liberal departure from properly emancipationist thinking.

This dissertation contributes to the ongoing analysis of art during the anni di piombo (1969-1983) by revisiting and challenging the well-established charge that artists failed to create meaningful reflections on terrorism during the years of lead. I analyze a select number of literary and filmic fictional representations of terrorists and their victims produced in Italy during the first half of the anni di piombo, up to Aldo Moro’s death. Reading these narratives in a comparative perspective, I argue that their symbolic reflection on terrorism becomes particularly evident in the representation of the body of the terrorist. Through my analysis I find that—despite the differences in medium, genre, intended audience, and kinds of political terrorism these narratives respectively explore—a similar fundamental criticism of terrorism as an essentially anti-political practice emerges. In this way, I show, these narratives can be read as contributions to the democratic debate on violence and the principle of civility in politics produced already during that period of great socio-political crisis.

When authors write fiction about real, traumatic events, they face ethical challenges about how to portray trauma and its impacts. This dissertation employs methods of close reading and application of theory to investigate authorial choices. I argue that authors writing fiction about trauma often make aesthetic choices that blur the line between figurative and literal language in order to portray bodily experiences. This dissertation takes as its subject novels from sub-Saharan Africa that depict traumas caused directly and indirectly by colonialism. Authors including David Diop (1966-) and Birago Diop (1906-1989) have used these techniques to write about tirailleurs sénégalais, West African men conscripted to serve France’s military in the nineteenth and twentieth centuries. I bring these authors together with Boris Boubacar Diop (1946-) and Véronique Tadjo (1955-), who wrote books about the Rwandan genocide, because they also perform this translation for the body, asking readers to approach these works with a sensitivity to the ways the body endures trauma. The effect of these choices is a humanizing and integrated portrayal of trauma as a phenomenon that challenges the mind-body separation of cartesian influence and complicates human experience of time as linear. These works create space to think about trauma and recovery as individual as well as communal, to map similarities of human responses to trauma without pathologizing it. Ultimately, these works point to the conclusion that living through/with trauma is possible when the trauma can be incorporated into a new conception of the self.