"When Johnny Comes Marching Home" is a novel that focuses upon the severe emotional trauma of a young boy coping with his father's death. For Johnny Freeman, the seemingly innocent setting of a typical American elementary school becomes a dangerous psychological battlefield, his most threatening "enemy" being his teacher, Miss Holloway, a first-year instructor beginning her career with only textbook knowledge and stubborn determination. Johnny Freeman and Miss Holloway clash the first day of school and set into motion a war of minds, wills, and emotions. Neither will relent; each is driven for various complex reasons to dominate the other. Their personalities demand that only one of them will emerge as the winner in this struggle, creating a psychological fight for survival with terrifying and deadly consequences for the loser.

Charles Baxter, in his essay “Dysfunctional Narratives: or: ‘Mistakes Were Made,’” implies that all trauma narrative is synonymous with “dysfunctional narrative,” or narrative that leaves all characters unaccountable. He writes: “In such fiction, people and events are often accused of turning the protagonist into the kind of person the protagonist is, usually an unhappy person. That’s the whole story. When blame has been assigned, the story is over.” For Baxter, trauma narrative lets everyone “off the hook,” so to speak. He would say that we write about our bitter lemonade to make excuses for our poor choices, and “audiences of fellow victims” read our tales, because their lemonade and their choices carry equal bitterness, and they require equal excuses. While trauma narrative can soothe us, as can other narrative genres, we should not dismiss trauma fiction because of a sweeping generalization. Trauma fiction also allows us to explore the missing parts of our autobiographical narratives and to explore the effects of trauma—two endeavors not fully possible without fiction. As explained in more detail later, the human mind requires narrative to formulate an identity. Trauma disrupts this process, because “trauma does not lie in the possession of the individual, to be recounted at will, but rather acts as a haunting or possessive influence which not only insistently and intrusively returns but is, moreover, experienced for the first time only in its belated repetition.” Because literature can speak what “theory cannot say,” we need fiction to speak in otherwise silent spaces. Fiction allows us to express, analyze, and comprehend what we could not otherwise.

We are living are living in the age of the trigger warning— educational cultures that threaten English teachers’ ability to present psychologically upsetting literature to students who may lack the necessary resilience to tolerate highly charged literary encounters with complex issues, such as rape, violence, racism, or political strife. And yet literature is filled with conflict— artistic representations of the precise traumas that certain members of our student populations may not be able to tolerate. In order to safeguard trauma survivors from potential reactivation of traumatic stress, a handful of educational institutions promote the use of trigger warnings. But are trigger warnings effective, and, if they are, what do they teach English teachers about what happens to individuals who have endured trauma and are therefore susceptible to being triggered? The purpose of this research, which consisted of interviews and an intensive focus group with seven veteran English teachers teaching at seven distinct schools throughout the world, was to offer insights and pedagogical awareness to English teachers, so that they can better anticipate, conceptualize, and decided for themselves how to respond to students who get triggered by emotionally complex literature. In addition to the qualitative research methods used with the seven English teacher participants, this study utilizes the work and thinking of trauma expert Bessel van der Kolk in an attempt to illustrate the neurological impacts of trauma through a comprehensive overview of PET scans of trauma survivors studied in van der Kolk’s lab in Brookline, Massachusetts. Each PET scan presents key features of what can happen to the brains of survivors, and may provide significant clues into what happens among our students when they get psychologically triggered in the classroom. The dissertation concludes with a one-on-one interview with Harvard psychiatrist Bessel van der Kolk, and offers his insights, wisdom, and conceptualizations for this highly complex and nuanced problem.

Thesis (Ph. D.)--University of Oregon, 2006. / Typescript. Includes vita and abstract. Study of themes in the novels of Edward Abbey, Lan Cao, Toni Morrison, and Leslie Marmon Silko. Includes bibliographical references (leaves 233-238). Also available for download via the World Wide Web; free to University of Oregon users.

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Thesis (Ph.D.) -- University of Adelaide, Dept. of English, 2001. / Includes bibliographical references (leaves 246-258).

Thesis (M.A.) -- Central Connecticut State University, 2008. / Thesis advisor: Aimee L. Pozorski. "... in partial fulfillment of the requirements for the degree of Master of Arts in English." Includes bibliographical references (leaves 113-115). Also available via the World Wide Web.

Thesis (M.A.)--Brigham Young University. Dept. of English, 2005. / Includes bibliographical references (p. 73-74).

This dissertation, which examines the literary representation of childhood trauma, is held together by three threads of inquiry. Firstly, I examine the stylistic devices through which three contemporary African writers – NoViolet Bulawayo, Uwem Akpan, and Mia Couto – engage with the subject of childhood trauma in five of their short stories: “Hitting Budapest”; “My Parents’ Bedroom” and “Fattening for Gabon”; and “The Day Mabata-bata Exploded” and “The Bird-Dreaming Baobab,” respectively. In each of these narratives, the use of ingén(u)s in the form of child narrators and/or focalisers instantiates a degree of structural irony, premised on the cognitive discrepancy between the protagonists’ perceptions and those of the implied reader. This structural irony then serves to underscore the reality that, though in a general sense the precise nature of traumatic experience cannot be directly communicated in language, this is exacerbated in the case of children, because children’s physical and psychological frameworks are underdeveloped. Consequently, children’s exposure to trauma and atrocity results in disruptions of both personal and communal notions of safety and security which are even more severe than those experienced by adults. Secondly, I analyse the political, cultural and economic factors which give rise to the traumatic incidents depicted in the stories, and the child characters’ interpretations and responses to these exigencies. Notions of subjectivity and intersubjectivity, identity and community, victimhood and survival, agency and disempowerment are discussed here in relation to the context of postcolonial Africa and the contemporary realities of chronic poverty, genocide, child-trafficking, the aftermath of civil war, and the legacies of colonialism and racism. Thirdly, this dissertation inspects the areas of congruence and divergence between trauma theory, literary scholarship on trauma narratives, and literary attempts to represent atrocity and trauma despite what is widely held to be the inadequacy of language – and therefore representation – to this task. There are certain differences between the three authors’ depictions of children’s experiences of trauma, despite the fact that the texts all grapple with the aporetic nature of trauma and the paradox of representing the unrepresentable. To this end, they utilise various strategies – temporal disjunctions and fragmentations, silences and lacunae, elements of the fantastical and surreal, magical realism, and instances of abjection and dissociation – to gesture towards the inexpressible, or that which is incommensurable with language. I argue that, ultimately, it is the endings of these stories which suggest the unrepresentable nature of trauma. Traumatic experience poses a challenge to representational conventions and, in its resistance, encourages a realisation that new ways of writing and speaking about trauma in the African continent, particularly with regards to children, are needed.