Cirrus@Austlit

'In this article, I examine the Gothic generic, narrative and conceptual strategies Sue Woolfe uses to describe creative emergence from the effects of intergenerational trauma and the impact on modalities of subjectivity in Painted Woman (1990), a tale of incest and disavowed artistry. The deployment of the Gothic subverts expectations of power relations, engenders the development of new paradigmatic writing forms, and shows the presence/lack of agency from within the traumatic space. Woolfe reframes embodied experience through experimentation with assumptions around signifying practices, generates radical language through which to testify to trauma and suggest that from abjective experience, empowerment and transformation are not only possible, but also essential.'  (Publication abstract)

'Writing is a crucial process to the understanding of trauma. Whether trauma is represented through literature, fiction, non-fiction, auto/biography, memoir, post-generational and Indigenous narratives, poetry, graphic novels, art, photography, dance, plays, film, or closely observed by practitioners teaching creative writing within a classroom or an academic context, this issue includes the many and varied ways writers are bearing witness to trauma in the written form. Writing trauma offers a way of confronting, unpacking, questioning, de/constructing and navigating, the silence and the space, the gaps and the holes, the aporia, the unrepresentable and unknowable, of the sayable and unsayable, in order to reach a better understanding of how trauma is being re-presented within these diverse narratives.' (Introduction)

'Writing is a crucial process to the understanding of trauma. Whether trauma is represented through literature, fiction, non-fiction, auto/biography, memoir, post-generational and Indigenous narratives, poetry, graphic novels, art, photography, dance, plays, film, or closely observed by practitioners teaching creative writing within a classroom or an academic context, this issue includes the many and varied ways writers are bearing witness to trauma in the written form. Writing trauma offers a way of confronting, unpacking, questioning, de/constructing and navigating, the silence and the space, the gaps and the holes, the aporia, the unrepresentable and unknowable, of the sayable and unsayable, in order to reach a better understanding of how trauma is being re-presented within these diverse narratives. ' (Issue introduction)

'In this article I engage trauma theory to analyse the narrative strategies that Morgan Yasbincek deploys in the novel 'liv' (2000). I demonstrate how Yasbincek makes the expression of creative emergence from catastrophically fracturing intergenerational trauma significant as a theme and a process and how the text makes this imaginatively and effectively available to the reader. I analyse the representation in 'liv' of the paradox inherent in the traumatic shattering of subjectivity and the ensuing reconstruction of identity facilitated through creative writing, where the imperative to create enables an oblique access to the foreclosed traumatic experience.

''liv' is a fictionalised account of a family's Croatian-Australian migration and, although it was short-listed for the Australian Literature Society Gold Medal in 2000, and commended by the Victorian Premier's Literary Awards of the same year, critical analysis of the work has to date been limited. The narrative is enacted through a heteroglossia that is foregrounded through the use of stylistic fragments that perform the temporality of the intergenerational and traumatic memory and dis-continuity. 'liv' shows how intergenerational trauma manifests and has its effect attenuated as emergent subjectivity forms through creative endeavour.' (Publication abstract)