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- Creators: Department of English
Description
Erosion: A Collection of Poems consists of ten prose poems that explore the processing of trauma through a single lens. We follow the work’s main character as she navigates recovery following a medical trauma in Peru from which she ought to have died. The pieces challenge the readers to immerse themselves within her narrative to understand the isolation that trauma ushers in, as she struggles to know her own newfound aloneness.
While the poems illustrate the complexity of one’s experience with both PTSD and its stages of recovery (e.g., emergency, numbness, intrusive/repetitive, integration), they are anchored in the sensory, the concrete. Amidst the terror of the symptoms at the most basic, raw level, she attempts to reclaim selfhood, which involves wrestling with philosophical suicide, reconciling realities, numbness and the widening of a barrier, stunning intimacies, the craving to feel, and both the desire and the need to connect authentically without being able to satiate such inclinations.
Influenced by the works of Frank Bidart, Claudia Rankine, James Longenbach, and Carolyn Forché, the pieces rely heavily upon rhythm and spacing, imagery, and associative linkages throughout the work to craft a sense of physical, intellectual, and emotional movement within the space.
The collection focuses upon the narrative of one survivor of trauma, and though traumas may be experienced differently, and while PTSD may manifest itself in profoundly diverse ways, the pieces aim to capture the shared foundation of the experience — the isolation and the pure, unadulterated pain — in order to cast a universal veil onto the exploration, providing the audience with insight into one of trauma’s most important facets.
While the poems illustrate the complexity of one’s experience with both PTSD and its stages of recovery (e.g., emergency, numbness, intrusive/repetitive, integration), they are anchored in the sensory, the concrete. Amidst the terror of the symptoms at the most basic, raw level, she attempts to reclaim selfhood, which involves wrestling with philosophical suicide, reconciling realities, numbness and the widening of a barrier, stunning intimacies, the craving to feel, and both the desire and the need to connect authentically without being able to satiate such inclinations.
Influenced by the works of Frank Bidart, Claudia Rankine, James Longenbach, and Carolyn Forché, the pieces rely heavily upon rhythm and spacing, imagery, and associative linkages throughout the work to craft a sense of physical, intellectual, and emotional movement within the space.
The collection focuses upon the narrative of one survivor of trauma, and though traumas may be experienced differently, and while PTSD may manifest itself in profoundly diverse ways, the pieces aim to capture the shared foundation of the experience — the isolation and the pure, unadulterated pain — in order to cast a universal veil onto the exploration, providing the audience with insight into one of trauma’s most important facets.
ContributorsBacon, Lauren Whitney (Author) / Ball, Sally (Thesis director) / Irish, Jennifer (Committee member) / Department of English (Contributor, Contributor) / School of Historical, Philosophical and Religious Studies (Contributor) / School of International Letters and Cultures (Contributor) / Barrett, The Honors College (Contributor)
Created2016-05
Description
This project is a critical analysis of the works of 6 American war veterans and how they demonstrate trauma in their narratives. The texts covered here are Philip Red Eagle’s Red Earth (2007), John A. Williams’ Captain Blackman (1972), Roy Scranton’s War Porn (2016), Tim O’Brien’s The Things They Carried (1990), Kurt Vonnegut’s Slaughterhouse-Five (1969), and Joseph Heller’s Catch-22 (1961).
ContributorsNovinger, Joshua (Author) / Ellis, Lawrence (Thesis director) / Goodman, Brian (Committee member) / Department of English (Contributor) / Barrett, The Honors College (Contributor)
Created2021-05
Description
This thesis examines the evolution of the interpretation of the battle of Gettysburg, as well as how the analysis and presentation of the battle by multiple stakeholders have affected the public's understanding of the violence of the engagement and subsequently its understanding of the war's repercussions. While multiple components of the visitor experience are examined throughout this thesis, the majority of analysis focuses on the interpretive wayside signs that dot the landscape throughout the Gettysburg National Military Park. These wayside signs are the creation of the Park Service, and while they are not strictly interpretive in nature, they remain an extremely visible component of the visitor's park experience. As such, they are an important reflection of the interpretive priorities of the Park Service, an agency which is likely the dominant public history entity shaping understanding of the American Civil War. Memory at Gettysburg in the first decades after the battle largely sought to focus on celebratory accounts of the clash that praised the valor of all white combatants as a means of bringing about resolution between the two sides. By focusing on triumphant memories of martial valor in a conflict fought over ambiguous reasons, veterans and the public at large neglected unsettling and difficult conversations. These avoided discussions primarily concerned what the war had really accomplished aside from preserving the Union, as white Americans appeared unwilling to confront the war's abolitionist legacy. Additionally, they avoided discussion of the horrific levels of violence that the war had truly required of its combatants. Reconciliationist memories of the conflict that did not discuss the violence and trauma of combat were thus incorporated into early interpretations of Civil War battlefields, and continued to hinder understanding of the true savagery of combat into the present. This thesis focuses on the presence (or lack thereof) of violence and trauma in the wayside interpretive signage at Gettysburg, and argues that a more active interpretation of the war's remarkably violent and traumatic legacies can assist in dislodging a faulty legacy of reconciliationist remembrance that continues to permeate public memory of the Civil War.
ContributorsPittenger, Jack (Author) / Simpson, Brooks D. (Thesis advisor) / Schermerhorn, Calvin (Committee member) / Dallett, Nancy (Committee member) / Arizona State University (Publisher)
Created2013