Book contents
- Frontmatter
- Contents
- List of Figures
- List of Tables
- List of Contributors
- Foreword: What Does Trauma Do?
- Acknowledgments
- Introduction An Anthropology of the Effects of Genocide and Mass Violence
- Part I Private and Public Memory
- Part II Symptom and Syndrome
- Part III Response and Recovery
- 11 The Chaplain Turns to God
- 12 Acehnese Women’s Narratives of Traumatic Experience, Resilience, and Recovery
- 13 Rwanda’s Gacaca Trials
- 14 Pasts Imperfect
- 15 Atrocity and Non-Sense
- 16 Growing Up on the Front Line
- 17 The Role of Traditional Rituals for Reintegration and
- Commentary Wrestling with the Angels of History
- Index
- References
Commentary - Wrestling with the Angels of History
Memory, Symptom, and Intervention
Published online by Cambridge University Press: 05 November 2014
- Frontmatter
- Contents
- List of Figures
- List of Tables
- List of Contributors
- Foreword: What Does Trauma Do?
- Acknowledgments
- Introduction An Anthropology of the Effects of Genocide and Mass Violence
- Part I Private and Public Memory
- Part II Symptom and Syndrome
- Part III Response and Recovery
- 11 The Chaplain Turns to God
- 12 Acehnese Women’s Narratives of Traumatic Experience, Resilience, and Recovery
- 13 Rwanda’s Gacaca Trials
- 14 Pasts Imperfect
- 15 Atrocity and Non-Sense
- 16 Growing Up on the Front Line
- 17 The Role of Traditional Rituals for Reintegration and
- Commentary Wrestling with the Angels of History
- Index
- References
Summary
[...] The colonel returned with a sack used to bring groceries home. He spilled many human ears on the table. They were like dried peach halves. There is no other way to say this. He took one of them in his hands, shook it in our faces, dropped it into a water glass. It came alive there. I am tired of fooling around he said. As for the rights of anyone, tell your people they can go fuck them-selves. He swept the ears to the floor with his arm and held the last of his wine in the air. Something for your poetry, no? he said. Some of the ears on the floor caught this scrap of his voice. Some of the ears on the floor were pressed to the ground.
May 1978 (Forché, 1981, p. 15)Introduction
The opening quote from Carolyn Forché’s documentary poem The Colonel, drawn from her experiences in El Salvador in the late 1970s, confronts us with the terror and absurdity of mass atrocities. Living in the aftermath of war, with perpetrators still in power and only a fragile order restored, how can memory contain the horror and the loss? Must survivors turn away from the past in order to survive? And if silence is required for survival, what becomes of the history needed to provide a moral compass and guide efforts to rebuild a just society? Ears pressed to the ground, can the dead and dismembered hear stories the living are compelled to forget?
The violence described in the essays in this volume is massive not just in its scale or scope – with large numbers of people or whole populations facing terror, injury, loss, and death – but also in its effects, tearing down social structures and rending the fabric of communities, peoples, or nations. As such, the remainders of violence can be seen at the levels of body, self, and society. The responses at each level have their own dynamics, involving physiological, psychological, and social processes that range from the intimate sphere of family systems to the wider arenas of neighborhood, community, nation, and the international networks of global society. These systems are deeply interconnected and we need interdisciplinary perspectives to trace the effects up and down these levels.
- Type
- Chapter
- Information
- Genocide and Mass ViolenceMemory, Symptom, and Recovery, pp. 388 - 420Publisher: Cambridge University PressPrint publication year: 2014
References
- 4
- Cited by