A couple of years back, the active literary critic for the New Yorker, Parul Sehgal, had penned down a significant critique of the “trauma plots” that seem to pervade every form of storytelling, be it in literature, films, or television series. The term “post-traumatic stress disorder” has now escalated to secure the fourth position in the list of most commonly diagnosed mental disorders in the United States. In this context, Sehgal notes that the injuries endured, both psychological and physical, are often worn like badges of honor or status symbols.
The “trauma plot”, as per Sehgal’s observation, has evolved into being the dominant narrative style of our era. A prime example of this genre is the novel “A Little Life” by Hanya Yanagihara. This narrative style is a far cry from the traditional “marriage plot” that was a staple of the 19th-century literature. The difference lies in the fact that while the “marriage plot” usually revolved around the characters’ future lives, the “trauma plot” is primarily centered around their past experiences. This distinct shift in focus from the future to the past forms the crux of this narrative style.
