TRAUMA, MEMORY, AND ALTERNATE HISTORY: OUTLINING THE GRAPHIC RESPONSE IN SELECT GRAPHIC NARRATIVES ON THE VIETNAM WAR

Abstract

Graphic narratives have emerged as a fertile ground for scholarly exploration, particularly in challenging traditional perceptions of graphic storytelling primarily associated with entertainment. This paradigm shift recognises graphic narratives as potent vehicles for discussions on complex socio-political themes such as trauma, history, migration, displacement, war, and revolutions. Through powerful visual representations, they provide a platform for personal accounts that have often been marginalised by institutional discourses, thereby reshaping historical narratives. This doctoral thesis delves into the intricate dynamics of graphic narratives in representing and grappling with themes of trauma, memory, ethics of representation, and historical discourse, particularly centered around narratives related to the Vietnam War. Through a meticulous examination of select works such as Thi Bui’s The Best We Could Do, Marcelino Truong’s Such A Lovely Little War: Saigon 1961-63 and Saigon Calling: London 1963-75, and Clemént Baloup’s Vietnamese Memories: Leaving Saigon and Vietnamese Memories: Little Saigon, this study unveils the multifaceted role of graphic storytelling as a dynamic arena for navigating the complexities of conflict and its aftermath. A central insight of this research is the profound significance of graphic narratives in mediating experiences of trauma. By seamlessly blending visual and textual elements, these narratives offer a potent platform for survivors, witnesses, and artists to articulate their narratives, providing spaces for both individual and collective expressions of trauma. Through a strategic interplay of form and theme that engages with memory and representation, these texts traverse the boundaries between silence and articulation, offering readers poignant glimpses into the lived realities of those touched by the Vietnam War. Furthermore, this study illuminates the ways in which graphic narratives actively participate in shaping and challenging historical memory. By interrogating official narratives, archival resources, and historiographical debates, these narratives disrupt conventional interpretations of the conflict, foregrounding the voices and perspectives of marginalised communities. Through acts of remembrance and reclamation, these works disrupt dominant narratives, urging readers to critically reassess historical complexities and confront the enduring legacies of violence and injustice. Drawing upon insights from comics theory, trauma studies, memory studies, and cultural analysis, this thesis underscores the transformative potential of comics in reshaping our engagement with memory and history. By amplifying marginalised voices and providing avenues for perpheral perspectives, comics facilitate the construction of alternative narratives that contest mainstream cultural memory. Through fostering empathy, upholding ethical standards, and engaging readers actively, comics serve as instruments for healing, understanding, and solidarity, ultimately contributing to the cultivation of a more compassionate and inclusive society. Moving ahead, this study anticipates the opportunities for further exploration and inquiry in the realm of graphic narratives, particularly in the light of contemporary global conflicts. By centering marginalised voices and narratives, future research in this domain promises valuable insights into the experiences of individuals and communities confronting conflict and its aftermath. Through interdisciplinary approaches and a commitment to ethical representation, scholars can deepen the understanding of the intricate societal dynamics entwined with narratives of war, fostering empathy and action towards a more equitable and peaceful world.