MAPPING THE LANDSCAPE OF MEMORY: TRAUMA AND SURVIVAL IN KEVIN POWERS' THE YELLOW BIRDS

ICSSR Sponsored One Day National Seminar on Literature, War and Memory: Narratives of Trauma and Healing in 20th and 21st Century English Literature 164 MAPPING THE LANDSCAPE OF MEMORY: TRAUMA AND SURVIVAL IN KEVIN POWERS’ THE YELLOW BIRDS Dr. S. Femina Assistant Professor & Head, Department of English, Sri Kaliswari College, Sivakasi Affiliated to Madurai Kamaraj University, Madurai femina.samso[email protected] https://doi.org/10.5281/zenodo.17283474 Abstract Kevin Powers’ The Yellow Birds offers a poignant and introspective account of the psychological toll of war, grounded in the author’s own experiences as a machine gunner in the Iraq War. This paper examines the novel as a deeply layered exploration of trauma, memory, and survival, focusing on the inner lives of its central characters, Private John Bartle and Private Daniel Murphy. Employing the lens of trauma theory and survival psychology, the study analyzes how the novel captures the disintegration of the self when confronted with sustained violence and moral injury. By tracing the narrative across the three phases of survival psychology—pre-impact, impact, and post-impact—it reveals how each character represents the unpredictable and psychologically destabilizing terrain of war. While Murphy succumbs to the mental pressures of combat, Bartle survives physically but remains psychologically fragmented, haunted by guilt and suppressed memory. Powers’ use of fragmented chronology and poetic language mirrors the fractured consciousness of trauma survivors, emphasizing that survival extends beyond the battlefield and into the unhealed psyche. The novel resists traditional war heroism, instead it maps a narrative of vulnerability, silence, and emotional aftermath that redefines the boundaries of contemporary war literature. Keywords: War, Trauma, Survival, Psychology, Suppression, Memory, Iraq War, The Yellow Birds Introduction Kevin Powers’ The Yellow Birds offers a poignant psychological impact of war, particularly through the experiences of Private John Bartle and Private Daniel Murphy. Powers, a veteran of the Iraq War, draws on his personal experiences as a machine gunner to explore the inner worlds of soldiers grappling with the devastating consequences of combat. The novel portrays the traumatic experiences, bitter war memories, and the survival psychology that challenges the romanticized view of soldiers as heroes. The novel on the other hand, exposes the complex emotional and psychological effects of war. By employing trauma theory and survival psychology, this paper presents how Powers illustrates the disintegration of the self under the weight of moral injury, guilt, and PTSD. Powers emphasizes that survival extends beyond the battlefield into the unhealed psyche. Trauma Studies began to gain attention in the 1990s with works by Shoshana Felman, Dori Laub, Cathy Caruth, and others. In her work, Cathy Caruth defines trauma as an injury to the mind, emphasizing its profound and lingering effects on individuals. She argues, “Trauma is an injury inflicted on the mind” and suggests that it is not a simple, healable event like a physical wound. Instead, it remains “very unassimilated in nature, returns to haunt the survivor later on” (Caruth 18). This enduring presence of trauma creates a paradox between life and death, where trauma oscillates between “a crisis of death” and “the crisis of life” — a constant tension between the overwhelming nature of the traumatic event itself and the ongoing experience of having survived it (Caruth 18). According to Caruth, trauma does not merely mark the initial encounter with a catastrophic event but is defined by its aftermath: “an overwhelming experience of sudden or catastrophic events in which the response to the event occurs in the often delayed, uncontrolled repetitive appearance of hallucinations and other intrusive phenomena” (Caruth 18). In her view, trauma symbolises a paradox in representation, where “the impossibility of representation and the possibility of accessing a non-symbolic, unmediated authenticity” ICSSR Sponsored One Day National Seminar on Literature, War and Memory: Narratives of Trauma and Healing in 20th and 21st Century English Literature 165 converge, thereby offering a glimpse into the raw, unmediated truth of the subject (Caruth 18). War literature also grapples with the problem of representation, as trauma resists being fully expressed or captured. As LaCapra points out, “The trauma is not simply the shock of war; it is the shock of the unknowable, a profound disorientation in which the survivor is unable to return to a normal state of knowing and experiencing” (LaCapra 20). The Yellow Birds is novel by Kevin Powers follows Pvt. John Bartle and his younger friend, Pvt. Daniel Murphy, who are deployed to Iraq during the U.S. invasion. As they fight in Al Tafar, Bartle struggles with his promise to Murphy’s mother to keep her son alive. However, the horrors of war affect the soldiers. Murphy under psychological pressures, questions the evils of war. Bartle grapples with his own internal battle, attempting to reconcile morality with survival amid violence. The war takes them from their innocence and Murphy begins to go crazy, eventually alienating himself from Bartle and shutting his mind off. Though Bartle returns from the battle, he is haunted by the memories of war. He gets the hero’s welcome, but he is alienated and separated from the world of civilians. Memories of violence and death in Iraq haunt him. Powers’ novel poignantly explores the psychological and emotional toll of war, illustrating how veterans carry the trauma long after the battle ends. The story highlights the alienation and moral struggles faced by soldiers returning home, showing the lasting effects of war on the human psyche. In The Yellow Birds, Kevin Powers delves deeply into the psychological scars of war, shedding light on the shared suffering of both American soldiers and Iraqis during the 2003 Iraq War. The novel paints American soldiers as innocent victims, caught in the relentless machinery of war, stripped of their agency, and pushed into brutal circumstances. Powers vividly captures this by comparing the war to a monstrous force, noting, "War chases them in Iraq like a mythical monster that tries to devour its preys" (Powers, 3-4). This metaphor reflects how soldiers, despite their role in the violence, are themselves preyed upon by a system that exploits their youth, vulnerability, and naivety. The novel also sheds light on the victimhood of Iraqis, though their suffering is portrayed with less depth than that of the American soldiers. Iraqi civilians, caught in the crossfire, often bear the brunt of the soldiers' inability to distinguish between combatants and non-combatants. Powers starkly exposes the horrors of civilian casualties, particularly through moments of tragic misidentification by American soldiers. One such scene describes the death of an elderly woman, shot by soldiers: "Her old blood mixed with the ash and dust" (Powers, 22). This haunting image highlights the randomness and tragedy of war, where innocent lives are lost simply because soldiers cannot recognize who poses a threat. While the novel primarily focuses on the emotional and psychological toll on American soldiers, it also portrays Iraqis as victims caught in the destructive grip of war. Their stories, often muted or overlooked, underscore the far-reaching devastation caused by the conflict. The shared trauma between soldiers and civilians serves as a powerful reminder of the dehumanizing nature of war. Both groups are trapped in a relentless cycle of violence, suffering the consequences of a conflict far beyond their control. The psychological effects of war are central to Powers’ exploration of his characters’ experiences, particularly through the lens of post-traumatic stress disorder (PTSD). PTSD is a mental health condition that often arises in individuals exposed to life-threatening trauma, and its symptoms are vividly depicted in Bartle’s struggles throughout The Yellow Birds. According to Satriawan and Rahayu, PTSD symptoms typically include intrusive memories, emotional numbing, and hyper arousal, which manifest as flashbacks, nightmares, and heightened anxiety (Satriawan & Rahayu 5). Bartle’s mental state reflects these symptoms as he continuously ICSSR Sponsored One Day National Seminar on Literature, War and Memory: Narratives of Trauma and Healing in 20th and 21st Century English Literature 166 replays the traumatic events of the battlefield in his mind, struggling to cope with the death of Murph, his closest friend. Powers writes: “My fingers closed around a rifle that was not there. I told them the rifle was not supposed to be there, but my fingers would not listen, and they kept closing around the space where my rifle was supposed to be” (Powers 54). This illustrates the visceral, involuntary nature of trauma, where Bartle’s body responds to an imagined weapon, a clear indication of the long-lasting effects of war on his psyche. Such involuntary physical responses are a hallmark of PTSD, and they signify the ongoing battle trauma survivors face in their daily lives, even when removed from the war zone. Cathy Caruth’s work on trauma theory in Unclaimed Experience: Trauma, Narrative, and History emphasizes that trauma disrupts the survivor’s ability to create a coherent narrative of the self (Caruth 5). In The Yellow Birds, this disruption is mirrored in the novel’s non-linear structure, which shatters Bartle’s attempt to make sense of his experiences. The fragmented narrative reflects the chaotic, disordered way in which trauma survivors recall events, stressing the cognitive dissonance they experience as they try to piece together their memories. This disruption of memory is illustrated by Bartle's sense of confusion as he recalls Murph’s death: “I realized he had been still for a while and he was dead” (Powers 119). This sudden realization, with no clear context, reflects the fragmentation of Bartle’s memory. His struggle to process Murph’s death and the violence surrounding him reveals how traumatic events overwhelm the mind’s capacity to integrate experiences into a coherent story. In The Yellow Birds, Kevin Powers explores the theme of post-heroism in war, focusing on the disillusionment and internal struggles soldiers face as they navigate the harsh realities of combat. Unlike traditional portrayals of heroism, where soldiers are celebrated for their bravery and sacrifice, Powers' novel critiques this narrative. As discussed in the article, "the narrative’s battlefield imagery, emotive repercussions of those involved and motives of war are examined by referring to the soldiers’ post-heroism" (Alosman 190). This post-heroic portrayal reflects the soldiers’ internal conflict, as they question the value of their sacrifices in a war that seems increasingly meaningless. The novel's use of vivid imagery, such as the soldiers being "at the mercy of war" (Powers 2013, 3), highlights how war is no longer a place of glory but a machine of destruction. Powers also addresses the psychological toll of war, particularly through the character of Private John Bartle, who is haunted by guilt and trauma. The novel portrays death as a constant presence in the soldiers’ lives, normalizing it to the point where "nothing seemed more natural than someone getting killed" (Powers 2013, 11). This theme of survival at all costs emphasizes the shift away from the glorification of battle, as soldiers become more focused on avoiding death than on achieving any noble cause. As Powers’ narrator, Bartle, reflects, "the war would have its way" (Powers 2013, 4), suggesting the futility of resistance in a system that thrives on ongoing violence. The novel’s fragmented narrative structure aligns with Caruth's argument that trauma disrupts both memory and narrative coherence (Caruth 6). As trauma survivors often experience time as fractured and disjointed, Powers uses this structure to mirror the disorienting effect of trauma. Bartle's memories emerge in unpredictable, out-of-order flashes, highlighting his struggle to find a coherent way to understand his experiences. This fragmented form, which interrupts the flow of traditional storytelling, enables readers to experience the alienation and dislocation felt by the character. Powers effectively captures this sense of disconnection when he writes: “I want to sleep and never wake up; there is a fine line between not wanting to wake up and actually wanting to kill yourself” (Powers 135). ICSSR Sponsored One Day National Seminar on Literature, War and Memory: Narratives of Trauma and Healing in 20th and 21st Century English Literature 167 Bartle’s desire to escape, coupled with his inability to integrate the past and present, underscores the unrelenting grip of trauma on his mind. His internal conflict—between wanting to forget and being unable to do so—exemplifies how trauma survivors often find themselves caught between their past experiences and their present selves. In survival psychology, trauma is often conceptualized in three phases: pre-impact, impact, and post-impact (Satriawan & Rahayu 7). In The Yellow Birds, Bartle’s journey reflects these stages, beginning with his idealistic expectations in the pre-impact phase and transitioning into the moral and emotional devastation of the impact phase, followed by the struggle to survive emotionally and psychologically in the post-impact phase. The pre-impact phase is characterized by a sense of invincibility and idealism. Like many soldiers, Bartle enters the war with the naive belief that survival and heroism are within his grasp. Powers sets the stage for this idealism when he writes: “We were not destined to survive” (Powers 3). This early line foreshadows the shattering of Bartle’s hopes and expectations, as he soon realizes that survival in war is not as simple as returning home physically intact. As Satriawan and Rahayu discuss, soldiers often enter combat with an incomplete understanding of the psychological toll it will take (Satriawan & Rahayu 6). Bartle’s initial optimism about the war quickly fades, marking the beginning of the disintegration of his sense of self. The impact phase of survival psychology is marked by the soldier’s exposure to the brutal realities of war. In The Yellow Birds, this phase is catalyzed by Murph’s death, which disrupts Bartle’s mental and emotional stability. Powers illustrates the magnitude of Bartle’s trauma when he writes: “Murph was a good kid, but good kids die in wars” (Powers 101). Murph’s death becomes the pivotal moment that fractures Bartle’s identity, as he is forced to confront the brutal randomness of violence and the helplessness that accompanies it. The psychological impact of this moment is devastating, as Bartle’s beliefs about war and heroism are completely upended. The post-impact phase, when Bartle returns home, reveals the depth of his emotional and psychological scars. Though physically safe, he remains trapped in the past, haunted by memories of Murph and his role in the violence. As Satriawan and Rahayu argue, survivors often struggle to reintegrate into civilian life, as they cannot simply erase the trauma they have experienced (Satriawan & Rahayu 8). Bartle’s emotional numbness is encapsulated in his painful realization that he is forever altered by his experiences: “I feel like I’m being eaten from the inside out and I can’t tell anyone what’s going on” (Powers 144). This captures Bartle’s sense of isolation and alienation, as he is unable to communicate the depth of his suffering to those around him. His inability to reconcile his past with his present highlights the emotional toll of trauma, making his survival a hollow, painful experience. Moral injury, a concept introduced by Jonathan Shay (1994), refers to the deep psychological harm that occurs when soldiers violate their own moral code in the context of war. Bartle’s sense of moral injury is profound, as he carries the weight of Murph’s death and his failure to keep his promise to Murph’s mother. Powers poignantly captures this sense of guilt when Bartle reflects: “I can’t stop thinking about it...the promise I made” (Powers 200). This unfulfilled promise becomes a symbol of Bartle’s internalized moral injury, as he struggles to forgive himself for his perceived failure. The depth of his guilt is compounded by the fact that survival in war often involves actions that contradict one’s moral code, leading to a crisis of identity and self-worth. Powers’ portrayal of soldiers as victims challenges the traditional narrative of the war hero. Rather than glorifying their actions, Powers presents soldiers as young men caught in the brutal machinery of war, stripped of agency and forced to commit acts of violence in the name of survival. As M. Ikbal M. Alosman and Lamis Ismail Omar argue, the soldiers in The Yellow Birds are depicted not as heroes, but as victims of a system beyond their control (Alosman & Omar 11). Bartle’s sense of innocence is emphasized by his youthful naivety and the violence he is ICSSR Sponsored One Day National Seminar on Literature, War and Memory: Narratives of Trauma and Healing in 20th and 21st Century English Literature 168 subjected to. Powers writes: “We were not destined to survive” (Powers 3). This line encapsulates the futility of war, where survival is not a matter of heroism, but of chance. The soldiers, including Bartle, are victims of the war, their actions shaped by circumstances beyond their control. Conclusion In The Yellow Birds, Kevin Powers offers a searing critique of the traditional war hero narrative by focusing on the psychological and emotional costs of combat. Through the lens of trauma theory and survival psychology, Powers presents a nuanced portrait of soldiers not as heroes, but as victims of war’s inescapable emotional and psychological toll. The novel’s fragmented narrative and poetic language effectively convey the disorienting effects of trauma, while its exploration of PTSD, moral injury, and survivor's guilt underscores the profound and lasting impact of war. By reimagining the portrayal of soldiers in contemporary war literature, The Yellow Birds challenges readers to reconsider the meaning of survival, heroism, and victimhood in the context of modern warfare. References Alosman, M. I. M., & Raihanah, M. M. "Survival Psychology in Kevin Powers’ The Yellow Birds." GEMA Online Journal of Language Studies, vol. 20, no. 1, 2020, pp. 139-150. Alosman, M. Ikbal, and Raihanah M. M. "Post-Heroic Portrayal of War in Kevin Powers' The Yellow Birds." Jordan Journal of Modern Languages and Literatures, vol. 14, no. 1, 2022, pp. 189-202. Alosman, M. I. M., & Raihanah, M. M. "Homines Sacri in Contemporary War Novels: A Comparative Insider–Outsider Perspective." Global Journal of Arts and Literature, vol. 12, no. 1, 2022, pp. 14-26. Caruth, Cathy. Unclaimed Experience: Trauma, Narrative, and History. Johns Hopkins University Press, 1996. Caruth, Cathy. "After the End: Psychoanalysis in the Ashes of History." Trauma in Contemporary Literature: Narrative and Representation, edited by Marita Nadal and Mónica Calvo, Routledge, 2014, pp. 17-30. Derrida, Jacques. Archive Fever: A Freudian Impression. Translated by Eric Prenowitz, University of Chicago Press, 1998. Quoted in Caruth, Cathy. "After the End: Psychoanalysis in the Ashes of History." Trauma in Contemporary Literature: Narrative and Representation, edited by Marita Nadal and Mónica Calvo, Routledge, 2014, p. 12. Freud, Sigmund. Beyond the Pleasure Principle. Translated by James Strachey, Penguin, 1984. Quoted in Caruth, Cathy. "After the End: Psychoanalysis in the Ashes of History." Trauma in Contemporary Literature: Narrative and Representation, edited by Marita Nadal and Mónica Calvo, Routledge, 2014, p. 17. Jacoby, T. A. "A Theory of Victimhood: Politics, Conflict and the Construction of Victim-Based Identity." Millennium, vol. 43, no. 2, 2015, pp. 511-530. LaCapra, Dominick. Writing History, Writing Trauma. Johns Hopkins University Press, 2001. Quoted in Caruth, Cathy. "After the End: Psychoanalysis in the Ashes of History." Trauma in Contemporary Literature: Narrative and Representation, edited by Marita Nadal and Mónica Calvo, Routledge, 2014, p. 20. Musiał, Andrzej. Victimhood in American Narratives of the War in Vietnam. Routledge, 2020. Powers, Kevin. The Yellow Birds. Little, Brown and Company, 2012. Rothberg, Michael. Multidirectional Memory: Remembering the Holocaust in the Age of Decolonization. Stanford University Press, 2009. Quoted in Caruth, Cathy. "After the End: ICSSR Sponsored One Day National Seminar on Literature, War and Memory: Narratives of Trauma and Healing in 20th and 21st Century English Literature 169 Psychoanalysis in the Ashes of History." Trauma in Contemporary Literature: Narrative and Representation, edited by Marita Nadal and Mónica Calvo, Routledge, 2014, p. 20. Sagar, S., & Shehadah, M. "Post-Traumatic Stress Disorder in The Yellow Birds: A Case-Study in the Light of Psychoanalytical Theories." Psychology and Education, vol. 57, no. 9, 2020, pp. 6662-6673. Satriawan, Faizal Yusuf, and Mundi Rahayu. "A Soldier’s Post-Traumatic Stress Disorder in Kevin Powers’ The Yellow Birds." Journal of Language Studies, 2021. Shay, Jonathan. Achilles in Vietnam: Combat Trauma and the Undoing of Character. Scribner, 1994.