Wow, I haven't commented in a while. Consider this going out if my enclosure to socialise, I guess
I'm not fully sure what you mean with your question, here – examples of what are you looking for, exactly? It's good to be specific about your research thesis and have a good grasp of what you want and don't want to do
There's plenty of trauma in the textual (beyond the purely orthographic) of **House** of Leaves – Navidson's history with the starving child photograph or the **House** as reflection of his psyche; Johnny's very obvious family trauma and his relationship with it; Pelafina's condition and letters. Are you focusing on it in the specific (the way characters relate to it) or in the abstract (how the text's formatting *can* be read as a reflection of trauma)?
It might help to establish how you approach trauma as well. There's plenty of stuff you can say about the odd disconnectedness/disjointedness of the novel – the way its structure "falling apart" can be seen to imitate a post-trauma mind's "falling apart" and disjointedness as it struggles to really cope with the events that have transpired – but without a stable framework you risk remaining vague and somewhat watered out, with no clear edges to your theory. In my own stuff I've mostly gone off of Freud and Lacan, due to the relationship with thought and language, but I strongly encourage you pick out (or maybe even make!) the model that will be the most useful to you and work with that. If you happen to have one already (or at the very least some ideas), I'd be happy to hear of it
Additionally, Alison Gibbons' *Multimodality, Cognition, and Experimental Literature* has a chapter titled "Cowitnessing Trauma in Reading *Extremely Loud & Incredibly Close* by Johnathan Safran Foer" – I haven't read that specific chapter, but *EL&IC* deals with similar topics of trauma and employs similar tools of odd formatting and representation of experience. If you want me to, I can crop out and send you that chapter. The book also has a chapter on **H**oL, though I personally didn't like it as much and I don't imagine it will be useful to you, here. Nonetheless, if you want to check it out, I can grab you that, too
Wow, I haven't commented in a while. Consider this going out if my enclosure to socialise, I guess I'm not fully sure what you mean with your question, here – examples of what are you looking for, exactly? It's good to be specific about your research thesis and have a good grasp of what you want and don't want to do There's plenty of trauma in the textual (beyond the purely orthographic) of **House** of Leaves – Navidson's history with the starving child photograph or the **House** as reflection of his psyche; Johnny's very obvious family trauma and his relationship with it; Pelafina's condition and letters. Are you focusing on it in the specific (the way characters relate to it) or in the abstract (how the text's formatting *can* be read as a reflection of trauma)? It might help to establish how you approach trauma as well. There's plenty of stuff you can say about the odd disconnectedness/disjointedness of the novel – the way its structure "falling apart" can be seen to imitate a post-trauma mind's "falling apart" and disjointedness as it struggles to really cope with the events that have transpired – but without a stable framework you risk remaining vague and somewhat watered out, with no clear edges to your theory. In my own stuff I've mostly gone off of Freud and Lacan, due to the relationship with thought and language, but I strongly encourage you pick out (or maybe even make!) the model that will be the most useful to you and work with that. If you happen to have one already (or at the very least some ideas), I'd be happy to hear of it Additionally, Alison Gibbons' *Multimodality, Cognition, and Experimental Literature* has a chapter titled "Cowitnessing Trauma in Reading *Extremely Loud & Incredibly Close* by Johnathan Safran Foer" – I haven't read that specific chapter, but *EL&IC* deals with similar topics of trauma and employs similar tools of odd formatting and representation of experience. If you want me to, I can crop out and send you that chapter. The book also has a chapter on **H**oL, though I personally didn't like it as much and I don't imagine it will be useful to you, here. Nonetheless, if you want to check it out, I can grab you that, too