Why We’re All Writing About Trauma
In an era of public revelation, reflections on the ubiquitous trauma arc
“In a world infatuated with victimhood, has trauma emerged as a passport to status — a red badge of courage?” asks Parul Sehgal in a recent New Yorker essay. Sehgal provides a brief history of trauma diagnoses from what was once called “railway spine,” to shell-shock, to P.T.S.D. (The last, Sehgal notes, is today the fourth most-commonly diagnosed psychiatric disorder in America.) Sehgal is skeptical: P.T.S.D.’s boundaries have become so amorphous that, she writes, 636,120 possible symptom combinations can be attributed to the condition. While it’s possible modern life is simply more traumatic, the likelier possibility Sehgal ventures, is that we’re more inclined to spot trauma, “more prone to perceive everything as injury.”
You’ll be forgiven if you bristle, irked that the crush of lasting trauma might be compared to so much snow-flakery. But Sehgal’s larger concern is that our prevailing fixation on trauma stories — from overly revealing blog posts, to the underpinning of novels, to the too-neat explainer for Ted Lasso’s outward cheery countenance — could be ruining narrative.
While trauma stories can indeed be done badly, I’m not convinced it’s the case trauma awareness is somehow injuring human storytelling. Stories that include trauma can be poorly crafted…
