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During the late 1970s and 1980s speaking out about the traumatic reality of incest and rape was a rare and politically groundbreaking act. Today it is a ubiquitous feature of popular culture and its political value uncertain. In Violence and the Cultural Politics of Trauma, Jane Kilby explores the complexity and consequences of this shift in giving first-hand testimony by focusing on debates over recovered memory therapy and false memory syndrome, the spectacle of talkshow disclosures, discourses of innocence and complicity as well as the aesthetics and affect of shock. In counterpoint to the frequently cynical readings of personal narrative politics, Kilby advances an alternative reading built around the concept of unrepresentability. Key to this intervention is the stress placed by Kilby on the limits of representing sexually traumatic experiences and how this requires both theoretical and methodological innovation. Based on close readings of survivor narratives and artworks, this book demonstrates the significance of unrepresentability for a feminist understanding of sexual violence and victimisation. The book will of interest to those working in the areas of Cultural, Literary, Media and Women's Studies as well as Memory and Trauma Studies.Key FeaturesProvides a topical discussion of the debates generated by a mass culture of speaking out about violence and victimisationOffers an interdisciplinary case-study analysis of survivor testimonyApplies cutting-edge developments in trauma and testimony theory to a feminist analysis of women's incest testimonyMakes accessible the significance of unrepresentability for a cultural politics of trauma

In the late 1990s, Alice Sebold is writing what will become her phenomenally successful novel The Lovely Bones (2002), but she finds herself having to abandon it in order to write her critically acclaimed rape memoir Lucky (1999). She did not want, she says years later, Susie Salmon (the novel's dead narrator) doing "work for her", but wanted Susie free "to tell her own story". Lucky would be the "real deal" about rape, while The Lovely Bones would be a fantasy. And yet, the memoir and novel are similar in many respects; and nearly identical to begin with. The Lovely Bones opens with the rape, murder and mutilation of a young girl – Susie – while Lucky opens with reference to the girl who was raped, murdered and mutilated in the tunnel Sebold was also raped in. This girl, Sebold maintains, always haunts her. Thus, I will argue, it is not possible to read her novel, which some critics have dismissed as "timid and sentimental", without reading her gritty autobiography; and vice versa it is not possible to read Sebold's rape memoir without reading her novel, which in a complex way bears witness to that unnamed girl, if not for all dead, unnamed girls. The question is, then, how does the intertextuality of Sebold's novel and memoir, and, more broadly, the interrelationship of truth and fantasy, impact on our reading of Sebold's work, especially her memoir? Keywords Rape, fact, fiction, truth, lie, reading, writing, creative witnessing, wishful thinking, utopia

This article questions the value of photographs of violence and suffering. Taking Nancy Scheper-Hughes and Philippe Bourgois' anthology Violence in War and Peace (2004) as a point of departure and return, it will explore the significance of the inclusion of images of explicit violence when they readily acknowledge they risk both indifference and voyeuristic interest. Key to my analysis is the centrality of the body to the images. Scheper-Hughes and Bourgois are wary of reducing questions of violence to bodily suffering, but the admission of so many images of physical violation undercuts their critique of the primacy of the physical in our accounts of violence. The use of the body as a brute signifier of violence is deeply problematic, not least because it is tied to questions of race. Ultimately, it is argued, they attempt, unconsciously, to fix the nature of violence – which they deem slippery because it is irrefutably social – in the (visualized) body.

In contrast to Judith Herman, who understands incest exclusively in terms of power, Judith Butler insists on the importance of the child's love for our understanding of incest. Butler's thinking in this respect is suggestive but underdeveloped, while also holding considerable implications for how we might understand the role of violence in social life. This article develops and assesses her thinking on the child's love and its relation to the question of violence and trauma more generally. At issue is the question of how we are to understand violence. Is it always motivated? Is it always destructive? And finally are there limits to what can be understood?