We seek to express the inexpressible, or rather, we seek to recast narrative, personhood, and trauma through crafts that narratives do not house, only suggest: Using Hemingway’s narratives, we wish to chart, map, and build the terrains of those subterranean worlds Hemingway’s lived experience, his fictionalized narratives, hide.
In the spirit of Maxine Hong Kingston’s appeal to former veterans - who had hid their traumatic experiences formerly in order to be truthful to their present experiences through narrative and poetic revisions to make peace – we too plea for a truth that only creation can bring. Unlike Kingston but akin to her The Fifth book of Peace, we seek to change Hemingway’s trauma narratives into open and beautiful cascades that are eventful, narrative, but primarily, architectural designs molded to embody our buried histories. We must remake this stories unlike Kingston’s approach, for trauma narratives hid from honesty, and therefore we cannot begin from the standpoint that these experience only must be retold through another narrative as Kingston directs. Furthermore, the truth is not fully known except through the eyes that no longer exist. Yet, we can take narrative as traces that can be challenged, redirected, and critically supported. We hope: By remaking trauma, to create selfless exposes that narratives only elude.
In the spirit of Maxine Hong Kingston’s appeal to former veterans - who had hid their traumatic experiences formerly in order to be truthful to their present experiences through narrative and poetic revisions to make peace – we too plea for a truth that only creation can bring. Unlike Kingston but akin to her The Fifth book of Peace, we seek to change Hemingway’s trauma narratives into open and beautiful cascades that are eventful, narrative, but primarily, architectural designs molded to embody our buried histories. We must remake this stories unlike Kingston’s approach, for trauma narratives hid from honesty, and therefore we cannot begin from the standpoint that these experience only must be retold through another narrative as Kingston directs. Furthermore, the truth is not fully known except through the eyes that no longer exist. Yet, we can take narrative as traces that can be challenged, redirected, and critically supported. We hope: By remaking trauma, to create selfless exposes that narratives only elude.
E.Mathis: Using Milton A. Cohen’s work on Hemingway’s textual honesty in crafting his first vignettes for his 1923 French publication of In Our Time, I will seek to capture how these short but graphic traces can be connected to longer but hidden features in other works through a sampling of Hemingway’s short stories, The Finca Vigia edition. Primarily, I will focus on the Nick Adams tales, additional war stories, and Hemingway’s obsession with Spain’s violent turnings in history. From unearthing trauma - as if these Vignettes were graphite spades - as a feature that connects both the vignettes and the short stories that share history, character, and war, I will then seek to make arguments on how these wounds align with other theories on trauma narrative.
J.Creel: There is a tendency in architectural design, to develop concept with the utilization of drawings. The two dimensional maps and diagrams are then conceptualized if not simply "extruded". What is the filter we use and why? Can we not start in the third dimension? is there a better measuring plane than the Cartesian graph (for our purposes)? By connecting his earliest works to trauma and by unearthing trauma, I will tie these declarations to treatments that designate scenes into extended and graphic traumas: I will mold these buried treatments of loss through aided designs that no longer hide but project pain. The end product will be UPHEAVAL of structure- the earth unearthed, projected planes that are machines of loving grace.
J.Creel: There is a tendency in architectural design, to develop concept with the utilization of drawings. The two dimensional maps and diagrams are then conceptualized if not simply "extruded". What is the filter we use and why? Can we not start in the third dimension? is there a better measuring plane than the Cartesian graph (for our purposes)? By connecting his earliest works to trauma and by unearthing trauma, I will tie these declarations to treatments that designate scenes into extended and graphic traumas: I will mold these buried treatments of loss through aided designs that no longer hide but project pain. The end product will be UPHEAVAL of structure- the earth unearthed, projected planes that are machines of loving grace.
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