Motherhood and Martyrdom: Rewriting Gendered Trauma in Heather Raffo’s Fallujah through a Gynocritical Lens
DOI:
https://doi.org/10.25130/Lang.9.3.P2.22Keywords:
Heather Raffo, Fallujah, gynocriticism, motherhood, martyrdom, gendered traumaAbstract
This paper explores Heather Raffo’s Fallujah as a performative intervention that rewrites gendered trauma by reconfiguring the entwined tropes of motherhood and martyrdom within the context of post-war Iraq. Anchored in gynocriticism, Elaine Showalter’s feminist literary framework that centers women’s writing, experience, and expression, this study argues that Fallujah resists patriarchal and orientalist portrayals of Arab women as passive victims by foregrounding their emotional, maternal, and political agency amid devastation. The research aims to investigate how Raffo crafts female subjectivities that defy hegemonic discourses of martyrdom often shaped by male-dominated cultural, religious, and political narratives. Key questions driving the analysis include: How does Raffo represent maternal grief as a site of resistance? In what ways does Fallujah subvert traditional symbols of sacrifice and honor through its female characters? And how does the dramatization of trauma challenge silencing mechanisms in Arab and Western discourse alike? Methodologically, the study undertakes a close textual analysis of Raffo’s Fallujah, examining narrative structure, monologues, imagery, and character development through a gynocritical and trauma studies lens, particularly drawing on the works of Judith Herman and Cathy Caruth on trauma, and Showalter on women’s literary voice. Findings suggest that Fallujah portrays motherhood not as a reductive role but as a politically charged identity that reclaims the right to mourn, to remember, and to critique. The play’s maternal figures articulate loss and trauma in ways that both disrupt nationalist martyrdom and challenge the militarized masculinities that sustain war narratives. By writing back to patriarchal taboos, Raffo carves a space for a gendered witnessing of war, positioning women not as peripheral casualties but as central agents of cultural memory and resistance.
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