'NO WORDS, JUST LINES': SILENCE, FRAGMENTATION AND THE REFUSAL OF TESTIMONY IN LITTLE SCRATCH

This paper examines Rebecca Watson’s Little Scratch for narrative silence produced by a fractured temporality that leads to cognitive interruption. The novel details a single day in the life of the unnamed protagonist whose traumatic experiences and encounters are given to the reader obliquely, with a structure that divides the page into columns, completely renouncing traditional stylistic features of a linear narrative to account for the aborted thoughts and discontinuities. Through the novel’s choice of a style that renders the text as words spread across the page haphazardly, linked only tentatively through the narrative voice, such incoherence is foregrounded. Therefore, the voice does not fail to enunciate; it is rather the overstimulation which leads to exhaustion and fragmentation that becomes the operator of silence within the narrative. The paper draws on postclassical narratology and feminist theories of trauma in order to appreciate how the novel’s reconfiguration of silence acts as a structural principle of consciousness. When the novel’s typographical layout is read against its refusal to surrender to the demands of retrospective clarity by indulging in abrupt shifts in duration, the “micro-silences” produced can be seen as stalling memory as sensation overrides articulation, resulting in the collapse of narrative into staccato presence. The novel denies any eventual disclosure and the silences accentuate the ethical limits of testimony within everyday life. By positioning the novel within the discourse of culturally-mediated accelerated labour and attention, the paper highlights silence as a response to constant endeavour (and failure) of meaningmaking in a world whose persistent demand for legibility leaves no space for the individual to respond in a meaningful form of narrative agency. Little Scratch emerges as a literary response that studies trauma without catharsis or a climactic appeal to deus ex machina for narrative repair. In this way, the dominant expectations of confession and resilience are made subservient to instability of experience and incoherence of the evocation of its memory, contributing to the debate on the poetics of absence and the ethics of the unsaid. Silence, therefore, is read not a form of lack in need of fulfilment but a condition that must be read on its own terms.