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The 2013 flash floods reproduced an everyday that was textural, the returning past of the event combined with gestures from within the everyday, to disorient survivors of the event. I attempt in this essay to analyze the return of the event as producing psycho-spatial affects, drawn from the psyche’s own propensity to return while repressing the event that causes the return, described within psycho-analytic literature as “afterwardsness.” Such afterwardsness is conditioned by the sheer incomprehensibility of environmental change that took place in just three days in the Mandakini Valley between June 15 and June 17, 2013. Following the flood, delays with the recovery process, and particularly with the process of compensation, exacerbate this trauma, leading to an extension of the temporality of trauma infinitely forward.

The broad aim of this introduction to a Special Issue on “Susceptibilities: Toward a Cultural Politics of Consent under Erasure” is to broach key questions and research directions that illuminate contemporary public debates about the conditions and limits of conscious intention (and consent as a byproduct thereof), which is typically treated as a “property” that can be “underdeveloped”, “given”, or “taken away”. In keeping with Jacques Derrida’s repudiation of the metaphysics of presence, the perspective animating this essay is that the psychoanalytic standpoint of the unconscious deconstructs the epistemological privilege of determinacy, consistency, and wholeness in treatments of intentional consciousness. Given Jean Laplanche’s attention to the residues of coherent ego fetishism in Sigmund Freud’s oeuvre, the former’s critique of self-sovereignty as evinced in his theorization of the “enigmatic signifier”, “primal repression”, and “afterwardsness” assumes a pivotal role in the analysis of how writers as represented here by Sarah Polley in Run Towards the Danger narrate the vicissitudes of their traumatic memories of sexual assault. Ultimately, then, the implications of this analysis will carry over to brief discussions of this Special Issue’s seven contributions by Melissa Wright, Karen McFadyen, J. Asher Godley, Madeleine Reddon, Gautam Basu Thakur, Robert Hughes, and Rebecca Saunders.

This book argues that Freud's mapping of trauma as a scene is central to both his clinical interpretation of his patients' symptoms and his construction of successive theoretical models and concepts to explain the power of such scenes in his patients' lives. This attention to the scenic form of trauma and its power in determining symptoms leads to Freud's break from the neurological model of trauma he inherited from Charcot. It also helps to explain the affinity that Freud and many since him have felt between psychoanalysis and literature (and artistic production more generally), and the privileged role of literature at certain turning points in the development of his thought. It is Freud's scenography of trauma and fantasy that speaks to the student of literature and painting. Overall, the book develops the thesis of Jean Laplanche that in Freud's shift from a traumatic to a developmental model, along with the undoubted gains embodied in the theory of infantile sexuality, there were crucial losses: specifically, the recognition of the role of the adult other and the traumatic encounter with adult sexuality that is entailed in the ordinary nurture and formation of the infantile subject.