Time thus loses its linearity in the narrative of traumatized survivors. In Regeneration, the traumatized survivors are haunted with traumatic memory of past history furthermore, past history constantly disrupts their present and the victims are in continuous shift from present time to past time.

In addition, it argues how time moves for the traumatized victim and how the notion of latency in terms of Caruth's theory is traceable in Barker's novel. The study thus investigates the dissociative disorders which are experienced by traumatized survivors of World War I as the aftermath of traumatic experiences of wartime. The present paper also demonstrates how Barker's novel Regeneration acts as the narrative of trauma that vocalizes the silenced history of shell-shocked soldiers of World War I to represent British society, the history that has been concealed due to social and individual factors. This analysis attempts to trace the concepts of latency, post-traumatic stress disorders, traumatic memory, and trauma in Barker's novel in order to explore how trauma and history are interrelated in the narrative of past history and, particularly, in the history of World War I. The present paper seeks to critically read Pat Barker's Regeneration in terms of Cathy Caruth's psychoanalytic study of trauma. Key words: canon, WWI, male gaze, patriarchal discourse and practices, gender. In this article I would like to show that far from it Pat Barker’s Regeneration trilogy, whose third volume was awarded with the Booker Prize, uses the male gaze precisely to unveil and expose the war entrenched patriarchal discourse and practices. In this context, the war novels of contemporary female writers with male protagonists are negatively judged for miming the male gaze. Feminist research on the literary contribution of female writers to the representation of the conflict based on the plurality of experiences of many women that challenge that assumption have effectively worked to redress the balance.

This premise excluded women writers, whose participation in and experience of the war was obviously very different. The English literary canon of the Great War has been traditionally shaped by the poetry of the poets who fought the war on the basis of their having seen and experienced its full horror, which attested truthful representation.

The regeneration trilogy by pat barker