This essay draws on recent revisionist notion of trauma to explore the potential and the dilemma of postcolonial narratives, focusing on Caryl Phillips`s The Final Passage. Thenovel`s narrative is traumatic as it is beset with what we may term counter-narrativity due to the pervasive use of flashback, delayed, often incomplete, decoding, and fragmentation. Phillips refuses to follow the familiar trajectory of presenting a traumatized protagonist and thereafter redeeming herby giving her a voice. Rather, he illumines her convoluted memory without compromising the subtlet ruths of her desire and alienation. My reading is directed toward synchronic and diachronic dimensions of thenovel`s traumatic narrative. First, I delve into the protagonist`s triangular relationship with her husband and his mistress. The crux of matter in this regard is her masochistic act of aligning herself with the white master within the symbolic matrixo frace. Secondly, I suggest that diachronic dimensions are detectable in the generational trauma resulting from her mother`s prehistories. The muted but barely revealed experiences of sexual violence and exploitation turn out to be intertwined with slavery`s far-reaching impact on Afro-Caribbean people. Despite the unique embodiment of the painful workings of Black diaspora, The Final Passage, however, indicates a fundamental dilemma of postcolonial literature. To signify or to make the symptoms of subaltern subjectivity speak, it cannot but presuppose the role of a critic as an analyst.