This Special Issue aims to explore the complex and contested relationship between trauma studies and postcolonial criticism, focusing on the ongoing project to create a decolonized trauma theory that attends to and accounts for the suffering of minority groups and non-Western cultures, broadly defined as cultures beyond Western Europe and North America. The issue builds on the insights of, inter alia, Stef Craps's book, Postcolonial Witnessing [1], and responds to his challenge to interrogate and move beyond a Eurocentric trauma paradigm. Authors were invited to submit papers on the theorization and representation of any aspect of postcolonial, non-Western and/or minority cultural trauma with a focus predominately, but not exclusively, on literature. The field of trauma studies emerged in the early 1990s as an attempt to construct an ethical response to forms of human suffering and their cultural and artistic representation. Born out of the confluence between deconstructive and psychoanalytic criticism and the study of Holocaust literature, from its outset trauma theory's mission was to bear witness to traumatic histories in such a way as to attend to the suffering of the other. Indeed, in a famous formulation, Caruth went so far as to suggest that 'trauma itself may provide the very link between cultures' ([2], p. 11). Yet, while trauma theory has undoubtedly yielded numerous insights into the relationship between psychic suffering and cultural representation, postcolonial critics have been arguing for some time that trauma theory has not fulfilled its promise of cross-cultural ethical engagement. Rather than forging relationships of empathy and solidarity with non-Western others, a narrowly Western canon of trauma literature has in effect emerged, one which privileges the suffering of white Europeans, and neglects the specificity of non-Western and minority cultural traumas. In 2003, for example, Jill Bennett and Roseanne Kennedy called for a transformation of trauma studies from a Eurocentric discipline to one capable of engaging with 'the multicultural and diasporic nature of contemporary culture' ([3], p. 5), and in 2008 a number of influential critiques by Gert Beulens and Stef Craps [4], Michael Rothberg [5], and Roger Luckhurst [6] added to the voices calling for a radical rerouting of the field.