By Richard Gray
After the Fall provides a well timed and provocative exam of the impression and implications of 11th of September and the battle on terror on American tradition and literature.
- Presents the 1st distinct interrogation of U.S. writing in a time of problem
- Develops a well timed and provocative arguement approximately literature and trauma
- Relates U.S. writing for the reason that Sep 11 to the most important social and ancient alterations within the U.S. and somewhere else
- Places U.S. writing within the context of the reworked place of the U.S. in a global characterised by way of political, financial, and army trouble; transnational waft; the resurgence of spiritual fundamentalism; and the obvious triumph of world capitalism
Chapter 1 After the autumn (pages 1–19):
Chapter 2 Imagining catastrophe (pages 21–50):
Chapter three Imagining situation (pages 51–83):
Chapter four Imagining the Transnational (pages 85–143):
Chapter five Imagining the quandary in Drama and Poetry (pages 145–192):
Read or Download After the Fall: American Literature Since 9/11 PDF
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Extra resources for After the Fall: American Literature Since 9/11
Cataclysmic events, whatever their outcome, are as rare and transporting as a great love,” goes one of the epigraphs in Jay McInerney’s The Good Life, Bombings, revolutions, earthquakes, hurricanes, – anyone who has passed through one and lived, if they are honest, will tell you that even in the depths of their fear there was an exhilaration such as had been missing from their lives until then. That strange, almost unsayable confusion of fear and exhilaration, resistance to and immersion in the extreme is what McInerney then tries to capture in his story of two Manhattan couples teetering on the brink of change when 9/11 happens.
Imagining Disaster with white Americans moving, it seems, inexorably into a minority, it has lost any claim it may have tried to make once to a Eurocentric character and an exclusive destiny. One measure of the impact such a demographic transformation has had, and might continue to have, on the social and political culture of the United States is the election of Barack Obama as President in 2008. ”2 And a measure, in turn, of what impact such demographic change has had, and might have, specifically on the writing of America is registered in a question asked at the beginning University Press, 1990; Paul Gilroy, The Black Atlantic: Modernity and Double Consciousness Cambridge: Harvard University Press, 1993; Jurgen Habermas, The Philosophical Discourse of Modernity (1985) Oxford: Blackwell, 1987; Gayan Prakash (editor), After Colonialism: Imperial Histories and Postcolonial Displacements Princeton: Princeton University Press, 1995; Werner Sollors, Beyond Ethnicity: Consent and Descent in American Culture New York: Oxford University Press, 1986; Ronald A.
Not all of it, however, manages to take the fictional measure of the new world view. Another way of putting this is to borrow an observation from Georg Lukacs, that the trouble with immediacy is precisely that it lacks mediation (Meaning of Contemporary Realism, 19–22). What we are left with is symptom: in this case, the registering that something traumatic – perhaps too dreadful for words, unsusceptible as yet to understanding – has happened. Falling Man is beautifully structured, playing with images announced by the title that are no less resonant for being obvious.
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