By Richard Gray
'After the Fall' provides a well timed and provocative exam of the impression and implications of Sep 11 and the struggle on terror on American tradition and literature.
• offers the 1st distinct interrogation of U.S. writing in a time of situation
• Develops a well timed and provocative arguement approximately literature and trauma
• Relates U.S. writing due to the fact 9-11 to an important social and historic alterations within the U.S. and somewhere else
• areas U.S. writing within the context of the remodeled place of the U.S. in an international characterised by way of political, financial, and armed forces difficulty; transnational waft; the resurgence of non secular fundamentalism; and the plain triumph of worldwide capitalism
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Additional info for After the Fall: American Literature Since 9/11
Indd 28 1/13/2011 7:13:50 PM Imagining Disaster Messud, a character looks at the cover of a new magazine that was his brainchild. It is the projected first issue, now scuppered, as in fact the whole project is, by the terrible events of September 11. “Already with its vermilion, orange, and yellow graphic, a sunburst, a remarkable photograph of a sunburst,” the narrator observes, the idea having been that they were exploding upon the scene, illuminating truths, and different, down to the images, from the rest; already it looked out of date and faintly forlorn, like some child’s abandoned artwork (504).
S. Eliot poem but of the Christian funeral service that Eliot himself was echoing – although, in this case, there is no hope of recovery or resurrection. “He … looked out over the wasted landscape,” the narrator observes of the father, the protagonist of The Road at one point. What he sees is a world denied the possibility of survival or redemption. There is “no sign of life” (9) here. The land, covered in ash, is grey and barren; the foliage, what remains of it, is “black and twisted” (9); the houses, what remain of them, are empty of everything but “trash in the floor, old newsprint,” (18) appliances that no longer work, and furniture and fittings that are unused and falling apart.
Nothing can ever be the way it was,” she tells Jack. indd 31 1/13/2011 7:13:50 PM Imagining Disaster he asks. “He can be so dense, it makes her laugh,” Renata thinks, then adds, “I wan’t thinking on a global scale” (295). ” What she says to Jack, in such a politically charged language, makes no attempt to weave the personal and the political together, however. On the contrary, Arabic becomes the idiom of a retreat into romantic love. “Make me love you again,” she tells Jack, in a language he does not understand, before putting her arm through his “for warmth” (295).