After the Fall: American Literature Since 9/11 by Richard Gray

By Richard Gray

After the Fall provides a well timed and provocative exam of the influence and implications of Sept. 11 and the struggle on terror on American tradition and literature.

  • Presents the 1st distinct interrogation of U.S. writing in a time of challenge
  • Develops a well timed and provocative arguement approximately literature and trauma
  • Relates U.S. writing due to the fact 11th of September to the most important social and ancient adjustments within the U.S. and in different places
  • Places U.S. writing within the context of the remodeled place of the U.S. in a global characterised via political, fiscal, and armed forces situation; transnational waft; the resurgence of non secular fundamentalism; and the obvious triumph of worldwide capitalism

Chapter 1 After the autumn (pages 1–19):
Chapter 2 Imagining catastrophe (pages 21–50):
Chapter three Imagining hindrance (pages 51–83):
Chapter four Imagining the Transnational (pages 85–143):
Chapter five Imagining the problem in Drama and Poetry (pages 145–192):

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Extra resources for After the Fall: American Literature Since 9/11

Sample text

The sacred idiom shorn of its referents and so of its reality. Drawing down like something trying to preserve heat. In time to wink out forever. indd 40 1/13/2011 7:13:51 PM Imagining Disaster verbal interstices. And a similar ghostliness or elusiveness typifies the world through which McCarthy’s travellers make their way. At the beginning of the novel, for example, father and son are in an area of woods and mountains where the winters are too bitter to survive without shelter. As the two make their way south they encounter the remains of a dam, “a log barn in a field with an advertisement in faded ten-foot letters across the roofslope.

But it is a paragraph that returns us to the central narrative thrust of the novel, its richly mediated account of the harsh facts of the human condition and the humble shelters human beings try to construct to help them deal with or at least tolerate those facts. There is crisis here, in McCarthy’s account of the unhomelike nature of the world, especially now: but there is also a sense of continuity in his gestures towards how human beings nevertheless try to build a home for themselves, or the illusion of a home, even now.

For all the limitations of his vision, Tocqueville hit on a point that is pertinent here, since many of the texts that try to bear witness to contemporary events vacillate in just this way between large rhetorical gestures acknowledging trauma and retreat into domestic detail. The link between the two is tenuous, reducing a turning point in national and international history to little more than a stage in a sentimental education. ” But that suspicion only leads eventually to a deliberate rejection of the public domain.

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