By Richard Gray
'After the Fall' offers a well timed and provocative exam of the impression and implications of September 11 and the battle on terror on American tradition and literature.
• provides the 1st special 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 on account that Sept. 11 to the most important social and historic adjustments within the U.S. and somewhere else
• locations U.S. writing within the context of the remodeled place of the U.S. in a global characterised by way of political, monetary, and army problem; transnational go with the flow; the resurgence of non secular fundamentalism; and the obvious triumph of worldwide capitalism
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Additional resources for After the Fall: American Literature Since 9/11
He didn’t answer. He went into the bathroom and threw the lightswitch but the power was already gone. A dull rose glow in the windowglass. (45) The disaster that has visited this landscape is much more generalized, however, more allegorized than this passage read in isolation might suggest; and the general contours of the landscape through which father and son travel are those, after all, of surreal nightmare – a variation, not only on the Eliotic waste land, but also on the darkness visible in the poetry of Dante and Milton and the prose of Celine.
S. Immigration Policy and the American Economy Washington, DC:American University Press, 1994; Roger Daniels, Coming to America: A History of Immigration and Ethnicity in American Life New York: Harper Collins, 1990; Geoffrey Passel and Barry Edmonston, Immigration and Race: Recent Trends in Immigration to the United States Washington, DC: Urban Institute, 1992. edu/class/ history/asu-imm; H-Net Humanities & Social Sciences Online – H-Ethnic: www. org. J. starbulletin. stm. ” (Shell, 3) And then there are the cataclysmic events of 11th September and their aftermath.
He wanted to rake in chips and stack them. The game mattered, the stacking of chips, the eye count, the play and dance of hand and eye. He was identical with these things (DeLillo, 228). This is not the hysteria, the barely expressible disruption of the nervous system to which both Kalfus and McInerney allude. It is another form of emotional numbness. And the trouble is that the prose is similarly, symptomatically numb. The insistent repetition never gets us beyond the obvious, as outlined in the first two sentences here.