New PDF release: After the Fall: American Literature Since 9/11

By Richard Gray

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

• provides the 1st designated interrogation of U.S. writing in a time of main issue
• Develops a well timed and provocative arguement approximately literature and trauma
• Relates U.S. writing seeing that 11th of September to the most important social and historic adjustments within the U.S. and in different places
• areas U.S. writing within the context of the reworked place of the U.S. in an international characterised by way of political, fiscal, and army trouble; transnational flow; the resurgence of spiritual fundamentalism; and the plain triumph of world capitalism

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

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The boy stays for three days by his “cold and stiff ” body. indd 45 1/13/2011 7:13:51 PM Imagining Disaster The man that hove into view… was dressed in a gray and yellow ski parka. He carried a shotgun upside down over his shoulder on a braided leather lanyard and he wore a nylon bandolier filled with shells for the gun. A veteran of old skirmishes, bearded, scarred across his cheek and the bone stoven and the one eye wandering. (237) The man assures the boy, “I’m one of the good guys,” tells him that he has “a little boy” and “a little girl” (the boy, he adds, is “about your age.

And it begs the question of just how new, or at least different, the structures of some of these books are. The answer is, for the most part, not at all. This is not an argument for simple change, always supposing such a thing were possible. indd 29 1/13/2011 7:13:50 PM Imagining Disaster alteration of imaginative structures is required to register the contemporary crisis, to offer testimony to the trauma of 9/11 and its consequences, but also the ability and willingness imaginatively to act on that recognition.

And the precision and attentiveness of action and style echo, in turn, other, earlier moments in works by McCarthy’s literary forefathers (and they are nearly all forefathers here): the description of the crew working on riveting and repair to the vessel in Joseph Conrad’s Heart of Darkness (1902), the devotion of Nick Adams to the duties of the wilderness in Ernest Hemingway’s In Our Time (1925), Cash Bundren’s loving account of the process of building a coffin for his mother in William Faulkner’s As I Lay Dying (1930).

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