Literature

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

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By Richard Gray

'After the Fall' offers 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.

• provides the 1st distinctive interrogation of U.S. writing in a time of predicament
• Develops a well timed and provocative arguement approximately literature and trauma
• Relates U.S. writing because Sept. 11 to an important social and historic alterations 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 through political, financial, and armed forces problem; transnational waft; the resurgence of non secular fundamentalism; and the plain triumph of world capitalism

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

Sample text

But the structure is too clearly foregrounded, the style excessively mannered; and the characters fall into postures of survival after 9/11 that are too familiar to invite much more than a gesture of recognition from the reader. Here, for instance, is one character falling back on the game of poker as his refuge: The money mattered but not so much. The game mattered, the touch of felt beneath the hands, the way the dealer burnt one card, dealt the next. He wasn’t playing for the money. He was playing for the chips.

In the produce section in the bottom of the bins they found a few ancient runner beans and what looked to have once been apricots, long dried to wrinkled effigies of themselves …. In the alleyway behind the store a few shopping carts, all badly rusted. … By the door were two softdrink machines that had been tilted over into the floor and opened with a prybar. Coins everywhere in the ash. He sat and ran his hand around the works of the gutted machines and in the second one it closed over a cold metal cylinder.

Indd 36 1/13/2011 7:13:51 PM Imagining Disaster the protagonist of All the Pretty Horses traverses. But it is reasserted more insistently and more powerfully than ever before here. The Road is set in some strange, post-apocalyptic landscape. There are no birds or animals left alive. Most of the trees and many of the buildings have been destroyed, burned to extinction. And the air is filled with ash, requiring those who survive to wear face masks so as to filter the noxious air they breathe. Ash is everywhere – this is F.

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