By Richard Gray
After the Fall provides a well timed and provocative exam of the impression and implications of September 11 and the battle on terror on American tradition and literature.
- Presents the 1st precise 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 given that Sep 11 to the most important social and ancient adjustments within the U.S. and somewhere else
- Places U.S. writing within the context of the remodeled place of the U.S. in a global characterised through political, monetary, and army predicament; transnational go with the flow; the resurgence of spiritual fundamentalism; and the obvious triumph of world capitalism
Chapter 1 After the autumn (pages 1–19):
Chapter 2 Imagining catastrophe (pages 21–50):
Chapter three Imagining quandary (pages 51–83):
Chapter four Imagining the Transnational (pages 85–143):
Chapter five Imagining the obstacle in Drama and Poetry (pages 145–192):
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Extra resources for After the Fall: American Literature Since 9/11
This is a map of that sense of dread, generated in the Western consciousness by 9/11, and its aftermath, which is precise in both its geographical and mental coordinates because it refuses the easy option of the immediate. The intertextuality that is such a deep-rooted feature of McCarthy’s work adds to our sense of the text as a border country. The voice of the author overlaps with the inner voice of the protagonist and in turn, the voices of McCarthy’s literary forebears bleed into them; a vocal subtext resonates below the surface text, adding further dimensions of meaning.
It is, like all McCarthy’s fiction, haunted by the lives and writings of others, it is densely allusive and yet it is unmistakably the work of a fiercely original writer, swimming against the tide of literary fashion. It has the elemental quality of allegory and myth but also addresses issues that are ferociously contemporary, specific to the here and now. It declares the imminence, and perhaps the inevitability, of entropy, a world running down to inertia and oblivion, but it also offers a testament of faith in the will to meaning, the possibility of human intimacy and the simple, inextinguishable desire of the human animal to go on.
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.