By Richard Gray
'After the Fall' offers a well timed and provocative exam of the impression and implications of 11th of September and the warfare on terror on American tradition and literature.
• offers the 1st precise 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 given that 11th of September to an important social and historic alterations within the U.S. and in different places
• areas U.S. writing within the context of the reworked place of the U.S. in a global characterised by way of political, financial, and army problem; transnational waft; the resurgence of spiritual fundamentalism; and the plain triumph of world capitalism
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Extra info for After the Fall: American Literature Since 9/11
Asks another observer, James Berger of 9/11. “Nothing adequate, nothing corresponding in language could stand for it;” nevertheless,“immediately people tried to name it” (Berger, 54), even if much of that naming assumed the form of the gestural (“the thing,” “the event”), the coded (“9/11,” “Ground Zero”) or simple repetition – a repetition that, as Jacques Derrida pointed out in his meditation on 9/11, was simply a strategy for “neutralising, deadening, distancing a traumatism” (Borradori, 87) and denying powerlessness.
The whole novel could be seen, among other things, as a covert assault on American exceptionalism, but this moment temporarily drags the narrative back into the consolations of a separate and special national destiny. If this is an act of recuperation, and it certainly appears to be, then it does not work. On the contrary, it is deeply unconvincing – not least, because it is at odds with just about everything that has occurred in the novel before. After the brief account of the several conversations that took place between the boy and the woman “about God,” there is only one paragraph left in The Road.
The ugly fact is that books are made out of other books,” he declared once in a rare interview. “The novel depends for its life on other novels that have been written” (Woodward, 36). One critic has called McCarthy “a literary hybrid” (Ragan, 15). Another has remarked that reading one of McCarthy’s novels is “like strolling through a museum of English prose styles;” adding that the border trilogy appears to have been written “by the illegitimate offspring of Zane Grey and Flannery O’Connor” (Pilkington, 312, 318).