By Richard Gray
'After the Fall' provides a well timed and provocative exam of the effect and implications of 9-11 and the warfare on terror on American tradition and literature.
• offers the 1st special interrogation of U.S. writing in a time of hindrance
• Develops a well timed and provocative arguement approximately literature and trauma
• Relates U.S. writing on the grounds that Sept. 11 to an important social and old alterations within the U.S. and in other places
• locations U.S. writing within the context of the reworked place of the U.S. in an international characterised via political, monetary, and armed forces hindrance; transnational glide; the resurgence of spiritual fundamentalism; and the plain triumph of world capitalism
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Additional info for After the Fall: American Literature Since 9/11
Falling Man is beautifully structured, playing with images announced by the title that are no less resonant for being obvious. 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.
The time will soon come,” he writes at the beginning of In the Presence of Fear, when we will not be able to remember the horrors of September 11 without remembering also the unquestioning technological and economic optimism that ended that day (1). “This optimism,” he goes on, rested on the proposition that we were living in a “new world order” and a “new economy” that would “grow” on and on, bringing a prosperity of which every new increment would be “unprecedented” (1). We have a choice generated by a dreadful historical eruption.
It is also the first of his novels to be met with almost unanimous critical acclaim. Those who were less than impressed with his ninth novel, No Country for Old Men, greeted it with something pretty close to relief. Others – and these are so far in the majority among critics of The Road – have focused their attention, and their admiration, on what has been seen as a return to stylistic form and a return to the overwhelming questions that haunt so much of McCarthy’s earlier work. In a time of literary minimalism, when so many writers seem intent on pursuing a style of scrupulous meanness, McCarthy reverted in The Road to the rich and even baroque rhetoric of his novels Suttree and Blood Meridian.