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"Banita, Georgiana"
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Plotting Justice
Have the terrorist attacks of September 11 shifted the moral coordinates of contemporary fiction? And how might such a shift, reflected in narrative strategies and forms, relate to other themes and trends emerging with the globalization of literature? This book pursues these questions through works written in the wake of 9/11 and examines the complex intersection of ethics and narrative that has defined a significant portion of British and American fiction over the past decade.
Don DeLillo, Pat Barker, Aleksandar Hemon, Lorraine Adams, Michael Cunningham, and Patrick McGrath are among the authors Georgiana Banita considers. Their work illustrates how post-9/11 literature expresses an ethics of equivocation-in formal elements of narrative, in a complex scrutiny of justice, and in tense dialogues linking this fiction with the larger political landscape of the era. Through a broad historical and cultural lens,Plotting Justicereveals links between the narrative ethics of post-9/11 fiction and events preceding and following the terrorist attacks-events that defined the last half of the twentieth century, from the Holocaust to the Balkan War, and those that 9/11 precipitated, from war in Afghanistan to the Abu Ghraib scandal. Challenging the rhetoric of the war on terror, the book honors the capacity of literature to articulate ambiguous forms of resistance in ways that reconfigure the imperatives and responsibilities of narrative for the twenty-first century.
eBook
\HOME SQUARED\: BARACK OBAMA'S TRANSNATIONAL SELF-RELIANCE
One of the most important aspects of Barack Obama's political success concerns the transnational makeup of his identity. Taking Dreams from My Father (1995) and The Audacity of Hope (2006) as case studies, this article examines how Obama's autobiographical self squares with the precepts of American exceptionalism in an era that has witnessed a palpable decline in the centrality and leverage of the US on an international stage.
Journal Article
From Isfahan to Ingolstadt
Pier Paolo Pasolini’s novelPetrolio, published in fragmentary form in 1992, almost twenty years after the death of the celebrated poet and director, focuses loosely on the meditations of a character in the employment of ENI (Ente Nazionale Idrocarburi), the Italian state-owned oil-and-gas company. But Carlo is not a run-of-the-mill petroleum engineer. His corporate career provides him with a platform for an “intellectual meditation” on the empirical and aesthetic experience of power, more specifically on the “‘space’ where real power is found.”¹ After traveling to the United States, Arab countries, and as far as Tanzania on behalf of his employer,
Book Chapter
A Thousand Plateaus
Journalism in its best forms has been a pivotal tool for social change. In a period spanning over one hundred years, from fiction and nonfiction narratives at the turn of the twentieth century to contemporary activist writings, muckrakers have exposed industrial monopoly and marketplace capitalism’s abuses of the democratic system. The unique collaborative work by journalists Chris Hedges and Joe Sacco, Days of Destruction, Days of Revolt, combines the factual density and stylistic elegance of Hedges’s style with the narrative sparseness and affective investment of Sacco’s comics. A chapter of Days of Destruction, Days of Revolt focuses on mining practices,
Book Chapter
INTRODUCTION
In this book I explore the complex intersection of ethics and narrative that has defined a considerable portion of English-language fiction over the past decade in relation to the events of September 11, 2001. My aim is to investigate how narrative strategies in post-9/11 fiction resonate with issues of race, spectatorship, profiling, torture, and mourning that circle around 9/11 and its aftermath. I suggest ways of adapting established theories of narrative ethics to the new challenge of engaging with media representations of terrorism, to the increasing popularization and the political implications of psychoanalytical discourse and psychotherapy, as well as to
Book Chapter
Chris Ware and the Pursuit of Slowness
In The Arcades Project, Walter Benjamin gives a vivid impression of how strollers moved in the shopping arcades of nineteenth-century cities: some of them, he notes, walked with a tortoise on a lead.¹ These flâneurs not only cultivated slowness deliberately, but they ensured that others took note of the fact in order to express their contempt for the machine age and its obsession with speed. Benjamin’s image conjures up a type of person almost unthinkable today, but one that perfectly matches the tenor and rhythm of Chris Ware’s comics. Ware’s graphic novel Jimmy Corrigan: The Smartest Kid on Earth proceeds
Book Chapter
Postcolonialism and Nostalgia in Michael Ondaatje's Divisadero
The raw truth of an incident never ends.
Book Chapter
FALLING MAN FICTION
David Friend’s visual record of post-9/11 New York, documenting and analyzing the stories behind the powerful images of that day, opens with the troubling sentence “The eyes were everywhere” (xv). This remark—initially meant to suggest the sheer number of cameras and recording devices aimed at the towers, as well as the stunned reactions of witnesses to the attacks—aptly describes literary representations of the 9/11 events. The attacks have gelled into stock images that recur obsessively in post-9/11 literature, pointing to a deep-seated traumatic reaction on both a visual and a textual level. Many literary depictions of September 11
Book Chapter
SEX AND SENSE
In his influential essay “Open Doors, Closed Minds: American Prose Writing at a Time of Crisis,” Richard Gray underscores the failure of post-9/11 literature to formally articulate the crisis of imagination precipitated by the terrorist attacks. Gray encapsulates his position in asserting that 9/11 narratives such as Jay McInerney’sThe Good Life, Ken Kalfus’sA Disorder Peculiar to the Country, and Don DeLillo’sFalling Man“simply assimilate the unfamiliar into familiar structures. The crisis is, in every sense of the word, domesticated” (134). Rachel Greenwald Smith continues this argument when she states that 9/11 novels “articulate the attacks as world-changing
Book Chapter