New PDF release: After the Fall: American Literature Since 9/11

By Richard Gray

ISBN-10: 0470657928

ISBN-13: 9780470657928

'After the Fall' provides a well timed and provocative exam of the influence and implications of Sept. 11 and the struggle on terror on American tradition and literature.

• provides the 1st specific interrogation of U.S. writing in a time of obstacle
• Develops a well timed and provocative arguement approximately literature and trauma
• Relates U.S. writing considering 9-11 to the most important social and historic alterations within the U.S. and somewhere else
• areas U.S. writing within the context of the reworked place of the U.S. in a global characterised by means of political, financial, and armed forces challenge; transnational waft; the resurgence of non secular fundamentalism; and the obvious triumph of worldwide capitalism

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

Example text

There is, first, the redemptive nature of craft, doing a task and doing it carefully and well. At one point, for instance, the father tries to repair the wheel mount of the supermarket trolley that carries their few possessions: They collected some old boxes and built a fire in the floor and he found some tools and emptied out the cart and sat working on the wheel. He pulled the bolt and bored out the collet with a hand drill and resleeved it with a section of pipe he’d cut to length with a hacksaw.

To take the allusiveness first: McCarthy has never made any secret of just how deeply intertextual he takes all texts, including his own, to be. “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).

The determining feature of trauma is that it is unsayable. What is traumatic is defined by what Caruth has called “the impossibility of … direct access” (Explorations in Memory, 4). The Road is Cormac McCarthy’s tenth novel. 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.

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


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