Academic literature on the topic 'Post-9/11 novels'
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Journal articles on the topic "Post-9/11 novels"
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Ingram, Callie. "Counter-Narrative Ethics: Don DeLillo’s Post-9/11 Novels." Critique: Studies in Contemporary Fiction 60, no. 5 (June 21, 2019): 585–99. http://dx.doi.org/10.1080/00111619.2019.1631746.
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Altwaiji, Mubarak. "Post 9/11 American Novel: Political Orientations in Representing Arabs." Khazar Journal of Humanities and Social Sciences 22, no. 1 (May 2019): 63–77. http://dx.doi.org/10.5782/2223-2621.2019.22.1.63.
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September 11, 2001 has been the most aggressive day in the history of modern America. The physical and psychological damages caused by the attacks left a unique experience of the day in the mind of American writers. Therefore, if literary and political orientations changed after the 9/11, novel's subject matter and themes changed too, because novel is a reflection of its social and political context. This study examines the assumption implicit in the dominant conceptions that novel serves the state's politics in its pursue of interests through representations and misrepresentations of other nations. This study examines how American novel expresses solidarity with the state and its politics, ignoring its imperial and hegemonic attitude towards other nations. Novel has become the most effective genres to represent the feelings of the nation and the concern of the country. Analysis will refer to two novels, Extremely Loud and Incredibly Close and Falling man, which directly deal with the moments of destroying the World Trade Centre and manifestly identify the terrorists, their culture, their religion and their intentions. Tendency to such themes allows American novel to follow the mainstream politics without grappling with the state's ideologies, interests and politics. Discussion will focus on the Foucauldian approach to literature and power and on the implications of using the Foucauldian approach to the study of imperial literature.
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Kanwal, Aroosa. "Post-9/11 Melancholic Identities: Memory, Mourning and National Consciousness." Psychology and Education Journal 58, no. 3 (April 14, 2021): 2237–41. http://dx.doi.org/10.17762/pae.v58i3.4226.
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This paper discusses the ways in which Nadeem Aslam’s novels – Maps for Lost Lovers and The Wasted Vigil – highlight the need for a re-conceptualisation of immigrant identity, in post-9/11 world, by linking traumatic experiences of an individual to the collective memory of a community or nation. Taking cue from Sigmund Freud, Judith Butler, Nicolas Abraham and Maria Torok’s concepts of mourning and melancholia, an interface between transnational movement and mourning will be investigated in order to emphasise how private grief becomes a metaphor for public grief. With reference to Aslam’s novels (that are set against the background of post-9/11 rhetoric of war on terrorism), I discuss how an endless process of diasporic nostalgia and mourning interacts with immigrants’ efforts to deal with different ‘others’ in their adopted homelands.
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Bonisch, D. "Geopoetics of Terror(ism): Spatiality and Visuality in Two 'Post-9/11' Novels." Forum for Modern Language Studies 51, no. 1 (December 11, 2014): 15–26. http://dx.doi.org/10.1093/fmls/cqu066.
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Meghani, Shamira A. "White gay men in two post-9/11 novels: “Cultural surveillance” and historical echoes." Journal of Postcolonial Writing 55, no. 3 (May 4, 2019): 367–81. http://dx.doi.org/10.1080/17449855.2019.1617977.
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Kiczkowski, Adriana. "'Glocalization' in post-9/11 literature. "Burnt shadows" by Kamila Shamsie." Journal of English Studies 14 (December 16, 2016): 125. http://dx.doi.org/10.18172/jes.2813.
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Global terrorism is a complex phenomenon, its roots going back to long before the terrorist attacks of 9/11, while its sequels are opening new paths in the fields of both fiction and literary and cultural studies. To better understand some of the global processes, and how they are represented in contemporary literature, I proposed the expression glocalization novels as a theoretical construct that permits the incorporation of the narrative’s differential characteristics about terrorism in a globalized society. In Burnt Shadows by Kamila Shamsie, the notion of glocalization appears articulating general tendencies with global impact (the Nuclear Bomb, the Cold War, North American neo-colonialism in Southeast Asia, global terrorism, etc.) join with a direct impact on local lives that restructures and transmutes the meanings of individual or social actions. Fictions by intertwining the specific with the global help us to gain a more indepth understanding of the global and its local complexity.
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Udasmoro, Wening. "Toxic Masculinities in Post-9/11 Islam-Themed French Novels: Plateforme and Syngué Sabour. Pierre de Patience." k@ta 24, no. 1 (July 5, 2022): 40–48. http://dx.doi.org/10.9744/kata.24.1.40-48.
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ABSTRACT
This article aims to explore the concept of toxic masculinities in two French literary works, namely Plateforme by Michel Houellebecq and Syngué Sabour. Pierre de Patience by Atiq Rahimi, whose stories are related to Islam after the September 11, 2001 tragedy. Toxic masculinities are suspected to be present in both works, namely by placing women in the position of objects of sexual gaze and symbolic violence. This article dredges the concept of toxic masculinities, which is a derivation of the concept of hegemonic masculinities introduced by Raewyn Connell. This paper employs a critical discourse analysis method by examining the language used by the authors at levels of linguistic practice, discursive practice, and social practice with corpus data taken from the wordings and rewordings of the texts. This paper concludes that sexual gaze and symbolic violence are toxic because they can be drivers of physical violence.
Keywords: toxic, masculinities, French literature, Islam
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ATAR, Özlem. "MASCULINITIES IN MUSLIM WOMEN`S POST-9/11 NOVELS: MEN IN THE NIGHT COUNTER AND SAFFRON DREAMS." Moment Journal 8, no. 2 (December 27, 2021): 480–95. http://dx.doi.org/10.17572/mj2021.2.480495.
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Siebert, Monika. "The Post-9/11 City in Novels: Literary Remappings of New York and London KarolinaGolimowska. McFarland, 2016." Journal of American Culture 41, no. 1 (March 2018): 106–7. http://dx.doi.org/10.1111/jacc.12863.
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MORLEY, CATHERINE. "“How Do We Write about This?” The Domestic and the Global in the Post-9/11 Novel." Journal of American Studies 45, no. 4 (November 2011): 717–31. http://dx.doi.org/10.1017/s0021875811000922.
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This article argues that far from marking a break in recent literary development, the terrorist attacks of 9/11 made less of an impact on American fiction than we often think. Critics have often accused writers after 9/11 of “retreating” into the domestic; in fact, domestic and individual narratives, often set against sweeping historical backgrounds, already dominated American writing in the late 1990s. At first, therefore, novelists handling the events of 9/11 framed them within the personal and the small-scale. In the last two years, however, writers such as Adam Haslett and Jonathan Franzen have begun publishing broader, more ambitious state-of-the-nation novels, explicitly addressing the United States' relationship with the Middle East and the impact of globalization. Yet in these novels, too, the global and the personal are tightly intertwined; again and again, writers are drawn to the domestic themes that have so often dominated American literature.
Dissertations / Theses on the topic "Post-9/11 novels"
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HIGGINS, SHANNON LEIGH. "INFLUENCE OF THE MEDIA: HOW POST-9/11 NOVELS ARE REACTIVE TO NEWS COVERAGE OF MUSLIMS." Thesis, The University of Arizona, 2016. http://hdl.handle.net/10150/613031.
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The media, with their constant stream of news, have a powerful and ever-present impact
on the public’s opinion of events and people. This influence is partly due to the nature of the
media and their responsibility to report accurate and credible news, making the public believe
opinions as facts that some journalists include in their reporting. Since the attacks on 9/11, news
outlets have been covering Muslims with an intensified and negative focus that has been partly
responsible for causing the Islamophobia in America to increase. This paper analyzes how the
media portray Muslims and the ways in which some post-9/11 novels are reactive to these
distorted illustrations of them. While the media paint a shallower, one-sided, and stereotypical
portrait of Muslims, the novels acknowledge these stereotypes presented through the news, but
also incorporate a deeper look into a Muslim’s life in America after the terrorist attacks. In doing
so, the novels create a different, more complex, and compassionate side to Muslims than what is
typically portrayed by the media.
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Sulter, Philip Eric John. "“We’ve Tamed the World by Framing It”: Islam, ‘Justifiable Warfare,’ and situational responses to the war on terror in selected post-9/11 novels, films and television." Thesis, Rhodes University, 2017. http://hdl.handle.net/10962/5544.
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This thesis explores geopolitically diverse fictional responses to 9/11 and the War on Terror. Drawing on Judith Butler’s (2009) notion of the “frames of war,” Jacques Derrida’s (2005) conception of the ‘friend’/‘enemy’ binary, and Mahmood Mamdani’s (2004) critique of the ‘good’ Muslim, ‘bad’ Muslim dichotomy (delineated in 2001 by President George W. Bush) I examine how selected examples of contemporary literature, as well as a popular television series, depict the War on Terror; and analyse how these differently situated texts structure their respective depictions of Islam and Muslims. In the first chapter, I focus on how The Reluctant Fundamentalist (2007), a novel by the Pakistani author, Mohsin Hamid, problematises the ‘good’ Muslim, ‘bad’ Muslim binary, and argue that the protagonist’s decision to leave the United States in the wake of 9/11 represents an important political comment on global perceptions of American foreign policy and the human cost of millennial capitalism. Chapter 2 is an investigation of two novels: The Silent Minaret (2005) and I See You (2014), by the South African writer, Ishtiyaq Shukri. By situating his characters in a variety of geopolitical spaces and temporal realities, Shukri encourages the reader to discard the structuring frames of nation, race, and religion, and links the vulnerability and violence implicit in the War on Terror to a longer history of conquest, colonialism, and apartheid. In the process, Shukri illustrates the importance of understanding repressive local contexts as interwoven with global and historical power dynamics. Chapter 3 is a study of the popular American television series, Homeland (2011—), created by Alex Gansa and Howard Gordon, and focuses on the manner in which the Central Intelligence Agency’s “Overseas Contingency Operations” are portrayed by the show. I argue that Homeland initially problematises the ‘friend’/‘enemy’ binary, but subsequently collapses into a narrative in which these two polarities are construed by prevailing American attitudes towards Islam and the notion of the War on Terror as a necessity. This thesis concludes that texts that characterise the War on Terror as a global phenomenon, and situate it within a broad historical discourse, are able to subvert the singularity ascribed to the 9/11 attacks, as well as the epochal connotations of the ‘post-9/11 ’ literary genre. I argue that the novels I have chosen scrutinise the ways in which perceptions are framed by dominant forms of media, historiography, and political rhetoric, and not only offer unique insights on the repercussions of the global War on Terror but attempt to conceive of humanity in its totality, and therefore destabilise the ontological and reductive operation of the frame itself.
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White, Mandala Camille. "Representations of tourism and terrorism in the post-9/11 American novel." Thesis, University of Leeds, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.659184.
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In this thesis, I examine representations of tourism and terrorism in three post-9/11 American novels: Khaled Hosseini's The Kite Runner, Diana Abu-Jaber's Crescent and Mohsin Hamid's The Reluctant Fundamentalist. I read the novels from a postcolonial American Studies theoretical perspective, and argue that tourism is an allegory for intercultural exchange between a transnational culture related to America and three terrains stereotypically a,ssociated with terrorism: Afghanistan, Iraq and Pakistan. The arguments I make about the texts' representations of tourism and terrorism are directed towards a discussion of the significance of literary aesthetics in the post-9f11 context including formal structure, narrative voices, framing devices, language, metaphor, and allegory. I argue, first, that the representations of tourism are informed by and reproduce American liberal anxieties about terrorism and the various cultural, military and geopolitical phenomena generated by 9f11; and, second, that these liberal anxieties are inextricably bound up with concerns about neoliberalism and America's role . within global capitalist culture. Chapter One introduces the key components of my project; situates my work within the growing body of postcolonial American Studies interdisciplinary work on post-9/11 literature; and discusses the texts as transnational, hybrid entities that are, nevertheless, centrally concerned with American issues. Chapter Two examines Hosseini's The Kite Runner as a melodrama that privileges neoliberalism as a form of morality. Chapter Three argues that Abu-Jaber's Crescent is a confused American text that attempts to destabilise stereotypes about Iraq and Arabic culture, but remains invested in those same stereotypes at the formal level. Chapter Four argues that Hamid's The Reluctant Fundamentalist self-consciously mobilises a series of conflicting allegories as a way of problematising its own representations; I argue that its formal manipulation is the repository of its most significant commentary on post-9/11 culture.
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Resano, Dolores. "Of heroes and victims: Jess Walter’s The Zero and the satirical post-9/11 novel." Doctoral thesis, Universitat de Barcelona, 2017. http://hdl.handle.net/10803/458996.
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This dissertation analyzes a typically overlooked novel within the corpus of post-9/11 fiction studies, Jess Walter’s The Zero (2006), and puts forward some hypotheses for this under-examination. It suggests that the debates that arose in the United States in the wake of 9/11—regarding the status of fiction in the face of tragedy, the theses about the demise of irony and satire, the high expectations put on canonical authors to give meaning to the event, and standardized interpretations of what a “good 9/11 novel” should be—all contributed to construct readings of The Zero that fell within the somewhat prescriptive approaches established by the first wave of post-9/11 fiction studies, and thus overlooked the subversive potential of Walter's novel. While recent academic output is starting to explore The Zero in innovative ways, early reception of the novel failed to examine it conceptually and formally, favoring as it did a trauma studies approach that resulted in a bland analysis of the discursive exploration that the novel carries out. On the other hand, the novel’s use of satirical humor has been mostly ignored, and this is partly explained by the currency of outdated theoretical conceptions of what constitutes a satirical novel. Therefore, this dissertation carries out a revision of the theoretical corpus on narrative satire and proposes its renewal through the theories of carnivalization of Mikhail Bakhtin. Approaching the novel through the notions of satirical carnival, dialogism, and intertextuality reveals how satire is a very effective way of exploring and questioning the discursive apparatus that mobilized in the United States after the attacks. Such is the object of the novel, the interaction with, the representation and the eventual subversion of a nationalist discourse that was underpinned by its appeal to foundational myths and cultural themes and that was highly accepted by the general population, which allowed the Bush administration to respond to the attacks in military terms and to suspend certain rights and freedoms on the domestic front, under the premise of promoting security. This dissertation seeks to demonstrate how satire understood this way is especially suited for constructing a dialogical, polyphonic and inquisitive narrative that not only questions but also dialogues with the American nation after 9/11.La presente tesis explora una novela poco estudiada del corpus de ficción post-11-S, The Zero (2006), de Jess Walter, y propone algunas hipótesis que puedan explicar esta falta de atención. Se sugiere que los debates que se originaron en los Estados Unidos tras el 11-S—respecto al estatus de la ficción frente a la tragedia, la supuesta falta de adecuación del humor satírico e irónico para explicarla, las grandes expectativas depositadas en los autores canónicos para que dieran sentido al hecho, y las interpretaciones un tanto prescriptivas y normativas por parte del campo de los “post- 9/11 fiction studies”—contribuyeron a determinar ciertas lecturas de The Zero dentro de los parámetros establecidos por la primera ola de ficción post-11-S, pasando por alto el potencial subversivo de la novela de Walter. La recepción temprana de la novela ha tendido a desatender el análisis formal y conceptual de The Zero al favorecer una aproximación desde los estudios del trauma que resulta en un análisis insustancial de la exploración discursiva que la novela lleva a cabo. Por otra parte, se ha ignorado casi por completo su uso del humor satírico, y ello en parte se explica por ciertas concepciones teóricas un tanto parciales y anticuadas sobre qué es una novela satírica. Por lo tanto, la tesis lleva a cabo una revisión del corpus teórico sobre la sátira narrativa y propone su renovación a través de las teorías de carnivalización de Mikhail Bakhtin. La aproximación a la novela desde las nociones de carnaval satírico, dialogismo, e intertextualidad revela como la sátira es un modo muy efectivo de explorar y cuestionar el aparato discursivo que se movilizó en Estados Unidos tras los atentados. Tal es el objeto de la novela, la interacción con, representación y eventual subversión de un discurso nacionalista que se sostuvo por la apelación a mitos fundacionales y temas culturales de alta aceptación entre la población, lo cual permitió una respuesta militar y el abandono de ciertas libertades en el frente doméstico con el fin de garantizar la seguridad. La tesis busca demostrar como la sátira entendida de este modo es especialmente idónea para construir un relato dialógico, polifónico e inquisidor que no solo cuestione sino que dialogue con la nación estadounidense tras el 11-S.
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Diaconu, Maria [Verfasser], and Dietmar [Akademischer Betreuer] Schloss. "Literature and Democratic Criticism: The Post 9/11 Novel and the Public Sphere / Maria Diaconu ; Betreuer: Dietmar Schloss." Heidelberg : Universitätsbibliothek Heidelberg, 2019. http://d-nb.info/1199453714/34.
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Bone, Ian. "Snap shot: a novel with accompanying exegesis Snap shot: September 11, 2001, engaging with the ongoing narrative of fear." 2008. http://hdl.handle.net/2440/49170.
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'Snap Shot' is a Young Adult novel centred around two main characters – 16 year-old Bel and her older step-sister, Diane, who was living in New York on September 11, 2001. The novel begins with a bus crash on a city freeway, and the narrator, who we later learn is Bel, unfolds the story that leads up to the crash. There are many plotlines that run through the novel, narrated in a variety of voices by Bel. She tells the story of her step-sister, who witnessed the September 11 attack from a distance (in Queens). She reveals her sister's story in the weeks following the attack. Diane is inspired by the image of one of the victims of the attack, a woman named Sena. She sees her photo in one of the desperate fliers that popped up around the city after the attack, and recognises a bracelet the woman is wearing as similar to one owned by her mother. Diane acts on an impulsive idea to somehow bring redemption to the family of this woman by creating a false photograph of the bracelet at Ground Zero, but she is detained by the National Guard. This is an incident that leads to her mother's decision to return to Australia to live. Back in Australia, Diane makes contact with her father, who is distant and dishonest with her. Diane asks to see her younger step-sister, Bel, but she is met with strong resistance. It is obvious that she is being kept from her sister. Bel also learns that her step-sister is back, but her attempts to make contact are blocked by her parents. Eventually the two sisters get together, and the younger forms a fascination and powerful admiration for her older sister, who is now a photographer. She takes images of men she has never met and posts them on her website with emotive labels such as 'victim' or 'terrorist'. Bel's fascination with her older sister leads her to want to emulate her. She sets out to take a photograph of a stranger, and stalks a young man for two days, working up the courage to approach him and interact with him. The fact that she wants to interact with her subject creates tension with her sister, who never speaks with her subjects. They argue about Bel's safety and Diane's courage. Bel eventually approaches the young man, Robert, and forms a connection with him. The coming together of these three characters sets in motion an idea, impulsive and provocative, driven by Bel, to create an artificial moment of terror on a bus as a means to shock the passengers and shake them from a 'dream'. This story is told through counter-voices that offer harmony and dissonance, and at times perspective, to the unfolding plotline. There is Shahrazade, an evocation of Bel's imagination, who is the ultimate in the courageous storyteller. Shahrazade uses narrative to divert her audience away from murderous revenge and into empathic connection. There are the short passages depicting the moments in the bus from the points of view of several passengers. There are the chapters where Bel is interrogated by two police officers, who slowly slide from being realistic characters to figments of Bel's overactive imagination. At the beginning of the novel, Bel tells the reader, 'You are witness to a tragedy, but you don’t call it that.' (Bone 2008) By the end, the verdict is left open. Are the three guilty of creating terror on the bus? Was it a tragedy? Is there redemption in the act of telling a story? The exegetical component of this thesis explores the social, literary and political context of the writing of 'Snap Shot'. It is in three parts, predicated on my research enquiry about the nature of the world we now live in post-September 11, a day that was supposed to have changed history. I explore whether there is a consistent and unified narrative that, as members of the public, we are engaging with. I look at the use of fear by the terrorists, and explore how this fear has manifested itself post-September 11. I ask whether there is an ongoing narrative of fear, and if so, what is its nature? How is it perpetuated? How does the public engage with this narrative? And what implications does this have for the writing of 'Snap Shot'? I explore literary and artistic responses to September 11, and explore the role of the artist as provocateur. What are the taboos and sore points that provocative art can touch on when looking at the subject of the world that has emerged post-September 11? The exegesis also explores how fear and terror are communicated, with a particular reference to symbolism and frames. What imaginings emerged from the subterranean consciousness prior to September 11, and what imaginings are at play today? Significantly, I explore what implications this imagination has for communicating an anti-terrorism message within the context of writing 'Snap Shot'.Thesis (Ph.D.) - University of Adelaide, School of Humanities, 2008
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Mauro, Aaron. "Tragic America: Terror, Metaphor, and the Contemporary American Novel." Thesis, 2012. http://hdl.handle.net/1974/7236.
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Since the attacks of September 11th, 2001, the literature of the United States has become increasingly concerned with telling tragic stories. While the literature written about the attacks is considerable and operates as the climax in this dissertation, the literature of the ensuing decade has been marked by a return to tragic terror more broadly. A distinct feeling of anxiety and fear continues to animate a strong tragic tradition in the contemporary novel. Through an analysis of motifs, figures, and metaphors derived from classical dramatic sources and the attendant philosophical tradition, this dissertation investigates the complex formal processes through which tragic American lives occur and their political contexts. This dissertation argues that American literary production in the first decade of the twenty-first century requires a critical return to the so-called Myth and Symbol School that inaugurated American Studies and established an American literary tradition with New England Transcendentalists. Emerson’s claim that America must be made great through and by its ability to perceive “the terror of life” resonates in today’s post-9/11 political and economic climate. This study illuminates the ways that the contemporary novelists have seen fit to incorporate classical tropes and narratives into traditional stereotypes of identity and nationhood. Linguistic life, it might be said, directly influences political life. Tragic America is an aggregation of tragic manifestations that finds political extensions and interpretive applications through provisional and figurative relationships. Relationships negotiated through this metaphoric sensibility are, I believe, the only honest means of comparison in our radically heterogeneous culture.Thesis (Ph.D, English) -- Queen's University, 2012-05-31 10:01:52.902
Books on the topic "Post-9/11 novels"
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Skulk: A post-9/11 comic novel. Joshua Tree, Calif: Progressive Press, 2008.
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McCarthy, Cormac. La carretera. Barcelona, España: Random House Mondadori, 2007.
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McCarthy, Cormac. The road. New York: Vintage International, 2009.
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McCarthy, Cormac. La strada. Torino: Einaudi, 2007.
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McCarthy, Cormac. The Road. New York, USA: Vintage International, 2006.
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McCarthy, Cormac. The Road. 2nd ed. New York, USA: Vintage International, 2009.
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McCarthy, Cormac. Droga. Krako w: Wydawn. Literackie, 2008.
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McCarthy, Cormac. The Road. 3rd ed. London: Picador, 2007.
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McCarthy, Cormac. Chang lu. Taibei Shi: Mai tian chu ban, 2008.
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McCarthy, Cormac. The Road. New York: Knopf Doubleday Publishing Group, 2007.
Find full textBook chapters on the topic "Post-9/11 novels"
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McKay, Belinda. "In Extremis: Apocalyptic Imaginings in Janette Turner Hospital’s Post-9/11 Novels." In Memory and the Wars on Terror, 145–62. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-56976-5_8.
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Liao, Pei-chen. "The Post-9/11 ‘Return Home’ Novel: Mohsin Hamid’s The Reluctant Fundamentalist." In 'Post'-9/11 South Asian Diasporic Fiction, 123–53. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137297372_5.
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Brown, Matthew. "Joseph O’Neill and the Post-9/11 Novel." In Transatlantic Literature and Culture After 9/11, 110–28. London: Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137443212_7.
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Liao, Pei-chen. "“The Second Coming”: The Resurgence of the Historical Novel and American Alternate History." In Post-9/11 Historical Fiction and Alternate History Fiction, 21–49. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-52492-0_2.
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"Syndrome, Symptom, and Trauma Chains in American Pre- and Post-9/11 Novels." In Diseases and Disorders in Contemporary Fiction, 106–22. Routledge, 2013. http://dx.doi.org/10.4324/9780203067314-25.
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Harrison, Olivia C. "Beyond France-Algeria: The Algerian Novel and the Transcolonial Imagination." In Algeria. Liverpool University Press, 2017. http://dx.doi.org/10.5949/liverpool/9781786940216.003.0012.
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More than any other literary genre, the Algerian novel has been read as a response to Algeria’s colonial past and as a proving ground for the articulation of a postcolonial national identity. From Kateb Yacine’s anticolonial allegory Nedjma to Kamal Daoud’s attempt to grapple with the legacies of Orientalism in Meursault, contre-enquête, the Algerian novel seems to be caught in a dialectical relationship with the former colonizer, France. Or is it? After a brief survey of post-independence Maghrebi texts that look to other colonial sites, in particular Palestine, to actualize anticolonial critique in the postcolonial period, I examine a series of Algerian novels that activate what I call the transcolonial imagination, connecting heterogenous (post)colonial sites in a critical and comparative exploration of coloniality. Through readings of novels by Ahlam Mosteghanemi, Anouar Benmalek, Yasmina Khadra, and Rachid Boudjedra, I show that the contemporary Algerian novel continues to excavate traces of the colonial, broadly conceived, in the purportedly postcolonial present, casting the Palestinian question, the post-9/11 war on terror, and the 2010-2011 uprisings within a multidirectional and palimpsestic history of the colonial condition writ large.
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Haacke, Paul. "Critical Suspension." In The Vertical Imagination and the Crisis of Transatlantic Modernism, 264–308. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198851448.003.0006.
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This final chapter brings the historical argument to a close by examining forms of immanent critique in post-World War II American novels attempting to grapple with the geopolitics of the so-called “American Century.” Particular attention is paid to motifs of dangling, drifting, and “yo-yoing” in novels by Saul Bellow, Joseph Heller, Kurt Vonnegut, and Thomas Pynchon as well as relations between the irony of immanence and postmodern, postcolonial, and anti-imperialist re-imaginings of historical narrativization and representation. The chapter concludes by focusing on Leslie Marmon Silko’s novel Ceremony in order to consider how the trope of “ground zero” first emerged in reference to the testing of the atom bomb in the American Southwest, and how the military-industrial development of uranium mining and nuclear power remain closely connected to concerns about American empire and cultural, ecological, and planetary survival in the post-9/11 era.
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Jelly-Schapiro, Eli. "“Vanishing Points”." In Security and Terror, 105–39. University of California Press, 2018. http://dx.doi.org/10.1525/california/9780520295377.003.0004.
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This chapter engages works of fiction that counter both the ahistorical affirmation and ahistorical critique of U.S. Empire with historicist renderings of the current conjuncture. In particular, this chapter is guided by a discussion of three postcolonial novels—three works that locate the present within the long history of colonial modernity: Teju Cole’s Open City (2011), Mohsin Hamid’s The Reluctant Fundamentalist (2007), and Junot Díaz’s The Brief Wondrous Life of Oscar Wao (2007). Resisting the exceptionalism of the “post-9/11” frame, these novels reveal the colonial histories that haunt the present. But they also self-reflexively betray, in their form as well as their content, the persistent and pervasive force of the trope of rupture and related modes of erasure.
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Freed, Joanne Lipson. "Haunting Futures and the Dystopian Imagination." In Haunting Encounters. Cornell University Press, 2017. http://dx.doi.org/10.7591/cornell/9781501713767.003.0005.
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The two works addressed in Chapter 4, Ayi Kwei Armah’s The Beautyful Ones Are Not Yet Born and Don DeLillo’s Falling Man, look toward a future that is haunted by the unrealized hopes of the past. Writing in places and historical moments in which imagining a different and better future seems both urgently necessary and impossibly compromised—decolonizing Ghana, and post-9/11 New York—both Armah and DeLillo create dystopian texts that transfer that responsibility onto their future readers through their cyclical structure and ambiguous, open-ended narrative. Resisting simplistic forms of optimism, these texts refuse to take up the flawed rhetorics available to them and remain committed to carrying out clear-eyed social critique. But by leaving their representations of societies in crisis open to reinterpretation and rereading, the novels allow for the possibility that the future might offer hopeful visions that are impossible in the present.
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Conte, Joseph M. "Introduction." In Transnational Politics in the Post-9/11 Novel, 1–56. Routledge, 2019. http://dx.doi.org/10.4324/9780429280733-1.
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