Read more
Falling After 9/11 investigates the connections between violence, trauma, and aesthetics by exploring post 9/11 figures of falling in art and literature. From the perspective of trauma theory, Aimee Pozorski provides close readings of figures of falling in such exemplary American texts as Don DeLillo's novel, Falling Man , Diane Seuss's poem, "Falling Man," Jonathan Safran Foer's Extremely Loud and Incredibly Close , Frederic Briegbeder's Windows on the World , and Richard Drew's famous photograph of the man falling from the World Trade Center. Falling After 9/11 argues that the apparent failure of these texts to register fully the trauma of the day in fact points to a larger problem in the national tradition: the problem of reference-of how to refer to falling-in the 21st century and beyond.
List of contents
Preface
Acknowledgements
Introduction Falling After 9/11: Crisis in American Art and Literature
Chapter 1 Gravity, Gravitas, Grave: How to Refer to Falling
Chapter 2 Beyond the Literal: The Falling Man and Moral Failing
Chapter 3 Journalism’s Falling Man: Documentation and Truth-Telling
Chapter 4 Don DeLillo’s Performance Art: Failure Bears Witness to Falling
Chapter 5 The Poetics of Falling: The Lyrical Laments of Kennedy and Seuss
Chapter 6 Extremely Loud and Incredibly Close: Historical Reverberation and Scientific Invention in Jonathan Safran Foer’s 9/11 Iconotext
Epilogue Cycle of Terror and Tragedy: Parrish’s 9/11 Mural Revisited
Works Cited
Index
About the author
Aimee Pozorski is Professor of English at Central Connecticut State University, USA, where she also coordinates the Racial Justice Certificate. She is the author of AIDS-Trauma and Politics (2019), Falling After 9-11: Art and Literature in Crisis (Bloomsbury, 2014), and Roth and Trauma: The Problem of History in the Later Works (1995-2010) (Bloomsbury/Continuum, 2011). She is Co-executive Editor, with Maren Scheurer, of Philip Roth Studies, and is past President of the Philip Roth Society (2009-2015).
Summary
Falling After 9/11 investigates the connections between violence, trauma, and aesthetics by exploring post 9/11 figures of falling in art and literature. From the perspective of trauma theory, Aimee Pozorski provides close readings of figures of falling in such exemplary American texts as Don DeLillo's novel, Falling Man, Diane Seuss's poem, "Falling Man," Jonathan Safran Foer's Extremely Loud and Incredibly Close, Frédéric Briegbeder's Windows on the World, and Richard Drew's famous photograph of the man falling from the World Trade Center.
Falling After 9/11 argues that the apparent failure of these texts to register fully the trauma of the day in fact points to a larger problem in the national tradition: the problem of reference—of how to refer to falling—in the 21st century and beyond.
