1st Edition

Literature after 9/11

Edited By Ann Keniston, Jeanne Follansbee Quinn Copyright 2008
    316 Pages
    by Routledge

    314 Pages
    by Routledge

    Drawing on trauma theory, genre theory, political theory, and theories of postmodernity, space, and temporality, Literature After 9/11 suggests ways that these often distinct discourses can be recombined and set into dialogue with one another as it explores 9/11’s effects on literature and literature’s attempts to convey 9/11.



    Ann Keniston, University of Nevada Reno, and Jeanne Follansbee Quinn,

    Harvard University

    Part One: Experiencing 9/11: Space, Temporality, and the Incommensurable Event

    Chapter 1: "’Portraits of Grief’: Telling Details and the Testimony of Trauma," Nancy

    K. Miller, Graduate Center, CUNY

    Chapter 2: "‘Curtains of Ash’: Poetry, 9/11 and Time," Jeffrey Gray, Seton Hall


    Chapter 3: "‘Sometimes Things Disappear’: Absence and Mutability in Colson

    Whitehead’s The Colossus of New York," Stephanie Li, University of Rochester

    Chapter 4: "Finding Time after 9/11: The Frustrated Forms of Spiegelman and

    Foer," Mitchum Huehls, UCLA

    Chapter 5: "Witnessing 9/11: Art Spiegelman and the Persistence of Trauma," Richard

    Glezjer, North Central College

    Part Two: 9/11 Politics and the Ideology of Form

    Chapter 6: "Still Life: 9/11’s Falling Bodies," Laura Frost, Yale University

    Chapter 7: "‘We’re not a friggin’ girl band’: September 11, Masculinity and the

    British-American Relationship in David Hare’s Stuff Happens and Ian McEwan’s Saturday," Rebecca Carpenter, McDaniel College

    Chapter 8: "Portraits 9/11/01: The New York Times and the Pornography of Grief,"

    Simon Stow, College of William and Mary, and Ara Osterweil, Muhlenberg


    Chapter 9: "Graphic Implosion: Politics, Time, and Value in Post-9/11 Comics," Simon

    Cooper, Monash University, and Paul Atkinson, Monash University

    Chapter 10: "‘Big brother isn’t watching. He’s singing and dancing’: The Virus

    of Language and the Politics of Self-Censorship in Chuck Palahniuk’s Lullaby," Lance Allen Rubin, Arapahoe Community College

    Part Three: Aftermath: 9/11 and the Literary Tradition

    Chapter 11: "Telling It Like It Isn’t," David Simpson, UC Davis

    Chapter 12: "Seeing Terror, Feeling Art: Public and Private in Post-9/11 Literature,"

    Michael Rothberg, University of Illinois, Urbana-Champagne

    Chapter 13: "Theater after 9/11," Robert Brustein, American Repertory Theater and

    Harvard University

    Chapter 14: "‘Looking backward in order to look forward’: Truth-Telling in the 9/11

    Commission Report," Zachary Weir, Miami University

    Chapter 15: "The Plot Against America as 9/11 Prosthesis," Chuck Lewis, Beloit College

    Afterword: "Dates and Words"

    Robert Pinsky, Boston University


    Ann Keniston is an assistant professor of English at the University of Nevada-Reno, and is the author of Overheard Voices: Address and Subjectivity in Postmodern American Poetry (Routledge 2006), and a poetry collection, The Caution of Human Gestures (David Robert, 2005).

    Jeanne Follansbee Quinn is director of studies for the Program in History and Literature at Harvard University and has published essays on James Agee and Walker Evans, Richard Wright and American pragmatism. She is completing a book on anti-fascist aesthetics in the United States during the 1930s, Democratic Aesthetics: Popular Front Anti-Fascism.