By Sven Cvek

This quantity deals a serious research of a section of yankee literary creation surrounding the September eleven, 2001 assaults at the usa. whereas targeting the writing of Jonathan Safran Foer, paintings Spiegelman, Don DeLillo, and Thomas Pynchon, the writer locates this paintings inside of a bigger Sep 11 cultural archive. The booklet proceeds in terms of a chain of thematic leaps so that it will unearth the energetic entanglement of the development with structures of that means and tool that create the stipulations for its emergence and knowing. the most challenge of such an method is composed in articulating the three-fold relation on the middle of the archive within which problems with tense loss, have an effect on, and politics seem as significant: among the historic occasion, its cultural imprint, and the broader social process. for you to seize those basic family members, the writer motels to a layered interpretive framework and engages a few theoretical protocols, from psychoanalysis and nationalism experiences to philosophy of background, world-system thought, and the heterogeneous severe practices of yankee reviews. Coming from a non-US Americanist viewpoint, this contribution to the scholarly construction approximately Sept. 11 concentrates on trauma as an issue within the conceptualization the development, insists on globalization as its an important context, and argues for a old materialist method of the 9-11 archive

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Extra resources for Towering figures : reading the 9/11 archive

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Namely, it is a normative ideal that is established through the act of seeing the suffering other, and it seems logical to ask whether this holds true for all national spectators. 41 Taylor’s example of disappearing photos of dead immigrant workers inside the WTC reveals this dynamic. Both seeing the suffering of foreign others and not seeing the equally real suffering of the others within national boundaries, guaranteed the assumed normative sense of national safety. In Lurie’s analysis, the event of 9/11 both marks a break that causes a “trauma of spectatorship” and signals continuity, since the break serves as the starting point for the renewal of the old exceptionalist narrative of an absolute and ahistorical US national safety.

25 Taylor, The Archive and the Repertoire, 241. , 244. 27 Psychoanalytic theory proposes that there are two basic ways of dealing with traumatic memory: an unavoidable, repetitive acting out of traumatic symptoms, and a productive process of working through that can eventually lead to the subject’s recovery. The relation between the two is more complex than mere automatic sequence. Relying on Freud’s distinction between such a neurotic acting out of the traumatic memory and its productive working through, LaCapra suggests that acting out or repeating represents a prerequisite for working through, a first step towards a socially more productive way of remembering trauma.

But such a complex traumatic return also reveals another, interfering past. Inspired by the state’s repressive domestic response to the September 11 attacks, some street vendors in the United States started selling t-shirts with an old photograph of Native American warriors and the label “Homeland Security: Fighting terrorism since 1492”. This conflation of the “now” with the traumatic past – in which the European settlers are equated with the 9/11 terrorists through a subversive play on the new hegemonic national narrative – represents a parodic take on the post-traumatic national reconsolidation after 9/11.

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