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Post-9/11 fiction reflects how the September 11, 2001, attacks have
influenced our concept of public space, from urban behavior
patterns to architecture and urban movement. It also suggests a
need for remapping the real and imagined spaces where we live and
work. Through close readings of novels from both sides of the
Atlantic, this analysis of the literary 21st century metropolis
explores the fictional post-9/11 city as a global space not defined
or contained by its physical limits.
Charting the intersection of aesthetic representation and the
material conditions of urban space, The City Since 9/11 posits that
the contemporary metropolis provides a significant context for
reassessing theoretical concerns related to narrative, identity,
home, and personal precarity. In the years since the September 11
attacks, writers and filmmakers have explored urban spaces as
contested sites-shaped by the prevailing discourses of
neoliberalism, homeland security, and the war on terror, but also
haunted by an absence in the landscape that registers loss and
prefigures future menace. In works of literature, film, and
television, the city emerges as a paradoxical space of permanence
and vulnerability and a convergence point for anxieties about
globalization, structural inequality, and apocalyptic violence.
Building on previous scholarship addressing trauma and the
spectacle of terror, the contributors also draw upon works of
philosophy, urban studies, and postmodern geography to theorize how
literary and visual representations expose the persistent conflicts
that arise as cities rebuild in the shadow of past ruins. Their
essays advance new lines of argument that clarify art's role in
contemporary debates about spatial practices, gentrification,
cosmopolitanism, memory and history, nostalgia, the uncanny and the
abject, postmodern virtuality, the politics of realism, and the
economic and social life of cities. The book offers fresh readings
of familiar post-9/11 novels, such as Jonathan Safran Foer's
Extremely Loud & Incredibly Close, but it also considers works
by Teju Cole, Joseph O'Neill, Silver Krieger, Colum McCann, Ronald
Sukenick, Jonathan Lethem, Thomas Pynchon, Colson Whitehead, Paul
Auster, William Gibson, Amitav Ghosh, and Katherine Boo. In
addition, The City Since 9/11 includes essays on the films Children
of Men, Hugo, and the adaptation of Extremely Loud & Incredibly
Close, chapters on the television series The Bridge, The Killing,
and The Wire, and an analysis of Michael Arad's Reflecting Absence
and the 9/11 Memorial.
The volume takes a close look at the forms and functions of family
and kinship in cultural narratives in the United States. It
analyzes social and cultural contexts of kinship and family
membership, relations of family and nation on a metaphorical level,
and the political discourses that regulate sexuality and
reproduction. Representations of family and kinship inform all
aspects of American life, which is prominently noticeable in
politics, legislation, art, and the media. Family discourses are
employed to communicate and negotiate constellations of power and
they can serve to investigate differences, struggles, alliances,
strategic endeavors, and innovative conceptualizations of kinship.
The essays collected in this volume provide readings of texts
across various genres that highlight the role of cultural
production in reconfiguring paradigms of family and kinship in the
US.
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