Monolingual, monolithic English is an issue of the past. In this collection, by using cinema, poetry, art, and novels we demonstrate that English has become the heteroglossic language of immigration - Englishes of exile. By appropriating its plural form we pay respect to all those who have been improving standard English, thus proving that one may be born in a language as well as give birth to a language or add to it one's own version. The story of the immigrant, refugee, exile, expatriate is everybody's story, and without migration, we could not evolve our human race.

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.

9/11 Fiction, Empathy, and Otherness analyzes recent works of fiction whose principal subject is the attacks of September 11, 2001. The readings of the novels question and assess the validity and potential effectiveness of both the subsequent calls for a cosmopolitan outlook and the related, but no less significant, emphasis placed on empathy, and exhibited in such recent studies as Jeremy Rifkin's The Empathic Civilization, Karsten Stueber's Rediscovering Empathy, and Julinna Oxley's The Moral Dimensions of Empathy. As such, this study examines the extent to which "us" and "them" narratives proliferated after 9/11, and the degree to which calls for greater empathy and a renewed emphasis on cosmopolitan values served to counterbalance an apparent movement towards increased polarization, encapsulated in the oft-mentioned "clash of civilizations." A principal objective of the book is thus to examine the ethical and political implications revealed in the exercising or withholding of empathy. For though empathy, in and of itself, may not be sufficient, it is nevertheless a vital component in the generation of actions one might identify as cosmopolitan. In other words, this book examines the responses to 9/11 (in both Western and non-Western novels) in order to uncover what their dramatic renderings might tell us about the possibility of a truly globalized community. The attainability of any cosmopolitan engagement is contingent upon our abilities to understand the other, knowing always that otherness eludes our grasp, and the best we can do is imagine some version of it. It is primarily in this capacity that the novel has a role to play. Whether it is the challenge of connecting with the survivors of trauma and the inhabitants of a traumatized city, or with a hyperpower that has experienced its own vulnerability for the first time, or even with the terrorist who seeks to commit violent acts, these novels afford us the means of examining the complex dynamics involved in any exhibition of fellow-feeling for the other, and the ever-present potential failure of that engagement.

9/11 Fiction, Empathy, and Otherness analyzes recent works of fiction whose principal subject is the attacks of September 11, 2001. The readings of the novels question and assess the validity and potential effectiveness of both the subsequent calls for a cosmopolitan outlook and the related, but no less significant, emphasis placed on empathy, and exhibited in such recent studies as Jeremy Rifkin's The Empathic Civilization, Karsten Stueber's Rediscovering Empathy, and Julinna Oxley's The Moral Dimensions of Empathy. As such, this study examines the extent to which "us" and "them" narratives proliferated after 9/11, and the degree to which calls for greater empathy and a renewed emphasis on cosmopolitan values served to counterbalance an apparent movement towards increased polarization, encapsulated in the oft-mentioned "clash of civilizations." A principal objective of the book is thus to examine the ethical and political implications revealed in the exercising or withholding of empathy. For though empathy, in and of itself, may not be sufficient, it is nevertheless a vital component in the generation of actions one might identify as cosmopolitan. In other words, this book examines the responses to 9/11 (in both Western and non-Western novels) in order to uncover what their dramatic renderings might tell us about the possibility of a truly globalized community. The attainability of any cosmopolitan engagement is contingent upon our abilities to understand the other, knowing always that otherness eludes our grasp, and the best we can do is imagine some version of it. It is primarily in this capacity that the novel has a role to play. Whether it is the challenge of connecting with the survivors of trauma and the inhabitants of a traumatized city, or with a hyperpower that has experienced its own vulnerability for the first time, or even with the terrorist who seeks to commit violent acts, these novels afford us the means of examining the complex dynamics involved in any exhibition of fellow-feeling for the other, and the ever-present potential failure of that engagement.