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.

chapter |15 pages


Representing 9/11: Literature and Resistance

part |103 pages

Part I Experiencing 9/11

chapter 1|23 pages

Portraits of Grief

Telling Details and the New Genres of Testimony

chapter 3|22 pages

Graphic Implosion

Politics, Time, and Value in Post-9/11 Comics

chapter 4|17 pages

“Sometimes things disappear”

Absence and Mutability in Colson Whitehead's The Colossus of New York 1

chapter 5|21 pages

Witnessing 9/11

Art Spiegelman and the Persistence of Trauma

part 2|86 pages

9/11 Politics and Representation

chapter 6|20 pages

Seeing Terror, Feeling Art

Public and Private in Post-9/11 Literature

chapter 7|18 pages

“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

chapter 8|19 pages

“We're the Culture That Cried Wolf”

Discourse and Terrorism in Chuck Palahniuk's Lullaby

chapter 9|27 pages

Still Life

9/11's Falling Bodies

part 3|78 pages

9/11 and the Literary Tradition

chapter 10|15 pages

Telling It Like It Isn't

chapter 11|18 pages

Portraits 9/11/01

The New York Times and the Pornography of Grief 1

chapter 12|4 pages

Theater after 9/11

chapter 13|15 pages

Real Planes and Imaginary Towers

Philip Roth's The Plot Against America as 9/11 Prosthetic Screen

chapter 14|24 pages

Precocious Testimony

Poetry and the Uncommemorable

chapter |6 pages


Imagination and Monstrosity