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Road Trips, Globalisation, and the War on Terror
Kyle William Bishop

American zombie Gothic films have changed markedly in their tone, style, and structure since September 11, an evolution that expands the Gothic mode to include the mobility of the narratives protagonists, a popularisation of the movies, and an increased engagement with a multi-ethnic international community. To remain timely, relevant, and commercially viable, such alterations must occur, and these shifts in particular can best be explained by the changing cinematic marketplace, the influence of videogames, and the policies and anxieties resulting from the (inter)national trauma of 9/11 and the War on Terror. This essay examines the film version of World War Z as a key text for exploring the current transition from a localised siege narrative to an international kind of road trip movie, a shift largely tied to the popularity of zombie-themed videogames.

Gothic Studies
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Mark Brown

what bearing will these events have on his work in the future? The Brooklyn Follies ended with these lines: It was eight o’clock when I stepped out onto the street, eight o’clock on the morning of September 11, 2001 – just forty-six minutes before the first plane crashed into the North Tower of the World Trade Center. Just two hours after that, the smoke of three thousand incinerated bodies would drift toward Brooklyn and come pouring down on us in a white cloud of ashes and death. But for now it was still eight o’clock, and as I walked along the avenues under the

in Paul Auster
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A structure of feeling
Patrick Duggan

which Román describes as a ‘world of terrible suffering and loss, a world that seems at times evacuated of hope, a world 36 Trauma-tragedy: a structure of feeling in which these feelings have been normalized as well, simply, life’ (2002: 2).3 Although much of the work published in the issue was started before September 11 2001, a great deal of it was informed by and altered after that day (Román 2002: 16). The events of September 11 become a central preoccupation in much of the writing. But, as with all traumas, the terrorist attacks and huge losses witnessed across

in Trauma-tragedy
Open Access (free)
Towards a contemporary aesthetic
Jonathan Dollimore

and stirring potent if as yet localised racism. Some predict that it will only take another economic depression for the reappearance in Britain of the barbarism witnessed in Eastern Europe in the 1990s. Finally, as Hesse well knew, the realm of the aesthetic, even or especially when it tries to stand above the political, never escapes it. Days after my writing the above in 2001 there occurred the September 11th terrorist attacks on New York and Washington, subsequent to which Britain signed up to another war, one whose scope and extent was, and remains, unknowable

in The new aestheticism
David Alderson

’s reflections in About Time: Narrative, fiction and the philosophy of time (Edinburgh: Gilmour and Schwarz, End of Empire and the English Novel.indd 235 18/07/2011 11:14:38 236 en d of e m pi r e a n d t he engl i sh nov el si nce 1945 Edinburgh University Press, 2007), pp. 124–32. Peggy A. Knapp considers the novel to be hyperrealist, characterised by ‘over-specification’: ‘Ian McEwan’s Saturday and the aesthetics of prose’, Novel 41: 1 (2007), pp. 122–43. 14 Fred Halliday, ‘September 11, 2001, and the Greater West Asian crisis’ in his Two Hours That Shook the World

in End of empire and the English novel since 1945
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Sara Upstone

values. It reflects the fact that ‘In the post-September 11 climate, British Muslims are at the forefront of questions that turn on what it means to be British or English.’15 Focused on a Muslim ‘honour killing’ in a small, isolated British town, Maps is a coterminously violent and beautiful engagement with twenty-first-century British Muslim identity, at the same time that it continues to acknowledge Aslam’s interest in issues of migration and his Urdu influences. Here, then, the principle of positioning identified in the introduction becomes of great significance

in British Asian fiction
International man of stories
Peter Morey

proposals of ethical justice brought forth by the reading.10 In addition to the various literary prizes Mistry’s writing has won, further recognition came in December 2001, when A Fine Balance was chosen to feature on Oprah Winfrey’s television ‘Book Club’. According to Mistry’s Canadian agent, Bruce Westwood, ‘After September 11, Oprah wanted a Book Club choice that would introduce American readers to the east’.11 Ironically, less than a year later, this most unassuming and tolerant of writers felt compelled to abandon a promotional tour of the United States for his new

in Rohinton Mistry
Rachel Sykes

novelist at a time of crisis, Updike, Foer and many of their contemporaries embraced the portrayal of noise in the hope that the novel could capture the dissonance of ‘9/11’ and preserve a record of the events for posterity. The first wave of book-length studies to address the burgeoning group of novels also appeared quickly: both Literature After 9/11 (2008) edited by Ann Keniston and Jeanne Follansbee Quinn and Kristiaan Versluys’ Out of the Blue: September 11 and the Novel (2009) survey a range of texts in the attempt to establish a literary trend. In both volumes

in The quiet contemporary American novel
Reality and secrecy in You Don’t Love Me Yet and Chronic City
James Peacock

, when ‘the managers of meaning, the anchors and the reporters and the commentators’ set to work on shaping the representations of an event that had previously ‘bested every representation of it’. According to Wieseltier, September 11 was then inevitably changed into ‘September 11’ (Wieseltier, 2002 : 38). Transformed into convenient symbols of heroism, defiance and the American drive to reinvention by

in Jonathan Lethem
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Maria Holmgren Troy, Elizabeth Kella and Helena Wahlström

meanings of orphanhood in late twentieth- and early twenty-first-century fiction, when, for instance, the term ‘orphan’ re-emerged in the orphanage debate of 1994 and the Twin Towers Orphan Fund after September 11, 2001.5 Characters designated, and sometimes self-designated, as ‘orphans’ become central to quite a few twenty-first-century American novels, such as Kaye Gibbons’s The Life All Around Me by Ellen Foster (2006), Hannah Tinti’s The Good Thief (2008), Toni Morrison’s A Mercy (2008), and Tim Gautreaux’s The Missing (2009). However, these novels are set in earlier

in Making home