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 September11, 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
reflections in About Time: Narrative, fiction and the philosophy of time (Edinburgh:
Gilmour and Schwarz, End of Empire and the English Novel.indd 235
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, ‘September11, 2001, and the Greater West Asian crisis’ in
his Two Hours That Shook the World
Cultural credibility in America's Ireland - and Ireland's America
Cultural credibility in America’s Ireland – and Ireland’s America
7 Diane Negra, ‘Irishness, innocence, and American identity politics
before and after September11’, in The Irish in Us: Irishness, Performativity,
and Popular Culture, ed. Negra. Durham and London: Duke University
Press, 2006, pp. 354–71 (354).
8 Negra, introduction, The Irish in Us, pp. 1–19 (3).
9 Mary McGlynn, ‘New Irish New York: contemporary Irish constructions of New York City’, in Ireland and Transatlantic Poetics, ed. Brian
Caraher and Robert Mahony. New Jersey: Rosemont
Gendering the foreigner in Emer Martin’s Baby Zero
specifically, religious nationalism at home, both
in the past and in the present. Martin started Baby Zero in the year 2000, while
she was living in the US and where she witnessed, first-hand, the September11
attacks in 2001 that transformed the site of the World Trade Center into Ground
Zero. She also witnessed the American military response to these attacks in the
name of nationalism and religion (McKay, 2009). Those were also the years in
which great scandal about the Magdalene Asylums culminated in Ireland. In the
2002 Peter Mullan film entitled Magdalene Sisters, the
Rewriting history and retreating from trauma in The Plot Against America
more memorable and
psychologically acute than most of the journalism generated by
September11’ (McInerney 2005: 6). This last comment comes from
‘The uses of invention’, an article in which McInerney defended the
right of novelists to deal with this material. He suggests that the attacks
on Foer are evidence of the fickleness of literary fashion, conforming
to a predictable pattern in American letters where feverish hype of a
writer’s reputation is swiftly succeeded by brutal deflation: ‘The culture
still seems to require precocious first novelists . . . we tend to
February 2005), pp. 21–2 (p. 22); Ruth Scurr,
‘Happiness on a Knife-edge’ (review of Saturday ), The Times, ‘Weekend
Review’ (29 January 2005), p. 13; Peter Kemp, ‘Master of the Mind Game’
(review of Saturday ), Sunday Times, ‘Culture’ (30 January 2005), pp. 41–2
5 Robert McCrum, ‘The Story of His Life’ (author profile), The Observer,
‘Review’ (23 January 2005), p. 5.
6 See Fred Halliday, Two Hours That Shook the World, September11, 2001:
Causes and Consequences (London: Saqi Books, 2002), p. 24.
7 Ibid., p. 216.
8 Ibid., pp. 172–3.
9 From McEwan’s front
Political and aesthetic disruption in Against the Day
Simon Malpas and Andrew Taylor
Samuel Thomas, ‘Metković to Mostar: Pynchon and the Balkans’, Textual
Practice 24.2 (2010): 353–77 (356).
35 See, for instance, Martin Randall, 9/11 and the Literature of Terror,
Edinburgh: Edinburgh University Press, 2011; Ann Keniston and Jeanne
Follansbee Quinn, eds, Literature After 9/11, London: Routledge, 2010;
Richard Gray, After the Fall: American Literature Since 9/11, Oxford: John
Wiley & Sons, 2011; and Kristiaan Versluys, Out of the Blue: September11 and the Novel, New York: Columbia University Press, 2009.
36 Jean Baudrillard, The Spirit of Terrorism
States publication of Fury coincided with the September11 2001 terrorist attacks on the World Trade Center. This led Rushdie to claim that it was the only novel in the history of writing that had become ‘out of date’ at the same moment it was published, since that event had changed the world about which he was writing. 62 ‘Like every writer in the world’, Rushdie claimed, he is now ‘trying to find a way of writing after 11 September 2001, a day that has become something like a borderline’ (SAL, 436). Rushdie’s ninth novel, Shalimar the Clown (2005), is the first
significance to Lessing. In October 2007 she was quoted around the world after an interview in the Spanish newspaper, El Pais , in which she remarked:
September11 was terrible, but if one goes back over the history of the IRA, what happened to the Americans wasn’t that terrible. Some Americans will think I’m crazy. Many people died, two prominent buildings fell, but it was neither as terrible nor as extraordinary as they think. They’re a very naive people, or they pretend to be. Do you know what people forget? That the IRA attacked with bombs
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 September11, 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