The insistent realism of
Don DeLillo's ‘Falling Man'
and Paul Auster's ‘Man in the Dark'
During the last decade, many theorists and writers have got remarked the peculiar fictionalisation of the information of 9/11. For instance, as Salman Rushdie explains, " we all entered a frontier that day, an invisible border between the you can possibly imagine and the ridiculous, and it had been to be the unthinkable that was real” (Rushdie 2002: 436-437). Martin Camarads pointed out that Sept 11 " marked the apotheosis with the postmodern period – the era of images and perception” (Amis 2001: G2). Similarly, in relation to the September 11 attacks, Slavoj Žižek argued that " in contrast to the Barthesian effet man réel, where the text makes us acknowledge its imaginary product while ‘real', below, the Real itself, in order to be sustained, has to be perceived as a nightmarish unreal spectre” (Žižek 2002: 19). The Western notion of actuality was easily disturbed by fall of 1 of the emblems of late capitalism operated by simply terrorist disorders that looked as if they appeared from another, exterior and spectacular, dimension. As Žižek declares,
We should consequently invert the normal reading in respect to which the WTC explosions were the intrusion of the Real which shattered the illusory world: quite the reverse - it was prior to the WTC failure that we lived in our truth, perceiving Third World horrors as something which was not actually part of our social reality, since something which been with us (for us) as a spectral apparition around the (TV) display screen - and what happened upon September eleven was that this kind of fantasmatic
9/11/2011 – 11/2011
screen apparition entered our reality. It is not that fact entered the image: the image entered and shattered our reality (i. e. the symbolic heads which know what we encounter as reality) (Ibid.: 16).
On the literary side, various U. S i9000. novelists including Jonathan Safran Foer (Extremely Loud and Incredibly Close, 2005), Jay McInerney (The Good Life, 2006), Ken Kalfus (A Disorder Peculiar towards the Country, 2006), Don DeLillo (Falling Man, 2007), Ruben Updike (The Terrorist, 2007) and Paul Auster (Man in the Dark, 2008) attempted to confront the events of 9/11 and its aftermath. The essence this article is to know how Wear DeLillo's Dropping Man and Paul Auster's Man at nighttime tried to find a way to present the uncanny situations of 9/11 and the subsequent horrors of the Iraq warfare through a complex recourse to realism. Both equally Auster and DeLillo have been completely defined as a pair of the most relevant authors with the postmodernist American literature in the last many years. DeLillo have been often regarded as " the pre-eminent analyst of the age of the spectacle, the poet person laureate of the simulacrum, in the depthless image floating above a social vacuum” (Evans 2006: 104), while, concurrently, since the publication of City of Glass (1985), " Paul Auster was hailed as the most recent in a series of American writers who could possibly be labeled ‘postmodernist'” (Brendan 08: 1). The works of fiction posted by the two of these authors manage to share what Hans Bertens defines since the " common denominator” of all the numberless definitions of Postmodernism, namely " a crisis in manifestation, a deeply felt loss in faith within our ability to symbolize the real, in the widest sense” (Bertens 95: 11). However , if we could notice the frame of mind to identify this catastrophe of manifestation in their newest works of fiction, just like DeLillo's Underworld (1997) or perhaps Auster's Oracle Nights (2004), we can definitely remark " a refurbishment of access to the real” (Evans 2006: 104) and an focus " to the transient mother nature of man existence” (Brendan 2008: introd., x). 1
In Falling Man and in Man at night this dual tendency towards crisis of representation benefits particularly from the uncanny characteristics of the WTC attacks and the Iraq battle and the subsequent traumas turning character's lives and behaviors upside down....
Offered: Amend C. and G. Diez, 08, " We Don't Know America Anymore”, Interview with
(March 22, 2011).
Amis M., 2001, " Fear and Loathing”, The Guardian, 18 Sept. 2001, G2.
Auster P., 2007, Man at nighttime, Henry Holt and Business, New York.
Baudrillard J., 2002, The Heart of Terrorism and Requiem for the Twin Systems,
Bertens H., 1995, The Idea of the Postmodern. As well as, Routledge, London-New
Brauner D., 2008/2009, " ‘The Days After' and ‘the Ordinary Manage of Hours'.
Brendan M., 2008, Paul Auster is Postmodernity, Routledge, London-New York.
Conte L. M., 08, " Summary: Writing amongst the ruins: 9/11 and Cosmopolis, ” in
Cvek S., 2009, " Getting rid of Politics: The Art of Recovery in Falling Man”, Studia
Romanica et Anglica Zagrabensia, Volume
(April 15, 2011); " In the
Damages of the Future
(April 10, 2011);
2007, Falling Man, Scribner, New York.
Dirda M., 08, " Spellbound”, The New You are able to Review of Catalogs, December some, 2008,
Evans D. They would. 2006, " Taking Out the Trash. Wear DeLillo's Underworld, Liquid
Modernity, and the End of Garbage”, The Cambridge Quarterly, thirty-five. 2, pp
Gleason P., 2002, " Don DeLillo, T. H. Eliot, and the Redemption of America's
Atomic Waste Land”, in Dewey - Kellman - Malin (eds. ), Underwords
Greyish R., 2009, " Open Doors, Closed Minds. American The entire Writing each time of
Crisis”, American Literary History, 21 years old. 1 ., pp
Hassan My spouse and i., 2003, " Beyond Postmodernism. Toward a great Aesthetic of Trust”, in K.
Houen A., 2004, " Story Spaces and Taking Place(s) in the Wake of September 11”,
Hughes, T., 2004, " What Happened to Nick Hohe? Father of Nick Berg Blasts
Bush-Cheney Administration”, The Baltimore Chronicle, June 7, 2004,
< http://baltimorechronicle.com/060804Hughes.shtml> (March 29, 2011).
McGlone J., 2008, " A tone of voice in the night - Paul Auster interview”, The
Scotsman, 30 August 2008, (April 12, 2011).
Morley C., 2008, " Plotting against America: 9/11 and the spectacle of fear in
modern day American fiction”, Gramma/Γράμμα: Record of Theory and Critique, 16,
Morley C., 2008/2009, " The conclusion of Chasteness: Tales of Terror after 9/11”, Review
of Worldwide American Studies, Special Issue
Osteen, Meters., 2000, American Magic and Dread. Put on DeLillo's Discussion with Culture,
University of Pennsylvania Press, Philadelphia.
Rothberg M, 2009, " An inability of the Creativeness: Diagnosing the Post-9/11 Novel:
A Response to Richard Gray”, American Literary History, 21. 1, pp
Rushdie H., 2002, Stage Across This Line. Accumulated non-fiction 1992-2002, Random
Residence, New York.
Simonetti P., 2011, " Loss, Damages, War: Paul Auster's Response to 9/11 and the ‘War
Skinner Q., 2002, " Another Concept of Liberty”, London Report on Books, twenty-four. 7,
(February 18, 2011).
Varvogli A., 2008/2009, " Ailing Writers: Paul Auster's Travels in the Scriptorium
and Philip Roth's Exit Ghost”, Review of Worldwide American Studies, Special Concern.
Žižek H., 2002, Welcome to the Desert of the Real! Five Essays on Sept. 2010 11
and Related Schedules, Verso, London-New York.