By Priscilla Walton, Bruce Tucker
The bombing of the dual Towers in long island on September eleven, 2001, marked an immense turning aspect in sleek American tradition. Authors Bruce Tucker and Priscilla L. Walton study serious moments within the aftermath of Sept. 11 arguing that commentators deserted complexity, looking to lessen occasions to their easiest signification.
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Extra resources for American Culture Transformed: Dialing 9/11
Lynch was then sent to Germany for medical assessment and treatment, and later transferred to the Walter Reed Army Medical Center in Washington for three months of further treatment and therapy; she was given a hero’s welcome in her home town of Palestine, West Virginia, on July 22, 2003, and the army awarded her the Purple Heart, the Bronze Star, and the Prisoner of War Medal. Almost a year later, reports of the activities of another woman soldier, Lynndie England, took center stage in the news, only this time the story was one of torture, prisoner abuse, and shock that American soldiers could perpetrate such degradation on captured enemy soldiers.
As Michael Dorland notes in Cadaverland, “the remark was often misunderstood in being taken over-literally or promptly expanded into an impossibility” (MS 276). In fact, and as Dorland outlines, there was a lot of literature written after Auschwitz, and much of it is heralded as the birth of postmodernism. Perhaps more accurately, then, would be the question: Is there modernism after Auschwitz? And, again, the answer would be yes, although a modiﬁed yes, since the idea of the modernist “universal truth” was a questionable proposition in the face of World War II horrors (whether the Holocaust and/or the atomic bomb).
Then we are out of options” (311–12). The airport offers, as they put it, a place: “Not coming or going. Nor something or nothing, Not yes or no” (312). It is outside the binary world, and, as such, can be inhabited by souls so damaged they cannot bear to live, but are not ready to die. Heroes, Hype, and History 25 Portraying trauma Inserted throughout Foer’s text are drawings and photos that speak to Oskar: door locks, keys, and another picture that keeps reappearing. It is fuzzy and difﬁcult to decipher – until the end of the novel, when Oskar tells the reader the ensuing pages comprise a ﬂash book (that kind of little book that allows one to ﬂip pages quickly to produce an animated sequence), and the photograph, it becomes clear, is of the falling man.
American Culture Transformed: Dialing 9/11 by Priscilla Walton, Bruce Tucker