By Jeffrey Melnick

9/11 Culture serves as a well timed and available creation to the complexities of yankee tradition within the wake of the Sept. 11 assaults.

  • Gives balanced examinations of a extensive catalogue of artifacts from movie, track, images, literary fiction, and different well known arts
  • Investigates the ways in which 9-11 has exerted a shaping strength on a variety of practices, from the politics of femininity to the poetics of redemption
  • Includes pedagogical fabric to help knowing and educating, together with movie and discographies, and an invaluable lecturers' preface

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Additional resources for 9/11 Culture

Example text

I do not want to wade into the complex debates that have followed Williams about how to define “culture”; I want to encourage a reading of the “culture” in my title as a loose application of the scientific sense of the word – as having to do with material grown in special conditions for particular experimental or commercial purposes. The material of 9/11 culture(s) includes popular songs, comic strips, rumors, films, speeches, photographs, bumper stickers and t-shirts, along with novels and museum-ready visual arts, but is characterized above all by its on-the-fly practicality.

And clip art, after all, can be a force of good. In his introduction to David Rees’s (2002) comic strip collection Get Your War On (the title itself a “repetition” that usefully revises “Get your freak on,” “Get your game on,” and so on), novelist Colson Whitehead reminds us that Rees’s “master stroke,” after all, in creating his web comic, was in deciding to represent his characters and settings only through manipulations of found clip art (iv). The immediacy, desperation, and hilarity of Get Your War On rely perhaps above all on the incendiary and innovative (and crude) language that fills its panels.

This poetics of redemption established in the opening scene – the resurrection of this beaten but unbowed dog – is contextualized immediately as the title credits roll out over an image of the “towers of light,” the two illuminated beams that stood in the place of the Twin Towers during the winter and spring of 2002. 25th Hour (on the most basic plot level) is about Monty Brogan’s last day of freedom before he will begin a long jail term for selling drugs. The movie invites us to play with all kinds of theoretically triumphant parallelism – the redemption of the dog is the redemption of Monty is the redemption of New York is the simplest and most seductive equation – all of which collapses under the weight of Monty’s ultimate reality.

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