Art after the Cold War and 9/11 in Don DeLillo’s Fiction
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This paper examines Don DeLillo's recent novels that attempt to reassess the paranoid era of the Cold War and to contemplate its beyond, occasioned by the Fall of Berlin Wall in 1989, but more urgently by the September 11th terrorist attacks in 2001, the epochal event of apocalypse that DeLillo believes signals the true end of the Cold War. Whereas Underworld reconfigures Cold War history through the delicately calibrated lens of subdued nostalgia and euphoria, Falling Man, DeLillo's direct response to 9/11, revisits the theme of terrorist conspiracy as America's post-Cold War nemesis explored in The Names and Mao II. More concerned with envisioning what DeLillo describes as “counter-narratives” that could stand up to the narrative logic of terrorism and its fundamentalist vision of apocalypse, Falling Man yearns for a vision of national community, in which paranoia about terrorism is contained in such a way that it could itself be a ground for future communal discourse and networking. In so doing, however, the novel ironically summons a familiar Cold War era rhetorical juxtaposition between the “totalitarian man” and the “anxious man” propagated by Cold War liberal intellectuals. As an ironic gesture of what might be called post-Cold War liberalism, DeLillo suggests that art after 9/11 provide forms of “objective correlative” that may help the American Self regain the “vital” nerve to fight against the totalitarian vision of “mass purpose” and “historical destiny.”
Abstract
This paper examines Don DeLillo's recent novels that attempt to reassess the paranoid era of the Cold War and to contemplate its beyond, occasioned by the Fall of Berlin Wall in 1989, but more urgently by the September 11th terrorist attacks in 2001, the epochal event of apocalypse that DeLillo believes signals the true end of the Cold War. Whereas Underworld reconfigures Cold War history through the delicately calibrated lens of subdued nostalgia and euphoria, Falling Man, DeLillo's direct response to 9/11, revisits the theme of terrorist conspiracy as America's post-Cold War nemesis explored in The Names and Mao II. More concerned with envisioning what DeLillo describes as “counter-narratives” that could stand up to the narrative logic of terrorism and its fundamentalist vision of apocalypse, Falling Man yearns for a vision of national community, in which paranoia about terrorism is contained in such a way that it could itself be a ground for future communal discourse and networking. In so doing, however, the novel ironically summons a familiar Cold War era rhetorical juxtaposition between the “totalitarian man” and the “anxious man” propagated by Cold War liberal intellectuals. As an ironic gesture of what might be called post-Cold War liberalism, DeLillo suggests that art after 9/11 provide forms of “objective correlative” that may help the American Self regain the “vital” nerve to fight against the totalitarian vision of “mass purpose” and “historical destiny.”
참고문헌 (18)
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