The Great Gatsby Essay Paper Example For Students

The Great Gatsby Essay Paper English Essay The Great Gatsby The primary topic of the novel The Great Gatsby centers around the American Dream and it is depicted through the duration of Jay Gatsby. Through Gatsbys life we see the wilting of the American Dream, a disaster that struck Jays close to completed dream. The American Dream is the thing that many have trusted of accomplishing, it has existed before and is in the present. The American Dream gives individuals an objective that they can progress in the direction of, it additionally gives them a reason throughout everyday life. The American Dream speaks to extravagance and riches it accepts the integrity of the personal satisfaction. For Jay Gatsby, he was so near accomplishing the American Dream. He had the riches and the class, all he required was his tragically deceased love, Daisy. Gatsby really accepted that he could by and by be along with Daisy we see this when he says Cant rehash the past? he cried suspiciously. Why obviously you can (P. 116). Anyway what made the story such a catastrophe was, that Gatsby verged on wining Daisy anyway he was executed by Mr. Wilson which he was simply inches from effectively finishing the American Dream. Previously, just a limited quantity of the American Dream ended up being effective, most have fizzled. Numerous individuals who didn't accomplish the American Dream wound up ending it all or different methods for abandoning life since they accept there was no other reason throughout everyday life. We will compose a custom exposition on The Great Gatsby Paper explicitly for you for just $16.38 $13.9/page Request now Gatsby speak to the American Dream from multiple points of view, so as to achieve his Dream he knew precisely what he wanted, when Jay met Dan Cody at the shore of Lake Superior, Dan demonstrated him a dream of accomplishment a dream of what riches would offer, the fervor of being rich. Jay Gatsby has an aggressive nature, there for he would do anything just to live the American Dream. He began by building a past, he changed his name from James Gatz to Jay Gatsby trying to develop an establishment for his fantasy. He at that point made a picture for Jay Gatsby, a well refined man who was conceived in the west, instructed at oxford and battled in World War I. Gatsby was then ready to achieve a lot of cash working with Meyer Wolfsheim. He at that point purchased a tremendous manor in the West Egg, anyway he would toss unrestrained gatherings in trusting of drawing in his tragically deceased love Daisy, the person who he took part in an extramarital entanglements with before he went to the war. Scratch depicts Gatsbys sentiments about Daisy: He hadnt once stopped taking a gander at Daisy and I feel that he revalued everything in his home as indicated by the proportion of the reaction it drew from her all around adored eyes. Here and there, as well, he gazed around at his assets in a stunned manner like in her real nearness none of it was any more extended genuine. When he even toppled down a stairwell (P.96 97)Daisy means the world to Gatsby, his American Dream is converged with his fantasy about being with Daisy. Without Daisy, Gatsbys American Dream is fragmented. A main consideration that makes Gatsbys American Dream so shocking is that everything appeared to be so flawless first and foremost, for instance we see that he nearly had the ideal life. He had assortments of great vehicles to a pleasant fabulous white manor to accumulations of imported shirts. Scratch Describes Gatsbys parties:Every Friday five cases of oranges and lemons showed up from a fruiter in New York each Monday there same oranges and lemons left his secondary passage in a pyramid of pulpless parts. (P.43)This shows the measure of riches Gatsby had, he tossed parties week after week and the majority of his visitors havent even observed Gatsby. He didnt toss the gatherings to show of his riches, he tossed the gatherings in anticipation of pulling in Daisy. Gatsby required Daisy to finish his life, his fantasy to be with Daisy melded with his American Dream. In any case, unfortunately he needed to bite the dust at such a youthful age, epically when hes so near accomplishing t he American Dream. .uf7e0afd1e90bc4e5e293889a91038331 , .uf7e0afd1e90bc4e5e293889a91038331 .postImageUrl , .uf7e0afd1e90bc4e5e293889a91038331 .focused content region { min-tallness: 80px; position: relative; } .uf7e0afd1e90bc4e5e293889a91038331 , .uf7e0afd1e90bc4e5e293889a91038331:hover , .uf7e0afd1e90bc4e5e293889a91038331:visited , .uf7e0afd1e90bc4e5e293889a91038331:active { border:0!important; } .uf7e0afd1e90bc4e5e293889a91038331 .clearfix:after { content: ; show: table; clear: both; } .uf7e0afd1e90bc4e5e293889a91038331 { show: square; progress: foundation shading 250ms; webkit-change: foundation shading 250ms; width: 100%; darkness: 1; change: murkiness 250ms; webkit-change: mistiness 250ms; foundation shading: #95A5A6; } .uf7e0afd1e90bc4e5e293889a91038331:active , .uf7e0afd1e90bc4e5e293889a91038331:hover { haziness: 1; change: obscurity 250ms; webkit-change: haziness 250ms; foundation shading: #2C3E50; } .uf7e0afd1e90bc4e5e293889a91038331 .focused content region { width: 100%; position: relative; } .uf7e0afd1e90bc4e5e293889a91038331 .ctaText { outskirt base: 0 strong #fff; shading: #2980B9; text dimension: 16px; textual style weight: intense; edge: 0; cushioning: 0; text-enhancement: underline; } .uf7e0afd1e90bc4e5e293889a91038331 .postTitle { shading: #FFFFFF; text dimension: 16px; text style weight: 600; edge: 0; cushioning: 0; width: 100%; } .uf7e0afd1e90bc4e5e293889a91038331 .ctaButton { foundation shading: #7F8C8D!important; shading: #2980B9; fringe: none; outskirt sweep: 3px; box-shadow: none; text dimension: 14px; text style weight: striking; line-stature: 26px; moz-fringe span: 3px; text-adjust: focus; text-beautification: none; text-shadow: none; width: 80px; min-stature: 80px; foundation: url(https://artscolumbia.org/wp-content/modules/intelly-related-posts/resources/pictures/basic arrow.png)no-rehash; position: supreme; right: 0; top: 0; } .uf7e0afd1e90bc4e5e293889a91038331:hover .ctaButton { foundation shading: #34495E!important; } .uf7e0afd1e90bc4e5e293889a910383 31 .focused content { show: table; tallness: 80px; cushioning left: 18px; top: 0; } .uf7e0afd1e90bc4e5e293889a91038331-content { show: table-cell; edge: 0; cushioning: 0; cushioning right: 108px; position: relative; vertical-adjust: center; width: 100%; } .uf7e0afd1e90bc4e5e293889a91038331:after { content: ; show: square; clear: both; } READ: Salem Witch Trials EssayGenerally, the American Dream is for the most part accomplished by individuals of the higher

Unit 5 Soil Study Guide Flashcard

Unit 5 Soil Study Guide

The Unnecessary Cost of the War in Iraq Essay Example | Topics and Well Written Essays - 500 words

The Unnecessary Cost of the War in Iraq - Essay Example The Bush organization, alongside the encouraging of then Defense Secretary of resistance Donald Rumsfeld, woefully disparaged the quantity of officers it would require to make sure about Iraq after the underlying attack. Their number of around 125,000 soldiers was dreadfully not many to possess the nation and reestablish request. Paul Bremer, senior regular citizen director in Iraq during the main year of the occupation says he, griped to President Bush and different authorities that extremely not many soldiers were focused on the occupation in the primary year after Saddam Hussein was removed (Shanker, A6). Bremer even composed a proper letter to Secretary Rumsfeld mentioning two extra divisions, yet Bremer battles, he had never heard back from Mr. Rumsfeld (Shanker, A6). The way that the Defense Department would not react to the senior director on the ground in Iraq shows the level of pomposity, if not inadequacy, that has driven our nation into an entanglement of rash choices. The choices made at the White House have brought about the superfluous passings and injuring of huge numbers of our best youngsters and ladies. The loss of life remains at very nearly 2,800 executed and another 10,000 injured so seriously that they will always be unable to come back to deployment ready (Shanker and Cloud, A14).

Definition and Examples of Elocution in English

Definition and Examples of Elocution in English Rhetoric is the specialty of successful open talking, with specific regard for the unmistakable, particular, and socially satisfactory pronunciationâ of words. Descriptive word: elocutionary. In old style talk, conveyance (or actio) and style (or elocutio) were viewed as isolated divisions of the conventional expository procedure. See: logical ordinances. Etymology: From the Latin, articulation, articulation Pronunciation:â e-leh-KYU-shen Likewise Known As: elocutio, style Models and Observations The word address implies something very extraordinary to us from what it intended to the old style rhetorician. We partner the word with the demonstration of talking (subsequently, the address contest)... Be that as it may, for the traditional rhetorician, elocutio implied style. ...Every single explanatory thought of style included some conversation of selection of words, for the most part under such headings as accuracy, purity..., straightforwardness, clearness, suitability, ornateness.Another subject of thought was the piece or plan of words in expressions or provisions (or, to utilize the logical term, time frames). Included here were conversations of right punctuation or collocation of words; examples of sentences (for example parallelism, absolute opposite); appropriate utilization of conjunctions and other associating gadgets both inside the sentence and between sentences...A extraordinary arrangement of consideration was paid, obviously, to tropes and figures.(Edward P.J. Co rbett and Robert J. Connors, Classical Rhetoric for the Modern Student. Oxford University. Press, 1999)​ The Elocutionary MovementVarious factors added to increased enthusiasm for the investigation of oration in both the eighteenth and nineteenth hundreds of years. Various researchers perceived that conventional understudies keen on the service or the bar were missing viable talking aptitudes, and endeavors were made to defeat these insufficiencies. Starting in England and proceeding in the United States, address turned into the fundamental focal point of talk during this time. . . .In examining rhetoric, understudies were fundamentally worried about four things: substantial signals, voice the board, articulation, and vocal creation (the genuine development of the hints of discourse). (Brenda Gabioud Brown, Elocution. Reference book of Rhetoric and Composition: Communication From Ancient Times to the Information Age, ed. by Theresa Enos. Taylor Francis, 1996)The Principal Parts of ElocutionElocution (elocutio) . . . is the best possible work of the proper words (idonea verba) and consid erations (idoneae sententiae) appropriate to the things developed and orchestrated (res inventae et dispositae).Its chief parts are polish, poise, and organization . . .. Tastefulness is detected most much of the time in words and contemplations; nobility in the splendor of the figures of words and musings . . .; and structure in the joining of words, in the period, and in the mood. (Giambattista Vico, The Art of Rhetoric (Institutiones Oratoriae), 1711-1741, trans. G. A. Pinton and A. W. Shippee, 1996)The away from of isolated words and their elements.The only articulation of the feeling of words in associated discourse.Appropriate signal, appreciating under this head the disposition, movements, and part of face generally appropriate to loan activity and power to discourse. The Requisites of a Good DeliveryElocution is the craft of conveying composed or communicated in language in the manner in which best determined to communicate the sense, excellence, or power of the words utilized by the speaker.The requirements of a decent conveyance are:(Alexander Kennedy Isbister, Outlines of Elocution and Correct Reading, 1870)Lord Chesterfield on Becoming a Fine SpeakerThe foul view a man, who is figured a fine speaker, as a wonder, an otherworldly being, and blessed with some exceptional endowment of Heaven; they gaze at him, in the event that he strolls in the recreation center, and cry, that is he. You will, I am certain, see him in a juster light, and nulla formidine [without apprehension]. You will think of him as just as a man of good sense, who decorates regular musings with the graces of statement, and the tastefulness of style. The supernatural occurrence will at that point stop; and you will be persuaded, that with a similar application, and considerat ion regarding similar articles, you may assuredly rise to, and maybe outperform, this wonder. (Philip Stanhope, letter to his child, February 15, 1754) Instructors of ElocutionIf there is a word more anti-agents than all others to an on-screen character, or to the relative of on-screen characters, it is the word address. It is stating a decent arrangement, be that as it may, presumably, outside of patent prescriptions, there is no fake so extraordinary as portrays nine tenths of statement instructing. People totally unequipped for talking one sentence normally attempt to make open speakers. What is the outcome? Podium, bar, platform, and stage abound with speakers that mouth, speak, tirade, serenade, and articulate, yet are rarely characteristic. It is an egregious malice. That statement can be trained I have no uncertainty, yet I realize that most educators are to be disregarded as you would evade the plague.(American columnist and entertainer Kate Field, cited by Alfred Ayres in Acting and Actors, Elocution and Elocutionists: A Book About Theater Folk and Theater Art, 1903)

Relationship Between Deviance and Mental Illness

Connection Between Deviance and Mental Illness Aberrance and psychological sickness frequently go connected at the hip. While not all freaks are viewed as intellectually sick, practically all intellectually sick people are viewed as degenerate (since psychological maladjustment isn not thought about typical). When contemplating abnormality, at that point, sociologists likewise regularly study psychological maladjustment. The three principle hypothetical structures of human science respect psychological instability somewhat better, anyway they all look to the social frameworks wherein dysfunctional behavior is characterize, recognized, and treated. Functionalists accept that by perceiving psychological instability, society maintains values about acclimating conduct. Emblematic interactionists see intellectually sick people not as debilitated, however as casualties of cultural responses to their conduct. At long last, clash scholars, joined with marking scholars, accept that the individuals in a general public with the least assets are the well on the way to be named intellectually sick. For example, ladies, racial minorities, and the poor all endure higher paces of psychological sickness than gatherings of higher social and monetary status. Further, inquire about has reliably demonstrated that center and privileged people are bound to get some type of psychotherapy for their psychological maladjustment. Minorities and more unfortunate people are bound to just get prescription and physical restoration, and not psychotherapy. Sociologists have two potential clarifications for the connection between societal position and psychological maladjustment. To begin with, some state it is the worries of being in a low-pay gathering, being a racial minority, or being a lady in a chauvinist society that adds to higher paces of dysfunctional behavior since this harsher social condition is a risk to emotional well-being. Then again, others contend that a similar conduct that is named intellectually sick for certain gatherings might be endured in different gatherings thus in this manner not marked all things considered. For example, if a vagrant were to display insane, â€Å"deranged† conduct, she would be viewed as intellectually sick though if a rich lady showed a similar conduct, she may be viewed as just offbeat or enchanting. Ladies likewise have higher paces of dysfunctional behavior than men. Sociologists accept that this stems from the jobs that ladies are compelled to play in the public arena. Destitution, despondent relationships, physical and sexual maltreatment, the worries of raising youngsters, and investing a great deal of energy doing housework all add to higher paces of psychological instability for ladies. Giddens, A. (1991). Prologue to Sociology. New York, NY: W.W. Norton Company. Andersen, M.L. what's more, Taylor, H.F. (2009). Human science: The Essentials. Belmont, CA: Thomson Wadsworth.

Essay Sample Where do I see myself in 5 years

Essay Sample Where do I see myself in 5 years Where do I see myself in 5 years? This is a hard question because no one can know the exact answer to it. From the early childhood, I had a dream to open a flower shop and make people happy with the wonderful bouquets. I thought that it will be very easy to be an owner of something like this. Yet, when I grew up, I understood that such a simple idea to become successful, needs a lot of things, like good education, successful business plan, and many other things. Studying at school, I tried to consider all of the opportunities in order to decide what will be the best for me. It is quite surprising, but I have noticed many different opportunities to disclose my talents and become successful in the flower business. I know that a lot of things can change through five years, but I know what future I want for myself. I think that as most of the people in this world I want to have a successful education, good job, and happy family. Right now I’m a second-year student at a college, and the first task I need to accomplish is to graduate it successfully. Economics department will help me to become a successful business woman. I hope that after graduating, I won’t only have good knowledge about business and marking, but also I will be acquainted with a great number of people who understand me and can help to make my future business successful. Apart from studying at economics department, I plan to attend floristic courses, in order to become a real specialist in this sphere. I don’t know yet, but I think that I also may need to attend design or painting courses. It isn’t something necessary for a florist, but I think that will be very useful for me. I will help to develop my artistic skills and my vision of beauty. As for me, to open a good flower shop will be a problem right after graduation. I completely understand that without relevant experience, it is a very complicated task for any person. For this reason, I have a desire to become a worker of some flower shop or flower corporation. The second variant is even better. A couple of years of such experience will be very useful for me because I will have a chance to get to know the peculiarities of this business. Competition in this business is quite tough, and it is essential to know as much information as possible. Apart from this, a good job will help to gather some sum of money on developing my future shop. However, education and business isn’t everything that I want to have in five years. The question of the family is also quite important for me. I clearly understand that it can’t be planned beforehand, but I hope that I will have a boyfriend, or fiancé, or even husband, who will be on my side. It is much easier to overcome different obstacles when there is a person, who you can trust and who can support you in any complicated situation. Yet, I think that a five-year period isn’t enough to have a baby. I think that I will need more time to deal with this question. I hope that the next five years will be very productive for me in personal, education, and business spheres. However, I clearly understand that my plans can change because of some unpredictable things. The most important thing is that I’m ready to overcome obstacles, challenge myself, and meet new people without fear, and I will do everything possible to become successful and happy.

The Value of Artistic Responses to 9/11 September 11, 2001 and Falling Man - Literature Essay Samples

â€Å"Fact or fiction? Which is the best way to handle an event as momentous as 9/11?† – Michael Billington. In the wake of the 9/11 terror attacks, media and non-fictional responses were rife; the image of the burning Twin Towers is one which has become embedded in the global consciousness. However, amongst these ‘factual’ depictions, there emerged a new genre of fiction: 9/11 fiction. Indeed, novelists, playwrights and poets all came forward with their attempts at responding to the tragedy through the medium of the literary arts. Don DeLillo’s Falling Man[1] and Michel Vinaver’s September 11, 2001[2] are just two instances of these responses. However, 9/11 fiction is a significantly problematic genre. The necessity to convey something that goes beyond spectacle, combined with the perceived obligation to present the event respectfully, renders it a difficult task to confront. Aimee Pozorski epitomises this perceived dilemma of the literary artist: â€Å"Those artists who choose beauty must answer for their aestheticization of violence. Those artists who choose m inimalism must answer for their reductive symbols. Those artists who choose nothing must answer for their silence†[3]. In light of this, it can be argued that fiction is unable to act as an appropriate response to 9/11, and that non-fiction is the only viable means by which to do so. Michael Billington, in his review of Rupert Goold’s anthology of 9/11 playlets, poses the very question which underpins this discussion: â€Å"Fact or fiction? Which is the best way to handle an event as momentous as 9/11?†[4]. It is tempting to argue that art, of both literary and other forms, has no place in response to 9/11. That the attempts of the artist to capture the event are futile bids to represent that which cannot be represented. From this view, a large portion of the ‘un-representable’ matter surrounding 9/11 lies in the quandary of attempting to recreate and portray human emotion. Certainly, the emotional provocation of 9/11 spanned far beyond those who experienced it first-hand; the televising of the event rendered all the world spectators. This mass sense of shock and grief may be deemed to fall outside of the scope of artistic representation, especially given the relative recentness of the attacks. Sarah Lloyd suggests that Septembre 11, 2001 stands as a prime example of emotion being lost in translation: â€Å"He layers the media accounts and speeches in a precise, unemotional – even cold – manner that makes the play difficult to approach†[5]. Indeed, Vina ver avoids the inclusion of stage directions, and makes no use of punctuation. He offers no indicators regarding tone or action; he gives nothing more than the words themselves in a raw, undramatised state. Although this is true for the entirety of the play, the effects of this technique are particularly evident as Vinaver imitates key moments in the timeline of the 9/11 attack. Immediately before the depiction of the initial collision between Flight 11 and the North Tower, the actual last words of flight attendant Madeline Sweeney appear: â€Å"Oh my god oh my god†[6]. The absence of an exclamation point, or indeed any indication that the words should be infused with emotion, seems to solidify the notion of a distinct ‘coldness’ underpinning the play. In contrast, DeLillo’s falling man is a novel which is predominantly focussed with the emotional aftermath of the survivor. Indeed, fictional protagonist Keith Neudecker and his attempts to cope with his experience occupy the core of the novel. The plot opens with Keith in the thick of the attacks; we see the horror and chaos on the ground, but we see it only through the eyes of the protagonist. Christina Cavedon supports and expands upon this notion as she suggests that â€Å"DeLillo portrays the events and their aftermath exclusively in terms of trauma and post-traumatic stress disorder†[7]. Here, Cavedon underlines the implications of viewing 9/11 through the eyes of a survivor, as she suggests that everything that is portrayed is done so through the lens of trauma. This is particularly evident as Keith witnesses the fall of the North Tower, and the narrator states that â€Å"â€Å"That was him coming down, the north tower†[8]. By forming personal ties betwee n Keith and the North Tower, it becomes clear that this novel is unconcerned with the global, or even national repercussions of 9/11. What it is more concerned with is the internal, emotional repercussions for the individual. It also notable that Keith is not the only character whose emotional journey underpins the narrative; the aftermath for his ex-wife Lianne, although experiencing the event only indirectly, is given considerable consideration. Adam Mars-Jones goes so far as to suggest that her journey is more saturated by emotional fractures than Keith’s: â€Å"Lianne wasnt in the towers that fell, but she is the one who comes closer to breaking down†[9]. Indeed, she obsesses over the media in a bid to come to terms with what has happened, and subscribes to the sweeping generalisations which condemn the entirety of Islam. This is evident as she attacks her neighbour, Elena, for playing Middle Eastern music too loudly, accusing Elena of doing it as a personal attack . The fragility of Leanne’s mental state is delineated, as she loses the ability to distinguish between that which is harmless and that which demonstrates personal hostility. In contrast, Keith’s ‘emotional aftermath’ is far less emotional, as a sense of disconnectedness acts as his coping mechanism. It is interesting to note that Leanne is depicted as the more emotionally damaged by the attacks, yet she never experiences them directly. In light of this, DeLillo seems to suggest that, in the wake of such an unprecedented tragedy, all of America are entitled to their own survivor’s journey. In contrast to Vinaver, DeLillo seems to successfully underpin the issue of representing human emotion and trauma by converting the public spectacle of 9/11 into a deeply personal one. Therefore, it can be argued that Septembre 11, 2001 and Falling Man serve as two texts which fail and succeed in confronting the issue of emotional representation respectively. However, if 9/11 is truly ‘unrepresentable’, then to deduce that this issue applies solely to the fictional response is contradictory; non-fictional responses, particularly those produced by the media, are equally as problematic. It is tempting to argue that direct recordings of the attacks and their aftermath, in both video and audio format, portray an indisputable truth. However, this truth is limited to the visual; it displays the aesthetic element of 9/11, but it places it against a backdrop of selective context. Jean Baudrillard, in his article â€Å"The Spirit of Terrorism†, alludes to this notion of context being superimposed onto the image: â€Å"In this case, then, the real is superadded to the image like a bonus of terror, like an additional frisson†¦the image is there first, and the frisson of the real is added†[10]. This is reminiscent of Badurillard’s 1981 discourse on hyperreality and simulacrum, in which he argues that ‘real ity’ has become second to the image. That it is a malignant phenomenon which distorts and disjoints the ‘real’, until the image comes to â€Å"mask the absence of a profound reality†[11]. Indeed, he goes on to suggest that â€Å"Reality and fiction are inextricable, and the fascination with the attack is primarily a fascination with the image (both its exultatory and its catastrophic consequences are themselves largely imaginary)†[12]. Yet, it is this superimposed sense of ‘catastrophe’ which pervades the image of 9/11; in Baudrillard’s view, any deeper meaning or significance has been lost been lost behind the ‘spectacle’. Jean Genet, in his 1983 essay recounting his experiences at a refugee camp, makes a powerful comment on the nature of media representations. Arriving just two days after the Sabra and Shatila massacre, which saw the mass slaughter of Palestinian refugees by militant forces, he underlines the inabi lity of media imagery to adequately capture the â€Å"flies nor the thick white smell of death†[13]. With a sense of broader relevance, he states that â€Å"A photograph has two dimensions, so does a television screen; neither can be walked through’[14]. Here, Genet epitomises the notion that, when severed from the situational and emotional contexts of ‘the moment’, an image becomes disjointed. In the absence of its original context, a void is created; this void is left open to exploitation by both the media and those with a political agenda. Indeed, Baudrillard delineates the tendencies of the media to pursue an agenda which is separate from truth as he states that â€Å"There is no â€Å"good† use of the media; the media are part of the event, they are part of the terror, and they work in both directions†[15] In light of this, the style employed by Vinaver throughout Septembre 11, 2001 can be read in a new light. His omission of stage direction or punctuation acts as a component of the minimalist style which underpins the play. Written in the weeks following the attacks, and amongst the height of the proceeding media storm, the emergence of this minimalist artistic response allowed for a sense of distance from this media fuelled ‘spectacle’. By filtering all perceived emotional and situational context from the events of 9/11, and stripping them down to a â€Å"precise, unemotional†[16] state, Vinaver essentially reopens the ‘void’. He removes those elements of 9/11 which have so often been manipulated, but omits to offer a replacement; instead, he affords his audience the independence to interpret their own meaning. Giuseppe Sofo aligns himself with this view as he suggests that â€Å"The â€Å"deaestheticization† of Vinaver’s theatre is tra nsmitted through the aesthetic choice to leave art out of art, to transform the author into a translator of reality, rather than into a creator, and it had allowed him to re-represent a reality that had been drowned in its own overexposure†[17]. Indeed, the ‘artistic’ nature of Vinaver’s play is interesting, as his aesthetic lies in what he removes as opposed to what he adds. What he achieves is essentially a reverse abstraction; all that survives his minimalist filter is that which was indisputably true to begin with. Sarah Lloyd, although initially standing at odds with this view and commenting on Vinaver’s conveyance of ‘coldness’, goes on to counteract this, as she suggests that: â€Å"by doing so, he requires spectators to participate in the production by bringing their emotions and imagination into play†[18]. Consequently, she realigns herself with the notion that, through the omission of solid emotion, he allows for a new l evel of personal emotional contemplation. Although this means of fictional response is no more ‘realistic’ than its non-fictional counterparts, its honesty allows it to adhere more strongly to a sense of ethical responsibility. Art, unlike media and other ‘non-fiction’ mediums, is self-conscious of its artifice; it does not attempt to present itself as a work of undiluted truth. Returning to the aforementioned words of Sofo, he ends his statement by referring to 9/11 as â€Å"a reality that had been drowned in its own overexposure†[19]. Indeed, media responses to 9/11 seem to revolve around one pivotal image: smoke billowing from the World Trade Centre, as a second plane approaches for collision. This image is one that inundated audiences after the attack and, to a lesser degree, continues to do so until today. Here, Sofo questions the efficiency of this inundation. Anneke Smelik alight herself with Sofo’s notion, whilst also offering an explanation of reasoning: â€Å"an impressive image only has impact when we no longer see it, because the repetition of these images has a dulling or numbing effect†[20]. Both Sofo and Smelik suggest that the excessive circulation of the aforementioned image of the plane and the smoking twin towers, rather than continuously increasing audience response, actually begins to diminish it. In September 11, 20 01, after relaying the final moments of passenger Todd and flight attendant Madeline, the inevitable scenes of destruction are visually excluded. In their place are simply audio effects which echo the sounds of impact; these are indicated by the closest thing to stage directions in the entire play: â€Å"SOUND: THE CRASH OF AN AIRPLANE†[21]. In light of the notion that the poignancy of a constantly repeated image is diminished, together with Sofo’s suggestion that 9/11 has become subject to â€Å"overexposure†[22], Vinaver’s omission of the actual impact between the planes and the towers takes on a powerful significance. Indeed, Vinaver intentionally avoids any direct visual representation of either crash. In doing this, he prevents his play from contributing to the â€Å"overexposure† of this image, and forces the audience to experience the events in a way which they have not become ‘numb’ towards. On the other hand, although he does not directly depict the collision, DeLillo does depict the subsequent devastation. As Keith passes through the â€Å"smoke and ash†, the â€Å"stink of fuel fire†, and the â€Å"figures in windows a thousand feet up, dropping into free space†, the image presented seems fitting with the smoking towers of the core media image. However, what DeLillo endeavours to do is to avoid the drawbacks of the photograph and the television screen that Genet underlines. Indeed, he endeavours to write a fictional novel which can in fact â€Å"be walked through†[23]; the â€Å"thick white smell of death† is exactly what DeLillo manages to recreate. Perhaps the most poignant example of this occurs during the final chapter. The narrative returns to the day of the attacks, albeit a slightly earlier point in the timeline, and graphically depicts the death of Keith’s friend and co-worker, Rumsey: â€Å"Something came trickling f rom the corner of Rumsey’s mouth, like bile†¦He saw the marks on his head, an indentation, a gouge mark, deep, exposing raw tissue and nerve†[24]. DeLillo, although not omitting the symbol of â€Å"overexposure† in the same way as Vinaver, effectively presents it in an alternative way to the media. He does not reopen the void of context, he simply reimagines what the media has instilled by attempting to create a three-dimensional reality. DeLillo conveys this reality through the eyes of a survivor, whose fictional nature renders him a mouldable figure; Keith can be manipulated as necessary to explore multiple layers of 9/11 devastation. Another issue facing the post-9/11 literary movement is the possibility of undercutting the world narrative by placing an exaggerated amount of focus on one event whilst obscuring both its preluding and proceeding contexts. This expansive context is emphasized by Baudrillard as he suggests that the issue of terrorism â€Å"reaches far beyond Islam or America, on which efforts are being made to focus the conflict in order to create the delusion of a visible confrontation and a solution based on force†[25]. Here, Baudrillard suggests that the previously discussed image of 9/11 is one which takes into account only a disjointed spectacle; it presents the impossibility an effect without a cause. He also implies that this spectacle is intentionally used to divert focus away from a cause in order to offer an illusion of justice for the attacks. However, Baudrillard also underlines the futility of this diversion: â€Å"we can say that they did it, but we wished for it. If this is not taken into account, the event loses any symbolic dimension†[26]. For Baudrillard, a failure to understand the symbolism of the image in light of its wider context serves to instigate further acts of terror and war. Fiction and theatre writers occupy a position which allows for the discussion and exposure of this wider context; therefore, 9/11 fiction can once again offer a more valuable medium of response than non-fiction. A Key Aspect of Vinaver’s work is the use of multiple angles from which to view the event, and it is one which allows him to fulfil his ‘responsibility’ in examining the importance of cause and effect. This is perhaps most evident as he layers the political voices of Bush and Bin Laden on top of one another. Their speeches intersect, with each leader speaking alternate lines. The rapid pace of these shifts in focus forces the audience to consider each man’s words in light of the other’s, and reveals distinct parallels betwe en them. In doing this, Vinaver acknowledges that the seeds of terrorism sprout from both sides of the conflict. For example, both leaders perceive their people as having been wronged, and both seek retribution and justice. Indeed, Vinaver suggests an echo of Baudrillard’s stance on the ‘War on Terror’: â€Å"This is terror against terror†[27]. Furthermore, through the use of this layering technique, Vinaver infuses a sense of irony into their words. Immediately after Bin Laden speaks the words â€Å"May God shield us†[28], Bush says â€Å"May God continue to bless us†[29]. These are taken from actual speeches from the two leaders, both given in the wake of the attacks. By taking both of these excerpts and placing them side by side, Vinaver delineates the absurdity of the conflict. As Bin Laden is motivated to wage war on the â€Å"infidels† of America on the behalf of God, Bush addresses the same God and asks for his continued ‘ blessing’. Perhaps, in terms of a world narrative, this implies that both Bush and Bin Laden are using God as an excuse to pursue more self-serving agendas. Nevertheless, Pankaj Mishra argues that the majority of post-9/11 works fail to utilise the power of the writer; that they evade their responsibility to explore the roots of such acts of violence and to expose the uncut world narrative in a way that the media does not. Indeed, in his article â€Å"The End of Innocence†, he questions the ability of 9/11 fiction to discuss the event in terms of its long term political and ideological triggers: â€Å"Composed within the narcissistic heart of the west, most 9/11 fictions seem unable to acknowledge political and ideological belief as a social and emotional reality in the world the kind of fact that cannot be reduced to the individual experience of rage, envy, sexual frustration and constipation†[30]. In particular, Mishra criticises the novelist’s attention to the domestic aftermath of the survivor as he poses the question: â€Å"Are we meant to think of domestic discord as a metaphor for post-9/11 America?†[3 1]. DeLillo appears to subscribe to this accusation throughout Falling Man. Indeed, his focus on the domestic aftermath has become the subject of significant criticism. In the wake of the attacks, Keith and Lianne’s relationship begins to fracture; this is often read as an attempt to reflect the fractures of a post-9/11 America, both in itself and with the rest of the world. In contrast, in DeLillo’s initial, non-fictional response to 9/11, published in Harper Magazine three months after the event, he pointedly acknowledges the complexity of the wider world narrative: â€Å"Terrors response is a narrative that has been developing over years, only now becoming inescapable†[32]. However, In Falling Man, he seemingly disregards this notion, opting instead to focus on the â€Å"individual experiences†[33] of Keith and Lianne. Mishra draws on this initial, non-fiction response of DeLillo to inform his reading of Falling Man as he argues that â€Å"he remains strangely incurious about their pasts and their societies, and he makes little attempt to analyse, in the light of the biggest ever terrorist atrocity, the origin and appeal of political violence†[34]. Here, Mishra underlines the contrast between DeLillo’s two responses; the comparison suggests that his political understanding of 9/11 is lost in translation from non-fiction to fiction. However, in contrast to the view of Mishra, DeLillo does not entirely disregard the broader significance of extremist terrorism; he does grapple with the necessity of cause and effect. Similarly to Vinaver’s depiction of Bin Laden, he does so through the implementation of the terrorist as a point of view character. Whether implementing real-life characters or superimposing fictional representations, the characterisation of those responsible for such suffering is difficult to navigate. If handled incorrectly, writers become susceptible to accusations of misplaced sympathies or a lack of respect for the dead. DeLillo himself has expressed a conflict between his reluctance to consider the viewpoint of the terrorist and his perceived â€Å"novelistic responsibility†: â€Å"I didnt think I could tell the entire story without the presence of at least one of the men — or a fictional version of one of the men — who was involved in those attacks†[35]. Here D eLillo challenges any notion that it is unethical to consider the motivations of terrorist; instead, he suggests that that it is a necessary step towards an understanding of the attacks. Certainly, without an acknowledgment of cause and effect, 9/11 is stripped down to a senseless tragedy; to examine it as a product of this cause and effect is to make sense of it. Indeed, DeLillo depicts the character of Hammad. He is the fictional counterpart of the terrorists who hijacked the planes, and portions of the narrative unfold from his point of view. In contrast to the two-dimensional renderings of the ‘evil’ attackers almost universally presented by the media, DeLillo endeavours to humanise the terrorist. He does this by offering an insight into the conditions which lead one to commit such an extreme act of violence. It is clear that Hammad believes Islam to be under attack, and seems to genuinely believe that what he is doing is for the good of its people. He is influenced by Mohammed Atta, one of the few real-life characters to appear in the novel and a ringleader of the 9/11 attacks. Atta tells him that â€Å"The world changes first in the mind of the man who wants to change it†[36], and encourages him to focus on their ‘mission’. This underlines the ability of young people from countries saturated by violence to be influenced by the promise of belonging, and the allure of a martyr’s afterlife. Baudrillard underlines the necessity for the exploration of characters such as Hammad, who offer an insight into the private world of the terrorist: â€Å"The prodigious success of such an attack presents a problem, and if we are to gain some understanding of it, we have to slough off our Western perspective to see what goes on in the terrorist’s organization, and in their heads†[37]. In addition to the placement of Bin Laden’s words against those of Bush, Vinaver also gives the terrorist a voice. Like DeLillo, Vinaver selects Atta as the terrorist to whom he allows this voice. Although he makes little attempt to humanise him in the way that DeLillo humanises Hammad, he does convey the ritualistic nature of his preparation for his own death. This solidifies the notion that 9/11 is far more than a senseless, standalone act of violence; rather, it is a part of a much larger picture of religious fundamentalism and cultural unrest. Lee Essif actually suggests that Vinaver’s terrorists are more united in their objectives than the American people: â€Å"Vinaver’s September 11 presents a radiophonic projection of a voice of America, the disjointed narration of a spectacle that is unpresentable except through newspaper headlines, and the only sense of community in the text’s polylogic narrative is developed as a primitive, fundamentalist, terr orist one†[38]. A primary issue for writers attempting to capture the essence of a real-life act of violence is the portrayal of its victims and survivors. Here, DeLillo and Vinaver follow two contrary, but both as potentially problematic, literary routes. Throughout September 11, 2001, Vinaver utilises actual victims as characters; this contributes to his style of imitation, as he attempts to recreate the events of the day. In fact, he goes further than this, as he aestheticizes documented speech of actual 9/11 victims. A fitting example occurs as, as briefly aforementioned, the play echoes the last recorded words of American Airlines flight attendant Madeline Sweeney. Vinaver condenses the recording of the phone call made by Sweeney to her manager just moments before Flight 11 collided with the North Tower: â€Å"I see water and buildings/ Oh my God oh my God†[39]. Furthermore, the final recorded words of Flight 93 passenger Todd Beamer, spoken before his attempts to overpower the hijackers, are also imitated by Vinaver: â€Å"let’s roll†. Guy Gavriel Kay likens the implementation of real-life characters by writers to a â€Å"contemporary pandemic†[40]â€Å", characterised by â€Å"a general erosion of the ethical value of privacy and a parallel emergence of a widespread sense of entitlement to look at – or to make use of – the lives of others†[41]. In light of this, the representation of Beamer and Sweeney’s final words can be seen as an intrusion; the last living moments of another human being are perhaps the most private of all. However, it is notable that these moments undergo minimal editing. For the most part, Vinaver simply imitates, creating a collage of real in its rawest form. As his sources are taken mostly from the media and other non-fictional responses, the notion of his ‘intrusion’ is diminished. DeLillo, on the other hand, veers further towards the imaginary as he avoids the explicit portrayal of real-life characters. Instead, he dilutes the representation of fact with enough fiction to increase its palatability. However, the insertion of fictionalised characters such as Keith Neudecker and his girlfriend, Lianne, can be seen to shift focus away from the suffering of actual victims in favour of producing rounded characters whose identity can be manipulated to achieve any intended dramatic effect. However, Sofo rejects this notion, as he suggests that â€Å"If type characters have constantly lost ground to round characters in the theatre over the last centuries, the real world has sometimes done the opposite†[42]. Here, Sofo implies that the real world promotes those two-dimensional individuals who fit the ‘mould’ of societal expectation. In the case of 9/11, placing the focus on such easily malleable survivors allows the media to propagate their own ideas on the event. However, by opting to place fictional rather than real-life characters within his 9/11 setting, DeLillo overcomes the real-life promotion of these â€Å"type characters†, in order to portray those â€Å"round characters† who can act and perceive things differently. Furthermore, DeLillo’s fictional protagonist allows him to evade the anonymising effect that artistic depictions can have on the real-life individual. Indeed, the reduction of those who experienced 9/11 – both survivors and fatalities – to ‘artistic representations’ can be seen to obscure their humanity. On the contrary, in the case of Falling Man, DeLillo attempts to reverse the anonymization of the ‘factual’ responses to 9/11, which are often more focussed on the emotional response of the spectator rather than the memorialisation of the victims. With regards to the novel’s title, DeLillo draws on Richard Drew’s infamous photographi c image, similarly titled â€Å"The Falling Man†. Published just one day following the attacks, the image appeared in the New York Times alongside a caption by journalist N. R. Kleinfield: â€Å"A person falls head first after jumping from the north tower of the World Trade Centre. It was a horrific sight that was repeated in the moments after the planes struck the towers†[43]. This caption, although partnered with a ‘real’ image, epitomises the anonymising effect of an even with mass fatalities. Laura Frost both supports and expands upon this notion as she argues that â€Å"â€Å"The Falling Man† ends up as a generalized memorial to anonymity, a cenotaph or â€Å"empty tomb†, while the spectator’s reaction becomes particularized†[44]. Indeed, Frost juxtaposes the anonymization of the photograph’s subject against the caption’s attention to his mass of watchers; the â€Å"horror† invoked by the image is attri buted to the sight of the man as opposed to his own experience. John Freeman also adheres to this view as he suggests that â€Å"the human component became secondary to that of the spectacle it created† [45]. In light of this, DeLillo’s rendering of a fictional but fully fleshed out survivor of 9/11 takes on a deeper significance. He attempts to reassert a sense of individuality and identity to those who, much like â€Å"The Falling Man†, have been reduced to a ‘monument’ for the mass experience. Artistic responses to 9/11, in all of their broadness, endeavour to achieve an array of things: political protest and trauma reconciliation amongst them. However, rarely do they attempt to directly recreate the event. Even in the case of Septembre 11, 2001, Vinaver’s play acts as a template for the imagination. His precise collage of real-life speeches, audio and media headlines illustrate the event as if it were stripped of all emotion; he does not attempt to recreate 9/11, but rather to make sense of an event by removing the conflicting interplay of emotion. Similarly, DeLillo depicts the events of 9/11 largely through the abstracted lens of a survivor who appears to be suffering from Post-Traumatic Stress Disorder, rendering his novel a self-conscious diversion from a faithful representation of events. However, non-fictional responses, particularly those of the media, come no closer to a faithful rendering of the attacks. Instead, they strip away the surrounding context, le aving only a catastrophic image on which to project a selective context. In light of this, art offers a medium through which to reassess these lost pieces of context, and to subsequently make sense of the ‘senseless’ by means of the imagination. Arin Keeble underlines the importance of the creation of art in response to traumatic events as he suggests that â€Å"because 9/11 was such a visual spectacle, newspapers and magazines sought literary authors – experts at exploring the human condition through the written word – to interpret or narrate the trauma†[46]. Indeed, â€Å"interpretation† is the epitome of what fictional and theatrical responses to 9/11 are concerned with. They should not be read as faithful renderings of reality, but rather as ambiguous representations which aim to provoke a wider understanding of an event which seems to lie beyond comprehension. Bibliography Baudrillard, Jean. Simulacra and Simulation. Ann Arbor: University of Michigan Press, 1994. Baudrillard, Jean. â€Å"The Spirit of Terrorism†. Le Monde, November 3, 2001. In The Spirit of Terrorism and Other Essays, translated by Chris Turner, 1-34. London: Verso, 2003. Billington, Michael. â€Å"Decade – review†. The Guardian, September 9, 2011. Accessed April 17, 2017. https://www.theguardian.com/stage/2011/sep/09/decade-review. Cavedon, Christina. â€Å"Falling Man’s Escape Into Hyperreality†. In Cultural Melancholia: US Trauma Discourses Before and After 9/11, by Christina Cavedon, 323-384. Leiden: BRILL, 2015. DeLillo, Don. Falling Man. New York: Simon and Schuster, 2007. DeLillo, Don. â€Å"In the Ruins of the Future†. Harper Magazine, December, 2001. Accessed April 22, 2017. http://harpers.org/archive/2001/12/in-the-ruins-of-the-future/. DeLillo, Don. Interview with Melissa Bloc. All Things Considered. NPR, June 20, 2007. http://www.npr.org/2007/06/20/11223451/falling-man-maps-emotional-aftermath-of-sept-11. Essif, Lee. â€Å"The (Supra-) Global Spectacle of American (Non-) Community†. In American ‘Unculture’ in French Drama: Homo Americanus and the Post-1960 French Resistance, by Les Essif, 266-193. Basingstoke: Springer, 2013. Freeman, John. â€Å"DeLillo’s 9/11 Novel Turns Trauma into Art†. The Guardian, September 11, 2007. Accessed April 16, 2017. https://www.theguardian.com/books/booksblog/2007/sep/11/terroristattacks. Frost, Laura. â€Å"Still Life: 9/11’s Falling Bodies†. In Literature After 9/11, edited by Ann Keniston and Jeanne Follansbee Quinn, 180-207. New York: Routledge, 2013. Gavriel Kay, Guy. â€Å"Are Novelists Entitled to Use Real Life Characters?†. The Guardian, August 20, 2009. Accessed April 16, 2009. https://www.theguardian.com/books/booksblog/2009/aug/20/novelists-real-life-characters. Genet, Jean. Four Hours in Shatila†, Journal of Palestine Studies 12.3 (1983): 3-22. Accessed April 10, 2017. doi:10.2307/2536147. Keeble, Arin. â€Å"Why the 9/11 Novel Has Been Such a Troubled and Contested Genre†. Independent, September 10, 2016. Accessed April 10, 2017. http://www.independent.co.uk/arts-entertainment/books/features/911-novel-thomas-pynchon-twin-towers-september-11-don-delillo-a7236091.html. Kleinfield, N. R. â€Å"A Creeping Horror†, New York Times, September 12, 2001. Lloyd, Sarah. â€Å"Dramatizing the Violence: Michel Vinaver’s 11 Septembre 2001/ 11 September 2001†. In Fatal Fascinations: Cultural Manifestations of Crime and Violence, edited by Suzanne Bray and Gerald Preher, 145-157. Newcastle upon Tyne: Cambridge Scholars Publishing, 2014. Mars-Jones, Adam. â€Å"As His World Came Tumbling Down†. The Guardian, May 13, 2007. Accessed April 22, 2017. https://www.theguardian.com/books/2007/may/13/fiction.dondelillo. Mishra, Pankaj. â€Å"The End of Innocence†. The Guardian, May 19, 2007. Accessed April 13, 2017. https://www.theguardian.com/books/2007/may/19/fiction.martinamis. Pozorski, Amy. Falling After 9/11. New York: Bloomsbury Publishing USA, 2004. Kindle edition. Smelik, Anneke. â€Å"Mediating Memories: The Ethics of Post-9/11 Spectatorship†. Arcadia 45 (2010): 307-325. Accessed April 15, 2017. https://www.degruyter.com/view/j/arca.2011.45.issue-2/issue-files/arca.2011.45.issue-2.xml. Sofo, Giuseppe. â€Å"Reality’s a Stage: Staging (Over) Reality in Michael Vinaver’s 11 September 2001†. In Aesthetics and Ideology in Contemporary Literature and Drama, edited by Madelena Gonzalez and Rene Agostini, 163-174. Newcastle upon Tyne: Cambridge Scholars Publishing, 2015. Vinaver, Michel. Septembre 11, 2001. Paris: L’Arche, 2002. [1] Don DeLillo, Falling Man (New York: Simon and Schuster, 2007). [2] Michel Vinaver, Septembre 11, 2001 (Paris: L’Arche, 2002). [3] Aimee Pozorski, Falling After 9/11 (New York: Bloomsbury Publishing USA, 2004), Kindle Edition. [4] Michael Billington, â€Å"Decade – review†, The Guardian, September 9, 2011, accessed April 17, 2017, https://www.theguardian.com/stage/2011/sep/09/decade-review. [5] Sarah Lloyd, â€Å"Dramatizing the Violence: Michel Vinaver’s 11 Septembre 2001/ 11 September 2001†, in Fatal Fascinations: Cultural Manifestations of Crime and Violence, ed. Suzanne Bray and Gerald Preher (Newcastle upon Tyne: Cambridge Scholars Publishing, 2014), 146. [6] Vinaver, Septembre 11, 2001, 16. [7] Christina Cavedon, â€Å"Falling Man’s Escape Into Hyperreality†, in Cultural Melancholia: US Trauma Discourses Before and After 9/11, by Christina Cavedon (Leiden: BRILL, 2015), 323. [8] DeLillo, Falling Man, 5. [9] Adam Mars-Jones, â €Å"As His World Came Tumbling Down†, The Guardian, May 13, 2007, accessed April 22, 2017, https://www.theguardian.com/books/2007/may/13/fiction.dondelillo. [10] Jean Baudrillard, â€Å"The Spirit of Terrorism†, Le Monde, November 3, 2001, in The Spirit of Terrorism and Other Essays, trans. Chris Turner (London: Verso, 2003), 29. [11] Jean Baudrillard, Simulacra and Simulation (Ann Arbor: University of Michigan Press, 1994), 6. [12] Baudrillard, The Spirit of Terrorism, 28-29. [13] Jean Genet, Four Hours in Shatila†, Journal of Palestine Studies 12.3 (1983): 5, accessed April 10, 2017, doi:10.2307/2536147. [14] Genet, Four Hours in Shatila†, 4. [15] Baudrillard, The Spirit of Terrorism, 31. [16] Lloyd, â€Å"Dramatizing the Violence†, 146. [17] Giuseppe Sofo, â€Å"Reality’s a Stage: Staging (Over) Reality in Michael Vinaver’s 11 September 2001†, in Aesthetics and Ideology in Contemporary Literature and Drama, ed. Madelena Gonzal ez and Rene Agostini (Newcastle upon Tyne: Cambridge Scholars Publishing, 2015), 163. [18] Lloyd, â€Å"Dramatizing the Violence†, 146. [19] Sofo, â€Å"Reality’s a Stage†, 163. [20] Anneke Smelik, â€Å"Mediating Memories: The Ethics of Post-9/11 Spectatorship†, Arcadia 45 (2010): 315, accessed April 15, 2017, https://www.degruyter.com/view/j/arca.2011.45.issue-2/issue-files/arca.2011.45.issue-2.xml. [21] Vinaver, Septembre 11, 2001, 16, 23. [22] Sofo, â€Å"Reality’s a Stage†, 163. [23] Genet, â€Å"Four Hours in Shatila†, 4. [24] DeLillo, Falling Man, 241. [25] Baudrillard, â€Å"The Spirit of Terrorism†, 5. [26] Baudrillard, â€Å"The Spirit of Terrorism†, 11. [27] Baudrillard, The Spirit of Terrorism, 9. [28] Vinaver, Septembre 11, 2001, 68. [29] Vinaver, Septembre 11, 2001, 68. [30] Pankaj Mishra, â€Å"The End of Innocence†, The Guardian, May 19, 2007, accessed April 13, 2017, https://www.theguardian.com/bo oks/2007/may/19/fiction.martinamis. [31] Mishra, â€Å"The End of Innocence†. [32] Don DeLillo, â€Å"In the Ruins of the Future†, Harper Magazine, December, 2001, accessed April 22, 2017, http://harpers.org/archive/2001/12/in-the-ruins-of-the-future/. [33] Mishra, â€Å"The End of Innocence†. [34] Mishra, â€Å"The End of Innocence†. [35] Don DeLillo, Interview with Melissa Block, All Things Considered, NPR, June 20, 2007, http://www.npr.org/2007/06/20/11223451/falling-man-maps-emotional-aftermath-of-sept-11. [36] DeLillo, Falling Man, 80. [37] Baudrillard, The Spirit of Terrorism, 21. [38] Les Essif, â€Å"The (Supra-) Global Spectacle of American (Non-) Community†, in American ‘Unculture’ in French Drama: Homo Americanus and the Post-1960 French Resistance, by Les Essif (Basingstoke: Springer, 2013), 270. [39] Vinaver, September 11, 2001. [40] Guy Gavriel Kay, â€Å"Are Novelists Entitled to Use Real Life Characters?†, The Gu ardian, August 20, 2009, accessed April 16, 2009, https://www.theguardian.com/books/booksblog/2009/aug/20/novelists-real-life-characters. [41] Gavriel Kay, â€Å"Are Novelists Entitled to Use Real-Life Characters?†. [42] Sofo, â€Å"Reality’s a Stage†, 163. [43] N. R. Kleinfield, â€Å"A Creeping Horror†, New York Times, September 12, 2001. [44] Laura Frost, â€Å"Still Life: 9/11’s Falling Bodies†, in Literature After 9/11, ed. Ann Keniston and Jeanne Follansbee Quinn (New York: Routledge, 2013), 191. [45] John Freeman, â€Å"DeLillo’s 9/11 Novel Turns Trauma into Art†, The Guardian, September 11, 2007, accessed April 16, 2017, https://www.theguardian.com/books/booksblog/2007/sep/11/terroristattacks. [46] Arin Keeble, â€Å"Why the 9/11 Novel Has Been Such a Troubled and Contested Genre†, Independent, September 10, 2016, accessed April 10, 2017, http://www.independent.co.uk/arts-entertainment/books/features/911-novel-th omas-pynchon-twin-towers-september-11-don-delillo-a7236091.html.