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The “Ruins of the Future”: Counter-Narratives to. Terrorism in the 9/11 Literature of Don DeLillo,. Jonathan Safran Foer, and Ian McEwan. Matthew Francis. Free Essay: In the Ruins of the Future: Reflections on Terror, Loss, and Time in the Shadow of September By: Don DeLillo Summary In this. (75) ON DELILLO’SESSAY”IN THE RUINS OF THE FUTURE,” publishedin Harper’s,appearedamongthe earliestnonjouralis- tic responsesto the eventof

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Marc was in the apartment getting chairs for the older people, for the woman who’d had hip surgery. But living language is not diminished. Multinational corporations have come to seem more vital and influential than governments.

Globalization is not image-because he exists in a narrative”format” opposed to what media punditsdemeanas “me- andmood thatdifferfromours It was gritty ash and they were eating it. The rush of watching all that eerie green night-vision footage, shot dellilo fighter jets in combat, had been so intense that it became hard to honour the fact that the war was still going on, untelevised.

The CulturalLogic of Late Capitalism.

Samuel Weber and Shierry Weber. He knows who we are and what we mean in the world – an idea, a righteous fever in the brain. We live in a wide fhture, routinely filled with exchange of every sort, an open circuit of work, talk, family and expressible feeling. Many things are over.

In the ruins of the future | Harper’s Magazine

She was partly concealed by a couple of vendors’ carts and no one seemed much to notice her. This is not the self-watcher, the soft white dangling boy who shoots someone to keep from disappearing into himself.


They surely see themselves as the elect of God whether or not they follow the central precepts of Islam. For paranoia is the most comfort- DeLillo’s competingnarrativessuggest that ing narrative available in response to trauma, attacking the other’s self is bound to fail be- positing the self as persecuted by the outside, cause that self does not exist as we configureit.

There arestories crisscrossing New York, Washington, and the world. Harbor,to name the two most unfortunatecom- neither event nor subject can be named other parisonsthathave circulatedthroughthe media.

Stories generating others and people running north out of the rumbling smoke and ash. There is the saxophonist, playing softly.

Whereasour dievalism,” nor is it a progressive movement narrativeformathas a logical plot thinkclassical away from medievalism. What happens when the U. Once defined, every limit must be reached.

They see something innately destructive in the nature of technology. They talked on the cordless, receiving information measured out in eyedrops. Criticalintelligence cannot be equal to this Literatureand cinema thus providerhetori- challengeas long as it confinesitself to self- cal tools or strategies for responding to events satisfiedcontemplation.

We are dellilo astonishment. New 14 For an excellent essay on DeLillo and seriality, see York: There are futurf civilians in the street. There was no confusion of roles on TV. For an excellent examination Indeed, ruinns ception,pace the neo phenomenologicaltradi- comprehended in an act of contemplation qua tion, appears unnecessary though it might be perceptual discovery of the ot meaning.


There stands the smoky remnant of filigree that marks the last tall thing, the last sign in the mire of wreckage that there were towers here that dominated the skyline for over a quarter of a century. Whatever acts of violence marked the protests, most of the men and women involved tend to be a moderating influence, trying to slow things down, even things out, hold off the white-hot future.

I’d just turned the corner, heading south to meet some friends, and there she was, young and slender, in a bright silk headscarf.

In the ruins of the future

Eleven years ago, during the engagement in the Persian Gulf, people had trouble separating the war from coverage of the war. New York UP, projectthatrelentlesslyintensifiescapitalism’sprocesses.

U of Min- Knight,Peter. Futurd realism to render visible the phor. Interviewsand OtherWritings, 40 The terrorist’s phere of mass thee a la X-Files narratives self is alreadyotherto ourconceptof the self; the in which the main charactersmust always fear terrorist’sself is non-self-identical: Does the sight of a woman pushing a stroller soften the man to her humanity and vulnerability, and her child’s as well, and all the people he is here to kill?

Tomlinson and Robert Galeta. Thus,DeLillo’s narrativeintimates, the tribalother going global.