By Jeffrey Melnick
9/11 Culture serves as a well timed and obtainable advent to the complexities of yankee tradition within the wake of the 9-11 assaults.
- Gives balanced examinations of a wide catalogue of artifacts from movie, tune, images, literary fiction, and different well known arts
- Investigates the ways in which Sept. 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 aid figuring out and instructing, together with movie and discographies, and an invaluable academics' preface
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Additional resources for 9/11 Culture
More than one observer has noted that the “birth of the blog” coincided with 9/11. As one account summarizes, as “phone networks and big news struggled to cope with heavy traffic, many survivors and spectators turned to online journals to share feelings, get information or detail their whereabouts. It was raw, emotional and new – and many commentators now remember it as a key moment in the birth of the blog” (Andrews, 2006). Up until this moment, easy to use blog services were hard to find, and blogging was, according to Matthew Yeomans, “still very much the geek toy of the Slashdot set” (Andrews, 2006).
The notion that 9/11 is the answer to every question now is another way of saying that this tragedy makes us confront what it means to live in an “after” time and to consider how every time we engage with the public sphere it is a post-9/11 world we meet. One of the most fascinating examples of living in this after time is the desire to “read” two major music releases of September 11, 2001, as themselves elements of 9/11 culture: Bob Dylan’s Love and Theft and Jay-Z’s The Blueprint (both titles borrowed, one from a book on blackface minstrelsy, one from an earlier hip hop album).
Two short story writers, Sherman Alexie and Judy Budnitz, have proposed this in full and breathtaking ways. In her 2005 story “Preparedness,” Budnitz imagines a lockdown America, in which the president attempts to use the threat of apocalypse as a tool of social control. On “the most beautiful day anyone could remember” the president organizes a crisis drill, during which people are supposed to go to protective shelters. But the people do not listen: acting as if, indeed, “the end had come,” the people reach out to each other – they touch, make love (“in phone booths, on sofas, on the hoods of cars, up against trees and walls”), and sing (“tunelessly, abrasively, whole-heartedly”).