S1624 Cities After 9/11
Song Min Hyoung
This course starts by looking at the ways in which fiction in particular has sought to make sense of the significance of the attack on the World Trade Center on September 11, 2001, and then moves on to consider how other major public events that followed, such as the war in Iraq, Hurricane Katrina, and the Great Recession, have become part of a larger narrative that begins with this earlier sensational event. As the range of our attention expands, so will the kind of material we will look at: long-form journalism, creative nonfiction, memoir, film, and photography. Cities remain at the center of our attention, as the very experience of living in a city, and maybe even the very idea of the city itself, in the US has been affected by this larger narrative. In particular, we will consider how concern for security, heightened surveillance, racial animosities, and fear of the government impede the ability to imagine sustainable futures for cities in the US and abroad. We will also consider how paying attention to significant public events can help us to understand our present differently, and perhaps offer alternative—and even desirable—ways of living together. The course is divided into five sections: trauma, Iraq, Katrina, financial crisis, and social alternatives.
1. TRAUMA
Trauma is an old idea that became prominent in the late twentieth century. Its focus is on a sudden, violent, disruptive act that leaves the persons who suffered the act unable to make sense of what has happened to them. There's a kind of blank where the memory should be, which in turn often elicits a reenactment to bring what eludes memory into narrative control. This is the concept we will be thinking about as we look at Don DeLillo's novel about several characters living in the immediate aftermath of the World Trade Center attacks. Laura Tanner's essay also invites us to think about how many people's desire to find some way to "touch" actual remnants of the attack creatively responds to the need for reenactment, while Richard Grey and Rachel Greenwald Smith's essays consider possible problems with the way 9/11 is imagined in contemporary fiction.
23/2 Welcome
25/2 DeLillo 3-49
1/3 DeLillo 50-153
3/3 DeLillo 154-207; reflection paper 1 due
8/3 DeLillo 208-246; Gray (.pdf); Smith (.pdf)
10/3 Tanner (.pdf)
2. IRAQ
Trauma again plays a large part in the artist Wafaa Bilal's memoir and journal of a performance installation he produced. For many days, Bilal locked himself into a room with an automated paint gun that could be controlled by strangers on the internet. Would they shoot at him? How often? What would it be like to exist with the constant threat of being shot at? These are the kinds of questions Bilal asks as he tries to use this installation to make more concrete what it might be like to live in a warzone like Iraq during the US invasion and occupation. Essays by Evelyn Alsutany and Cynthia Young considers the ways in which popular narratives shape US perceptions of Muslims. These essays help us to consider what might be unique, or distinctive, about Bilal's artwork.
15/3 Bilal 1-94
17/3 Bilal 95-138; reflection paper 2 due
22/3 Bilal 139-177; Alsutany(.pdf)
24/3 Young (.pdf); midterm check-in
BREAK
3. KATRINA
How do we define the present? What happens when we foreground the devastation of Hurricane Katrina rather than the terror of 9/11 in our periodization of the present? We will think first about who we mourn for, and who our grief might leave out. This relates in particular to how all human life is not measured equally, but rather some lives seem simply more valuable than others. The philosopher Judith Butler and the journalist Sheri Fink will provide a framework for thinking about this incongruity, and then we will see a documentary together that will give us more of a sense of what happened in New Orleans after Katrina. Rebecca Solnit and David Harvey provide us with alternative ways of thinking about community and life in a city.
5/4 Butler; Fink (.pdf/also online)
7/4 Film Screening: "Trouble the Water"
12/4 Solnit (.pdf)
14/4 Harvey (.pdf); reflection paper 3 due
4. FINANCIAL CRISIS
Another way scholars try to periodize the present is by turning the financial crisis of 2008 caused by the sudden insolvency of several major banking institutions. Gary Shtenygart's satirical and funny novel Super Sad True Love Story imagines a future marked by this moment of financial crisis. Surveillance, indebtedness, omnipresent personal telecommunication, and shifting urban boundaries are an important part of this future, and are obviously also a part of our own present. How well does this novel help us to think differently about our experiences of living in cities? What kind of uncertainties, especially related to the economy, do we find ourselves having to cope with?
19/4 Shteyngart 3-98
21/4 Shteyngart 99-1142
26/4 Shteyngart 143-232
28/4 Shteyngart 233-261
5. HOPE
It's not a stretch to say that much of the story-telling that has emerged after 9/11 has been depressing and pessimistic. We seem often to be perpetually on the edge of a major catastrophe, or recovering from one, or coping with governments that only exacerbate pre-existing problems. Can we imagine ways of being together that aren't so pessimistic while still remaining attuned to the grave challenges we face in a post-9/11 world? The end of Shteyngart's novel partly addresses this question, and Jennifer Egan's formally complex (and thoroughly enjoyable) novel A Visit from the Goon Squad addresses this question even more directly.
3/5 Shteyngart 262-331
5/5 Egan 3-38; reflection paper 4 due
10/5 Egan 39-165
12/5 Egan 166-233
17/5 Egan 234-340
19/5 Discussion
TAKE-HOME FINAL EXAM (due date to be determined)
Evaluation
Class participation and co-lead class discussion (30%); four 2-3 page guided reflection papers (40% each); reverse final exam (30%).
Co-lead class discussion. Depending on class size, I will ask you as individuals or as a group to come up with discussion questions and lead the first part of class discussion.
Regular attendance, appearance on time, attentiveness to what's happening in class, contributing to discussions, and doing all of the required reading are essential to this course, especially as it will be discussion based. Please be sure to maintain all absences to a minimum and appear on time. Class participation is REQUIRED as per VIU attendance policy. If you are ill, you must contact me by email.
Since you are all adults, I do not feel comfortable prohibiting the use of computers or other electronic devices in class. However, I want to discourage their use in the strongest manner possible. The latest research in student learning suggest people learn better when they write down their notes rather than type them into a computer (for instance, see http://pss.sagepub.com/content/25/6/1159). Use of such electronic devices can also be distracting for other students, whose attention will inevitable be drawn to whatever is on your screen as opposed to what's happening in class.
Reflection papers are designed to guide reflection on readings and class discussion.
Reflection Paper 1 (3/3) What is trauma? In what ways does Falling Man represent what seems so difficult to represent?
Reflection Paper 2 (17/3) In your opinion, is Bilal's art installation a good way to communicate the trauma of being in a warzone? How is Bilal's representation of trauma different than DeLillo's?
Reflection Paper 3 (14/4) Can a major disaster, like Hurricane Katrina, force us to think differently about how we live together? How might such a disaster affect who we value and care about, and who we might view as somehow dispensable?
Reflection Paper 4 (5/5) What has changed about everyday experiences of city living since 9/11? Are these changes restricted to the US, or are they international?
Reverse Final Exam. This is a take-home exam that requires you to design a final exam, and justify the questions you ask in terms of the intellectual content and aims of the course. Why are these questions good ones? What do they demonstrate? This exam should keep in mind the goals of the course, and consider how a test can assess how well these goals are being met. A strict limit of ten double-space pages will be imposed on this exam. A hand-out will be given explaining this final assignment in more detail.
Readings
Books:
Don DeLillo, Falling Man
Wafaa Bilal, Shoot an Iraqi: Art, Life and Resistance Under the Gun
Gary Shteyngart, Super Sad True Love Story
Jennifer Egan, A Visit from the Good Squad
Shorter Pieces (distributed electronically):
Richard Gray, "Open Doors, Closed Minds: American Prose Writing at a Time of Crisis," American Literary History 21:1 (Spring 2009): 128-151.
Rachel Greenwald Smith, "Organic Sharpnel: Affect and Aesthetics in September 11 Fiction," American Literature 81:1 (March 2011): 153-174.
Laura Tanner, "Holding On to 9/11: The Shifting Ground of Materiality," PMLA 172:1 (2012): 58-76.
Evelyn Alsutany, "Arabs and Muslims in the Media after 9/11: Representational Strategies for a 'Postrace' Era," American Quarterly 65:1 (March 2013): 161-169.
Cynthia Young, "Black Ops: Black Masculinity and the War on Terror," American Quarterly 66:1 (March 2014): 35-67.
Judith Butler, "Violence, Mourning, Politics," from Precarious Life: The Powers of Mourning and Violence (London: Verso, 2004).
Sheri Fink, "The Deadly Choices at Memorial," New York Times Magazine (August 25, 2009). http://www.nytimes.com/2009/08/30/magazine/30doctors.html?pagewanted=all
Rebecca Solnit, "New Orleans: Common Grounds and Killers" and "Epilogue," from A Paradise Built on Hell: The Extraordinary Communities that Arise in Disaster" (New York: Penguin, 2010).
David Harvey, "The Right to the City," New Left Review 53 (September-October 2008): 23-40.