Editorial

Editorial 684901 JCL0010.1177/0021989416684901The Journal of Commonwealth LiteratureAhmed and Carroll editorial2016 THE JOURNAL OF COMMONWEAL COMMONWEALTH TH LITERA LITERA TURE TURE The Journal of Commonwealth Literature 2018, Vol. 53(2) 189 –193 © The Author(s) 2017 Reprints and permissions: sagepub.co.uk/journalsPermissions.nav https://doi.org/10.1177/0021989416684901 DOI: 10.1177/0021989416684901 journals.sagepub.com/home/jcl Rehana Ahmed Queen Mary University of London, UK Rachel Carroll Teesside University, UK The years following the terror attacks of 11 September 2001 saw the production of a number of creative works which sought to respond to the events or their aftermath in the face of what many Western commentators understood as a “breakdown of all meaning- making systems” (Versluys, 2009: 2). Most high-profile among these were literary works by critically acclaimed and commercially successful white Anglo-American male writers — including Jonathan Safran Foer’s Extremely Loud and Incredibly Close (2005), John Updike’s Terrorist (2006), and Don DeLillo’s Falling Man (2007) in the US, and Ian McEwan’s Saturday (2005) and Martin Amis’s The Second Plane (2008) in the UK — which have formed the focus of much recent scholarly work (see Gray, 2011; Keniston and Follansbee Quinn, 2008; Randall, 2011; Versluys, 2009). While “post-9/11” fiction by writers of Muslim heritage from a range of countries — including Britain and http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png The Journal of Commonwealth Literature SAGE

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Publisher
SAGE Publications
Copyright
© The Author(s) 2017
ISSN
0021-9894
eISSN
1741-6442
D.O.I.
10.1177/0021989416684901
Publisher site
See Article on Publisher Site

Abstract

684901 JCL0010.1177/0021989416684901The Journal of Commonwealth LiteratureAhmed and Carroll editorial2016 THE JOURNAL OF COMMONWEAL COMMONWEALTH TH LITERA LITERA TURE TURE The Journal of Commonwealth Literature 2018, Vol. 53(2) 189 –193 © The Author(s) 2017 Reprints and permissions: sagepub.co.uk/journalsPermissions.nav https://doi.org/10.1177/0021989416684901 DOI: 10.1177/0021989416684901 journals.sagepub.com/home/jcl Rehana Ahmed Queen Mary University of London, UK Rachel Carroll Teesside University, UK The years following the terror attacks of 11 September 2001 saw the production of a number of creative works which sought to respond to the events or their aftermath in the face of what many Western commentators understood as a “breakdown of all meaning- making systems” (Versluys, 2009: 2). Most high-profile among these were literary works by critically acclaimed and commercially successful white Anglo-American male writers — including Jonathan Safran Foer’s Extremely Loud and Incredibly Close (2005), John Updike’s Terrorist (2006), and Don DeLillo’s Falling Man (2007) in the US, and Ian McEwan’s Saturday (2005) and Martin Amis’s The Second Plane (2008) in the UK — which have formed the focus of much recent scholarly work (see Gray, 2011; Keniston and Follansbee Quinn, 2008; Randall, 2011; Versluys, 2009). While “post-9/11” fiction by writers of Muslim heritage from a range of countries — including Britain and

Journal

The Journal of Commonwealth LiteratureSAGE

Published: Jun 1, 2018

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