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Looking Away from 9/11: The Optics of Joseph O’Neill’s Netherland

Looking Away from 9/11: The Optics of Joseph O’Neill’s Netherland SARAH L. WASSERMAN Looking Away from 9/11: The Optics of Joseph O’Neill’s Netherland s September 11, 2011, approached, publishers began planning cover treatments, feature stories, and maga- zine issues that would mark the tenth anniversary of the attacks on the World Trade Center. At the London- based Sunday Times Magazine, editors prepared to run a cover designed by Alyson Waller, on which a grayscale American flag turned vertically down the page evokes one of the Twin Towers. The flag’s stripes represent the building’s linear latticework of win- dows, and the blue corner of the flag, printed on the cover in black, becomes the zone of impact. The stars are no longer ordered in neat lines but jumbled in disarray. Seven stars run down the side of the flag, as though they have tumbled out of the top of the design. Above the image, text cues readers to associate the stars with “The Fallen” and promises to explain “Why America won’t talk about the scores who jumped from the Twin Towers.” Executives at The Sunday Times rejected the design, perhaps fear- ing that the political implications of the image were too volatile. Waller herself has said that the design was http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Contemporary Literature University of Wisconsin Press

Looking Away from 9/11: The Optics of Joseph O’Neill’s Netherland

Contemporary Literature , Volume 55 (2) – Aug 29, 2014

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Publisher
University of Wisconsin Press
Copyright
Copyright © 2008 the Board of Regents of the University of Wisconsin.
ISSN
1548-9949

Abstract

SARAH L. WASSERMAN Looking Away from 9/11: The Optics of Joseph O’Neill’s Netherland s September 11, 2011, approached, publishers began planning cover treatments, feature stories, and maga- zine issues that would mark the tenth anniversary of the attacks on the World Trade Center. At the London- based Sunday Times Magazine, editors prepared to run a cover designed by Alyson Waller, on which a grayscale American flag turned vertically down the page evokes one of the Twin Towers. The flag’s stripes represent the building’s linear latticework of win- dows, and the blue corner of the flag, printed on the cover in black, becomes the zone of impact. The stars are no longer ordered in neat lines but jumbled in disarray. Seven stars run down the side of the flag, as though they have tumbled out of the top of the design. Above the image, text cues readers to associate the stars with “The Fallen” and promises to explain “Why America won’t talk about the scores who jumped from the Twin Towers.” Executives at The Sunday Times rejected the design, perhaps fear- ing that the political implications of the image were too volatile. Waller herself has said that the design was

Journal

Contemporary LiteratureUniversity of Wisconsin Press

Published: Aug 29, 2014

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