Preserving and defending what the West has built requires a sense of purpose and shared public morality. Sadly, of the literary fictions inspired by and following the 9/11 attacks, none goes beyond an agnostic predilection to equivocate
After 2001, the Library of Congress introduced a new category. “September 11 Terrorist Attacks 2001—Fiction” identified a genre of political novels that now includes inter alia: Jonathan Safran Foer’s Extremely Loud and Incredibly Close (2005), John Updike’s Terrorist (2006), Jay McInerney’s The Good Life (2006), Claire Messud’s The Emperor’s Children (2006), Don DeLillo’s Falling Man (2007), Joseph O’Neill’s Netherland (2008) and Andre Dubus III’s The Garden of Last Days (2009). The category also includes European and Australian novels like Michel Houellebecq’s Platform (2003) and Submission (2015), Ian McEwan’s Saturday (2007), Richard Flanagan’s The Unknown Terrorist (2006) and Mohsin Hamid’s The Reluctant Fundamentalist (2007). By 2011 newspapers and journals published lists of the best post-9/11 novels, and US universities, such as Berkeley, offered undergraduate courses in post-9/11 fiction. What does the new genre tell us about the modern liberal character adrift in an interconnected world confronted by the apocalyptic certainties of the Islamic zealot?
That the contemporary novelist would derive inspiration from terrorism is unsurprising. As it evolved, modern terrorism cultivated the drama of the violent act. Consequently, the great early twentieth-century novelists found it a suitable fictional case for treatment. In The Princess Casamassima (1886) Henry James perceived in the anarchists of the time an emerging European revolutionary character that was a “strange mixture of anguish and aestheticism”. Joseph Conrad also dissected the revolutionary fanatic’s addiction to violence. Through characters like “the incorruptible Professor” in The Secret Agent (1907), Conrad depicted the morally challenged inhabitants of a bohemian underworld preoccupied with revolution, betrayal and conspiracy.
After 1945, Graham Greene, John Le Carré, Arthur Koestler, Vladimir Nabokov and George Orwell explored the corrupt demi-monde of Cold War totalitarian terror. Novelists like Orwell and Conrad clarify the moral and political dilemmas that confront the liberal political conscience. Given that the political novel, at its best, offers insight into the motive for violence, what political and moral possibilities do the novels of September 11 Terrorist Attacks 2001—Fiction evoke?
A disenchanted modern cityscape inhabited by a cast of middle-class characters forms the setting for most 9/11 fiction. It is a cosmopolitan, secular city of commercial transactions, sexual infidelity and status anxiety. The denizens struggle with anomie, financial and emotional need, and a city which sustains only a minimal sense of civil association. Before any terror attack occurs this is a world that lacks moral purpose.