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Introduction -- Philipp Schweighauser and Peter Schneck -- Memory Work after 9 -- 11 -- 1. The Wake of Terror: Don DeLillo's "In the Ruins of the Future," "Baader-Meinhof," and Falling Man -- Linda S. Kauffman -- 2. Grieving and Memory in Don DeLillo's Falling Man -- Silvia Caporale Bizzini -- 3. Collapsing Identities: The Representation and Imagination of the Terrorist in Falling Man -- Sascha Pöhlmann -- Writers, Terrorists, and the Masses -- 4. 6,500 Weddings and 2,750 Funerals: Mao II, Falling Man, and the Mass Effect -- Mikko Keskinen -- 5. Influence and Self-Representation: Don DeLillo's Artists and Terrorists in Postmodern Mass Society -- Leif Grössinger -- 6. The Art of Terror--the Terror of Art: DeLillo's Still Life of 9 -- 11, Giorgio Morandi, Gerhard Richter, and Performance Art -- Julia Apitzsch -- Don DeLillo and Johan Grimonprez -- 7. Grimonprez's Remix -- Eben Wood -- 8. Dial T for Terror: Don DeLillo's Mao II and Johan Grimonprez' Dial H-I-S-T-O-R-Y -- Martyn Colebrook -- Deathward and Other Plots -- 9. Terror, Asceticism, and Epigrammatic Writing in Don DeLillo's Fiction -- Paula Martín Salván -- 10. The End of Resolution? Reflections on the Ethics of Closure in Don DeLillo's Detective Plots -- Philipp Schweighauser and Adrian S. Wisnicki -- The Ethics of Fiction -- 11. Slow Man, Dangling Man, Falling Man: Don DeLillo and the Ethics of Fiction -- Peter Boxall -- 12.Falling Man: Performing Fiction -- Marie-Christine Leps -- 13. "Mysterium tremendum et fascinans": Don DeLillo, Rudolf Otto, and the Search for Numinous Experience -- Peter Schneck -- Coda -- 14. The DeLillo Era: Literary Generations in the Postmodern Period -- David Cowart In his novel Mao II, Don DeLillo lets his protagonist say, 'Years ago I used to think it was possible for a novelist to alter the inner life of the culture. Now bomb-makers and gunmen have taken that territory. They make raids on human consciousness.' DeLillo suggests that while the collective imagination of the past was guided by the creative order of narrative fictions, our contemporary fantasies and anxieties are directed by the endless narratives of war and terror relayed by the mass media. To take DeLillo's literary reflections on media, terrorism, and literature seriously means to engage with the ethical implications of his media critique. This book departs from existing works on DeLillo not only through its focus on the function of literature as public discourse in culture, but also in its decidedly transatlantic perspective. Bringing together prominent DeLillo scholars in Europe and in the US, it is the first critical book on DeLillo to position his work in a transatlantic context
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