Feed on
Posts
Comments

9/11 was a huge event for the entire world, regardless of whether it was a happy one or sad one. As with most big events, the repercussions seem to be endless because that event becomes a part of who we are. Whether it is something we think about constantly or simply something that is at the back of our minds, it can easily be connected with art or other forms of expression even if the item has nothing to do with the event. As we discussed earlier in this class with Michael Richard’s sculpture “Tar Baby vs. St. Sebastian,”  and even with the music such as Benjamin Britten’s “War Requiem,” they had absolutely nothing to do with 9/11, yet the first thing on my mind, and I am sure the same can be said for others, was the September 11th attacks. This idea that it’s connected to everything now was also brought up in Don DeLillo’s Falling Man. 

Lianne joined him at the wall. The painting in question showed seven of eight objects, the taller ones set against a brushy slate background. The other items were huddled boxes and biscuit tins, grouped before a darker background. The full array, in unfixed perspective and mostly muted colors, carried an odd spare power. They looked together. Two of the taller items were dark and somber, with smoky marks and smudges, and on of them was partly concealed by a long-necked bottle. The bottle was a bottle, white. The two dark objects, too obscure to name, were the things that Martin was referring to. ‘What do you see?’ he said. She saw what he saw. She saw the towers (DeLillo 41).

Although Lianne and Martin were looking at a piece of art that had obviously been completed before the attacks, they could not help but picture the towers because it was such a big event and was still on their minds. Although something like that would be much easier to imagine in their circumstance, days after the event, DeLillo still makes a valid point that 9/11 weighs heavy in the hearts and minds of many people, and  for those people it has a meaning in every aspect of their life.

One Response to “It’s Connected to Everything Now”

  1. Marta says:

    Convergences of this nature remind me of projection tests. To me it seems that Martin and Lianne never saw the Twin Towers in the painting before for a reason…it’s improbable that the painter intended it to be reminiscent of such. And yet the freshness of the attacks in Martin and Lianne’s minds seems to predispose them to see the parallel very suddenly.
    I think the same principle can apply to Richards’s and Britten’s works and how we have perceived them as students. Had I not been exposed to them in the context of a 9/11 literature seminar, I doubt that they would have reminded me of the attacks. And yet in studying them alongside post-9/11 responses, it is not difficult at all to see a connection.