Introduction: The Politics of Memory in the Post-9/11 Era -- Monuments and Voids: The Proliferation of 9/11 Memory -- The Objects That Lived, the Voices That Remain: The 9/11 Museum -- Global Architecture, Patriotic Skyscrapers, and a Cathedral Shopping Mall: The Rebuilding of Lower Manhattan -- Visibility and Erasure: Memory and the "Global War on Terror" -- The Memory of Racial Terror: The National Memorial for Peace and Justice and the Legacy Museum.

This edited collection aims to respond to dominant perspectives on twenty-first-century war by exploring how the events of 9/11 and the subsequent Wars on Terror are represented and remembered outside of the US framework. Existing critical coverage ignores the meaning of these events for people, nations and cultures apparently peripheral to them but which have - as shown in this collection - been extraordinarily affected by the social, political and cultural changes these wars have wrought. Adopting a literary and cultural history approach, the book asks how these events resonate and continue to show effects in the rest of the world, with a particular focus on Australia and Britain. It argues that such reflections on the impact of the Wars on Terror help us to understand what global conflict means in a contemporary context, as well as what its representative motifs might tell us about how nations like Australia and Britain perceive and construct their remembered identities on the world stage in the twenty-first century. In its close examination of films, novels, memoir, visual artworks, media, and minority communities in the years since 2001, this collection looks at the global impacts of these events, and the ways they have shaped, and continue to shape, Britain and Australia’s relation to the rest of the world.

This book explores the ways in which transnational fiction in the post-9/11 era can intervene in discourse surrounding the "war on terror" to advocate for marginalised perspectives. Trauma and Fictions of the "War on Terror" conceptualises global political discourse about the "war on terror" as incongruous, with transnational memory frames instituted in Western nations centralising 9/11 as uniquely traumatic, excluding the historical and present-day experiences of Afghans under Western—specifically American—hegemonic violence. Recent developments in trauma studies explain how dominant Western trauma theory participates in this exclusion, failing to account for the ongoing suffering common to non-Western, colonial, and postcolonial contexts. O’Brien explores how Khaled Hosseini (The Kite Runner), Nadeem Aslam (The Wasted Vigil, The Blind Man’s Garden), and Kamila Shamsie (Burnt Shadows) represent marginalised perspectives in the context of the "war on terror".

This volume focuses on the uses of collective memory in transatlantic relations between the United States, and Western and Central European nations in the period from the Cold War to the present day. Sitting at the intersection of international relations, history, memory studies and various "area" studies, Memory in Transatlantic Relations examines the role of memory in an international context, including the ways in which policy and decision makers utilize memory; the relationship between trauma, memory and international politics; the multiplicity of actors who shape memory; and the role of memory in the conflicts in post-Cold War Europe. Thematically organized and presenting studies centered on the U.S., Hungary, France, the Czech Republic and Slovakia, the authors explore the built environment (memorials) and performances of memory (commemorations), shedding light on the ways in which memories are mobilized to frame relations between the U.S. and nations in Western and Central Europe. As such, it will appeal to scholars across the social sciences and historians with interests in memory studies, foreign policy and international relations.

A thought-provoking volume examining the complex factors contributing to terrorism and torture, and the links between those two heinous behaviours.

In "Archives of the Insensible" anthropologist Allen Feldman presents a genealogical critique of the sensibilities and insensibilities of contemporary warfare. Feldman subjects the law to a strip search, interrogating diverse trials and revealing the intersecting forms of bodily and psychic subjugation that they display. Throughout, ethnographic specificities are treated philosophically and political philosophy is treated ethnographically through deconstructive description. Among the cases he examines are the interrogation of Ashraf Salim at the Combatant Status Review Tribunal at Guantanamo; the kangaroo court of American soldiers who murdered Gul Mudin, an Afghani noncombatant; Gerhard Richter s forensic paintings of the disputable suicides of a Red Brigade cell in Stammheim prison; Radovan Karadzic s forensic allegations against the corpses attributed to his shelling of a market in Sarajevo; the trial of the police officers who beat Rodney G. King and the latter s judicial lynching by video montage; Jean Luc Godard s film class at Sarajevo where visual facts are indicted for no longer speaking for themselves; and Jacques Derrida standing naked before his cat while awaiting apocalyptic judgment. Through his analysis of these and several other cases, Feldman shows how state power arises "ex nihilo "in the chasm between violent events themselves and the space where political meaning is made. He aims to reverse sovereign logic, the whole task of which is to transform what Foucault called the enigmatic dispersion of human events into certified facts on which state violence is grounded. In contrast, Feldman relies on the disorientation that arises from micrological description as theory in an attempt to retard the hyperaccelerated time of war and media."

An entire generation of young adults has never known an America without the War on Terror. This book contends with the pervasive effects of post-9/11 policy and myth-making in every corner of American life. Never-Ending War on Terror is organized around five keywords that have come to define the cultural and political moment: homeland, security, privacy, torture, and drone. Alex Lubin synthesizes nearly two decades of United States war-making against terrorism by asking how the War on Terror has changed American politics and society, and how the War on Terror draws on historical myths about American national and imperial identity. From the PATRIOT Act to the hit show Homeland, from Edward Snowden to Guantanamo Bay, and from 9/11 memorials to Trumpism, this succinct book connects America's political economy and international relations to our contemporary culture at every turn.