By Mary Ruth Marotte, Glenn Jellenik (eds.)
Members: Joseph Donica, Florian Freitag, Kate Horigan, Arin G. Keeble, Christopher Lloyd, Daisy Pignetti, Michael Samuel, Thomas Stubblefield, Laura Tansley, Eloisa Valenzuela-Mendoza
Hurricane Katrina blasted the Gulf Coast in 2005, leaving an unheard of path of actual destruction. as well as that harm, the hurricane wrought significant mental and cultural trauma on Gulf Coast citizens and on the USA as a complete. info of the devastation have been speedy reported—and misreported—by media retailers, and a slew of articles and books undefined, delivering a spectrum of socio-political commentaries and analyses. yet past the reportage and the observation, a sequence of fictional and artistic debts of the Katrina-experience have emerged in a variety of mediums: novels, performs, movies, tv indicates, songs, image novels, collections of pictures, and works of inventive non-fiction that blur the traces among reportage, memoir, and poetry. The inventive outpouring brings to brain Salman Rushdie’s statement that, “Man is the storytelling animal, the single creature on the earth that tells itself tales to appreciate what sort of creature it is.”
This e-book accepts the urge at the back of Rushdie’s formulation: people inform tales which will comprehend ourselves, our global, and our position in it. certainly, the artistic output on Katrina represents efforts to build a cohesive narrative out of the wreckage of a cataclysmic occasion. even though, this ebook is going extra than basically cataloguing the ways in which Katrina narratives help Rushdie’s wealthy declare. This assortment represents a focused try and chart the consequences of Katrina on our cultural identification; it seeks not to simply catalogue the trauma of the development yet to discover the ways in which such an occasion capabilities in and at the literature that represents it. The physique of labor that sprung out of Katrina bargains a special severe chance to higher comprehend the genres that constitution our tales and the methods tales replicate and bring tradition and id. those essays bring up new questions about the consultant genres themselves. The tales are efforts to symbolize and comprehend the human situation, yet so are the organizing ideas that converse the tales. that's, Katrina-narratives current a chance to interrogate the ways in which particular narrative buildings tell our figuring out and strengthen our cultural identification. This ebook bargains a serious processing of the newly rising and various canon of Katrina texts.
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Additional resources for Ten Years after Katrina: Critical Perspectives of the Storm's Effect on American Culture and Identity
93. 62. , 65. 63. , 96. Ibid. 65. , 101. 66. Aimee L. ” Connecticut Review 28, no. 1 (2006): 73. 67. John Biguenet, Mold, 97. 68. , 105. 69. , 106. 70. , 107. 71. , 109. 72. , 110. Marina Kennedy, “BWW Interviews: John Biguenet, Renowned Playwright, Premieres BROOMSTICK at NJ Rep,” Broadway World, Last modified September 6, 2013. com/new-jersey/article/ Dramatic “Belated Immediacy” in John Biguenet’s Rising Water Trilogy 31 BWW-Interviews-John-Biguenet-RenownedPlaywright-Premieres-BROOMSTICKat-NJ-Rep-20130906.
They lose their house, their school? They haven’t lost a thing, these people over this side of the river. BEAU: Everybody down here lost something. Even if it was nothing else but watching New Orleans die. , getting supplies, pulling hundreds of nails from the studs, killing mold, rewiring the electricity), is expressed all throughout the play. Unlike Rising Water, which utilizes humor, this play makes the loss palpable. Still, Beau tries his best to get along with his new neighbors, particularly Mattie’s father, Dex, who lost his Lower Ninth Ward home in the storm.
49. , 46. 50. , 57. 51. , 59. 52. , 60. Ibid. Ibid. 55. Dominick LaCapra, History in Transit: Experience, Identity, Critical Theory (Ithaca: Cornell University Press, 2004), 133. 56. htm. 57. John Biguenet, Mold. E-mail message to author, December 24, 2013, 3. (The playwright was gracious enough to share the WORD file of his final play in the trilogy. Ibid. 59. , 7. 60. , 9. 61. , 93. 62. , 65. 63. , 96. Ibid. 65. , 101. 66. Aimee L. ” Connecticut Review 28, no. 1 (2006): 73. 67. John Biguenet, Mold, 97.