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The spectacle of body

When, September 12, 2001, Todd Maisel shall publish front-page photograph of a severed hand, the publisher of Daily News , Ed Kosner is at the center of a controversy: it does not show the body, let alone body parts, many claim. The images of bodies falling or jumping from the towers already face sensitivity newspaper readers also deeply troubled by the attacks. Already, because it is already too much.

The images of September 11, whether television or photographs, were largely censored by the decisions of institutional content publishers but also, through, for political commentary: before the enemy, do not show the bodies. The dismembered bodies, dead, are a sign of weakness, a weakness shameful when it comes time to fight an invisible enemy and protein platform. Maybe. Perhaps, too, Was there not much to show, as said Mary Ann Golon of Time (quoted by David Friend): " Theys Thought, There Had To Be arms and legs and hands. There weren Purpose 't. The FDNY WORKED With The Photographer Who Said The forensics crews WAS destruction so complete There Were Times When You Would Not Even A Whole see gold Whole phone keypad. It Had Turned to Dust. " Very few images of bodies, they are "intact, whole or dismembered therefore have circulated since the attacks of 11 September. One suspects, however, that several photographs were taken, not only the same day but in the weeks and months that followed, during the search for human remains at Ground Zero. Perhaps these pictures for now preserved as much by photographers as "civilians" and firefighters, police and rescue workers, they will re-surface when sufficient time has passed.

I was talking, a few days ago, with DB Both deeply disturbed by the devastation in Haiti following the earthquake of January 12, we used to talk images from Haiti : survivors in shock, injured waiting for care, may not arrive on time. And others who are lying in the streets, the body sometimes barely concealed by a sheet. Most often, a hand, a foot, deformed by fractures, exceed. Why these bodies, called D, are they shown in this way, almost offhandedly, while the bodies of 11 September have been hidden? The fact that the earthquake (like Hurricane Katrina) or a natural disaster he plays in the representation that we give? After all, she suggested, in the case of September 11, an act of war had been committed, show the victims would have been an admission of vulnerability against the enemy.

Maybe. Except that. Except that the images of victims of armed conflicts gleefully circulating the rest of the time. And that these United States, so opposed to the broadcast of images of victims of September 11 did not show less pictures from Iraq or Afghanistan, Palestine or elsewhere.

What causes some victims to be hidden, while others are shown? Newspapers, television reports invaded by body littering the streets of Port-au-Prince, could they turn away from these images that can not help but hurt the Haitian diaspora around the world looking in the pictures finally know for its nationals who survived? Show images, in the case of Haiti, New Orleans, is there a way to cause enough compassion to ensure that the international community act?

And there's another reason, one that is difficult to tackle: September 11, the victims, as a community, came from an America if not easy, at least favored. It was not the case in New Orleans flood victims that followed Katrina were mostly poor. And black. Palestine, Iraq, Afghanistan, Haiti and now: the victims are, for many, the Other. And perhaps it is easier to show the Other in all its vulnerability, its weakness. Perhaps the show he commits to anything. Except for a few false compassion, a little offbeat, which is perhaps another way of perpetuating a remote control, judge people less fortunate than others, less spoiled by life, less protected from danger, just by an accident of birth.

In this reflection, still in its infancy, still troubled by the power of images, impotence help, I can only answer this: to show or not the body responds in a strategy. This strategy, whether humanitarian or political, nevertheless as a way to control the information that the reaction of one who looks at the pictures. And even if its objective, as seems the case now, is right, encourage donations and humanitarian aid, encourage a global response, this does not change the fact that the way to do so, it seems unfair.

Or, more precisely, disrespectful.

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The irony is not dead

Because I walked in the news and wanted to check a few things (the trajectory of the flight, names of streets, neighborhood), I went back to pass few days in New York. Of course, all are good reasons to take refuge in this city where I feel, since the first day home. But it is equally true that news travels well: the pieces are being put in place, and if there's work to do, characters to develop, new to complete, the project is more visible.

Another project taking shape, or rather, lots of land. Now we can see the imprint of the towers disappeared, then advanced by the construction of the memorial, even if it is more difficult to locate the museum in many geometric shapes present on the site. The memorial will consist of two square pools, corresponding to the footprint of the towers, surrounded by trees and benches. Part of the museum will be located underground, while the other, above the ground, will complete the site development. Tower 1, Freedom Tower, for intimate, leisurely sort of land. I suspect to be somewhere around the 4th or 5th floor. Officials are trying to rename a manner a little less ... symbolic, to avoid the "malaise" in its future tenants. Several New Yorkers resist the name change, after all, why: it is indeed a tower originally named Freedom Tower, called this way for years, and whose height is extremely symbolic, will be from 1776 feet (the year of independence). The reversal is surprising.

work all around the site, also advance. The workers are still to deconstruct the building in the Banker's Trust, slowly, floor by floor. In fact, one could almost think that the two, the construction of Tower 1 and the deconstruction of Banker's Trust, will be completed at the same time as they take time to happen. Since my last visit in July, it seemed that this famous Bank had lost only a few floors, while the progress of the tower, they were far more visible. But after all, it took so long to begin to deconstruct this building (only 2 years to start decontamination, if I'm not mistaken) that the slow pace can not possibly do anything but continue to be determined.

My first two trips to New York, I had wondered about the passage of time: between the town itself and its Ground Zero, big space still empty, it seemed to be a gap. And this time, I saw something that told me that perhaps the time has actually changed something. And it's not because of the progress. No, what I saw in New York this time it goes virtually unnoticed, but it is precisely this, that trivial character, which shows the evolution. Remember, the films were modified or dropped altogether, because their subject was too close to events. Generics of television shows have been "cleaned" the towers removed images (Friends, Sex and the City). Certain words, certain themes have long been banned, political correctness jostling with respect to the families of victims and survivors. It is still in New York and the United States some gray areas when it comes to attacks, and the delicacy or prudence seem even more updates in New York where some of my questions, despite their caution, were received with obvious discomfort.

Yet as I watched the Winter Garden from the crane on the site of the World Trade Center, my gaze was attracted by a banner, apparently completely banal.

"'Fall' Into Fashion," says the slogan of the great thrift store Century 21. The word game with the season is equally clear that it was easy. The message is clear, after all. Except that. Except how not to think about "falling men", these men and women who have fallen towers the morning of September 11? After all, the proximity of the store with the site can not be ignored, because to see that banner, it must be on the other side of Ground Zero. In other words, you can not see the banner at the same time without seeing the empty space left by the collapse of the World Trade Center complex.

What does this close? She says, simply, that time has passed. What if, for a long time, it was impossible for many Americans to consider the fate of human beings falling from the towers (they jumped voluntarily? Were they pushed? Was it a choice or a necessity which made them jump into the void?), sensitivity semantic crumbling, eroding. The words echo a little of their meaning, constantly refer to the gaping space.

More than the gradual shaping of the site, the progress of the construction of Tower 1, that is, the simple banner business, who told me that 8 years later New York tames the event.

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The relationship to reality in contemporary

While waiting to find the answers to my questions and redo the way up my characters, I run this conference:

REPORT TO THE REAL IN CREATING CONTEMPORARY

Opponent Emmanuel Carrère explored in 2002 the figure of the murderer usually by the character of Jean-Claude Roman. Amelie Nothomb takes the stage for several years in his various novels (think Fear and Trembling , for example) and accentuates this staging by placing systematically a photograph of herself on the cover. Sophie Calle's work is, in turn, traversed by a constant blurring of boundaries between reality and fiction, the personal and the public. Nelly Arcand, Marie-Sissi Labreche and Melanie Gelinas each, through the characters deliberately inspired by their own experiences, played on the borders of the self-fiction. If this phenomenon is not new, what is intriguing, however, is the vehemence with which the relationship to reality in the various works is questioned. In recent years, the distinction between fiction and works non-fiction (to use the English term) appears fragile. A series of scandals involving alleged autobiography has rocked the literary world (and media) America. A Million Little Pieces (James Frey, 2003), Love and Consequences (Margaret Seltzer, 2008), The Angel at the Fence (never published): each these autobiographies was disproved when it was discovered that the facts there had either been "embellished "Or outright invented, and their authors have been disowned, if not in the public arena booed by speakers (think Oprah Winfrey) insulted for believing in them. But the question arises: why, initially, to claim a work of fiction authentication of reality that accompanies the term "autobiography"? And why in a second time, the confession of a fictionalization of events shocked as he?

From unveiling the term, operating in the reconstruction, contemporary writing seems to be playing boundaries between fiction and reality, as if it was inhabited by a need to redefine its relationship with reality and, thereby, to fiction. Is it because of the media invasion that makes more and more difficult (if not impossible) to ignore the spectacle of reality as presented by the news bulletins on both the web and on television in the world ? The report creation is found there parasitized by events when the real, as in the September 11 attacks, appears to surpass the fiction, and fiction that seeks, in turn, to support the real? Or we just feel the need, after the formal explorations of the twentieth century, reviving the creative work in our world?

This conference, wishing to collect as many writers as literary scholars, will aim to question the inclusion of the real in contemporary fiction. Why real exercise he so great attracted to the current authors? What space is there for fiction when the writer uses a life event, whether personal or historical, as a base or frame of his work? How notions of fiction, narrative, characters and writers found it changed? By comparing the work of practitioners and theorists, this conference will try not to reach a definitive answer on how the inclusion of reality but rather to achieve a state of fiction as it is practiced now with all that this state ad'éphémère.

Proposals for papers (250-300 words) should be submitted at dulong.annie @ uqam.ca before 23 October 2009 . Please enter your contact information (name, email, home university, status) on your proposal. The symposium will be subsequently proposed to the organizers of the annual ACFAS conference to be held from 10 to 14 May 2010 at the University of Montreal.

Organizing Committee:

Denise Brassard

Annie Dulong

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Behind the windows

Is this an admission an act of contrition, a joke? I'm lost. In trying too hard to keep my characters of the event, I forgot to write it. I hung my characters on the wall, hoping to see more clearly. This is not a bad idea. But I increasingly feel that I should want, is a tower, where I put my characters. Windows behind which I can draw my stories, as in the Montreal Hypertext Hotel.

Still, despite all the possible variants, my characters are limited: they are either above the impact point, below. Either in the north tower, either in the south tower. They hesitate or they will darken. They can get out, or else are doomed in advance. That's why I started to turn around: to stick to this day, these 102 minutes, seemed suddenly too difficult. But I come back. Because that's how I want to write them with me since several months. Peter, Eva, Bob, Maureen, Tilda, Donald. The present. Their present.