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Variously addressing the war on terror now waged in the "full-spectrum dominance" of network-centric battlespace, DeLillo's most recent four novels (published immediately before and since the 9/11 attacks) work to produce stillness as opposed to seductive, terroristic speed—to detach identities from everyday practices of time and elaborate transformative experiences for the reader. Each novel constitutes a complex hetero-chronograph, a textual apparatus that not only measures time but also produces altered temporal forms that slow down and multiply felt times and durations. Redeploying Bakhtin's notion of the text as an unrepeatable event co-produced by the author and reader, this article explores how De-Lillo's texts enable the reader to become an actor, to produce and experience modes of resistance to the totalizing forces of terror by the realization of a network of virtual narrative associations among economic, political, aesthetic, and ethical vectors. Such relations are mapped on a Greimassian semiotic square of "terror-time." [ABSTRACT FROM AUTHOR]

This article compares a recent American fiction set in Amsterdam (David Liss's The Coffee Trader, 2003) with several other Anglophone fictions set in the same city to show how several centuries of literary heterostereotypes of Amsterdam have influenced American ideas on the city in literature. Foreign spaces in fiction almost inevitably draw American projections of the American self that cannot be recognized at home, yet Amsterdam's particular nexus of projection is perhaps one of the most striking and underexamined, with roots reaching back to the founding mythos of America as Pilgrims' last stop in Europe and extending to today's often negative projections of libertinism contrasted with traditional American-style Puritanism. How do the spaces of Amsterdam in a highly detailed work like Liss's allow a range of issues pertinent to contemporary American society to play themselves out on an "othered" stage? Contemporary questioning of capitalism, sexual and ethical mores, and Americans' relationship with death are highlighted in this space safely outside the American self, and which thus provides a more comfortable locus for their analysis and narrative development. [ABSTRACT FROM AUTHOR]