1 Albert Boime, “The Fate of the Image-Monument in the Wake of 9/11,” in Vincent Lavoie, ed., NOW: Images of Present Time (Montreal: Le Mois de la Photo à Montréal, 2003), 189–204.
2 Alain Mons, La traversée du visible: Images et lieux du contemporain (Paris: Les Editions de la Passion, 2002), 32 (my translation).
4 In a piece tellingly titled “Still Life,” Laura Frost addresses the issue of, as her subtitle has it, “9/11's Falling Bodies.” She recognizes photography's inherent power to make time stand still, a power that inspired Polish poet Wislawa Szymrska. Laura Frost, “Still Life: 9/11's Falling Bodies,” in Ann Keniston and Jeanne Follansbee Quinn, eds., Literature after 9/11 (London: Routledge, 2008) 180–207.
5 Walter Benjamin, “The Work of Art in the Age of Mechanical Reproduction,” Illuminations (New York: Schocken, 1969), 236–37.
6 Don DeLillo, Falling Man (New York: Scribner, 2007), 168.
8 The firefighter is shown in the documentary film 9/11, produced by Jules and Gédéon Naudet, two French documentary filmmakers who happened to be in New York making a film about one rookie firefighter who underwent his fire baptism on the day of 9/11. The film contains gripping footage from inside one of the burning towers, but likewise makes a stated conscious choice not to show the falling bodies. Instead, one hears the thud of their hitting ground. 9/11, A Film by Jules and Gédéon Naudet and James Hanlon (Goldfish Pictures Inc., 2001).
9 Ric Burns, New York: The Center of the World, A Documentary Film (Boston: WGBH, 2003) Episode Eight: 1946–2003.
10 Junod, Tom, “The Falling Man,” Esquire, 140, 3 (Sept. 2003), 177–78.
14 Words quoted from the documentary 9/11: The Falling Man. The theme of the ethnic response to 9/11 photographs, and to the Falling Man in particular, I have explored more fully in my “Indecent Exposure: Picturing the Horror of 9/11,” in Derek Rubin and Jaap Verheul, eds., American Multiculturalism after 9/11: Transatlantic Perspectives (Amsterdam: Amsterdam University Press, 2009), 67–81.
16 Jonathan Safran Foer, Extremely Loud and Incredibly Close (New York: Houghton, Mifflin, Harcourt, 2005).
17 Zuber, Devin, “Flanerie at Ground Zero: Aesthetic Countermemories in Lower Manhattan,” American Quarterly, 58, 2 (2006), 269–99.
18 Art Spiegelman, In the Shadow of No Towers (New York: Pantheon Books, 2004).
19 Postmemory is a term suggested by Marianne Hirsch in her Family Frames: Photography, Narrative and Postmemory (Cambridge, MA: Harvard University Press, 1997). It describes the sort of memory that people form of past events they have not directly witnessed.
20 Kristiaan Versluys, “9/11 in the Novel,” in Matthew J. Morgan, ed., The Impact of 9/11 on the Media, Arts, and Entertainment: The Day that Changed Everything? (London: Palgrave Macmillan, 2009) 142–43.
This piece has evolved from passages in my Photographic Memories: Private Pictures, Public Images, and American History (Dartmouth: University Press of New England, 2007). Ever since I have been trying to translate into language my continuing fascination with one particular image among the flood of visual material produced by 9/11. The piece has benefited greatly from critical comments by colleagues and friends, in particular Geoffrey Batchen, Kate Delaney, Mick Gidley, Jay Prosser, Derek Rubin, Robert Rydell and Jaap Verheul.