By Ruth Mackay
With this examine, Mackay asks: In what indirect methods has verticality leaked into American narrative? Why do metaphors of up and down recur around the 20th century? With shut readings of Jonathan Safran Foer’s Extremely Loud and highly Close, Winsor McCay’s cartoon Little Nemo in Slumberland, Upton Sinclair’s Oil! and its movie rendering There can be Blood, Allen Ginsberg’s poetic dissections of the nuclear bomb, and Leslie Marmon Silko’s imagining of flight in Almanac of the Dead, this interdisciplinary research culminates with a dialogue of Philippe Petit’s tightrope stroll among the dual Towers. Waiting for the Sky to Fall examines how vertical illustration cleaves to, and infrequently transforms the institutions of, particular occasions which are bodily and visually disorienting, disquieting, or perhaps traumatic.
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