Death Threat Letters: Allegories of American Authorship in the Age of Terrorism

This dissertation examines novels that use terrorism to allegorize the threatened position of the literary author in contemporary culture. Allegory is a term that has been differently understood over time, but which has consistently been used by writers to articulate and construct their roles as authors. In the novels I look at, the terrorist challenge to authorship results in multiple deployments of allegory, each differently illustrating the way that allegory is used and authorship constructed in the contemporary American novel. Don DeLillo’s Mao II (1991), first puts terrorists and authors in an oppositional pairing. The terrorist’s ability to traffic in spectacle is presented as indicative of the author’s fading importance in contemporary culture and it is one way that terrorism allegorizes threats to authorship. In Philip Roth’s Operation Shylock (1993), the allegorical pairing is between the text of the novel and outside texts – newspaper reports, legal cases, etc. – that the novel references and adapts in order to bolster its own narrative authority. Richard Powers’s Plowing the Dark (1999) pairs the story of an imprisoned hostage, craving a single book, with employees of a tech firm who are creating interactive, virtual reality artworks. Focusing on the reader’s experience, Powers’s novel posits a form of authorship that the reader can take into consideration, but which does not seek to control the experience of the text. Finally, I look at two of Paul Auster’s twenty-first century novels, Travels in the Scriptorium (2007) and Man in the Dark (2008), to suggest that the relationship between representations of authors and terrorists changed after 9/11. Auster’s author-figures forward an ethics of authorship whereby novels can use narrative to buffer readers against the portrayal of violent acts in a culture that is suffused with traumatizing imagery.

LINEUP SIZE AND NUMBER OF CUES: WHEN BIGGER ISN’T BETTER

Larger lineups could protect innocent suspects from being misidentified; however, they can also decrease correct identifications. Bertrand (2006) investigated whether the decrease in correct identifications could be prevented by adding more cues, in the form of additional views of lineup members’ faces, to the lineup. Adding these cues was successful to an extent. The current series of studies attempted to replicate Bertrand’s (2006) findings while addressing some methodological issues—namely, the inconsistency in image size as lineup size increased. First, I investigated whether image size could affect face recognition (Chapter 2) and found it could, but that it also affected previously-seen (“old”) versus previously-unseen (“new”) faces differently. Specifically, smaller image sizes at exposure lowered accuracy for old faces, while these same image sizes at recognition lowered accuracy for new faces. Although these results indicate that target recognition would be unaffected by image size at recognition (i.e., during a lineup), lineups are also comprised of previously-unseen faces, in the form of fillers and innocent suspects. Because image size could affect lineup decisions, as it could become more difficult to realize fillers are previously-unseen, I decided to replicate Bertrand (2006) while keeping image size constant in Chapters 3 (simultaneous lineups) and 4 (simultaneous-presentation, sequential decisions). In both Chapters, the integral findings were the same: correct identification rates decreased as lineup size increased from 6- to 24-person lineups, but adding cues had no effect. The inability to replicate Bertrand (2006) could mean that the original finding was due to chance, but alternate explanations also exist, such as the overall size of the array, the degree to which additional cues overlap, and the length of the target exposure. These alternate explanations, along with directions for future research, are discussed in the following Chapters.