Frédéric Beigbeder’s Windows on the World uses the fictional conceit of a narrator telling events post mortem in order to describe what happened on 11 September 2001. In doing so, he approaches the events using what is culturally known, and attempts to develop a new episteme for these events by means of the known, in distinction to those who might penetrate the Lacanian Real and those recounting the events from an apocalyptic point of view.
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