Abstract
Michel Vinaver's 11 septembre 2001/11 September 2001 and Luc Lang's 11 septembre, mon amour relate the tragedy of September 11. In both works eyewitnesses and voices occupy the narrative space, totally (Vinaver) or partially (Lang), and bilingually for Vinaver (English and French). Vinaver's libretto features a polyphonic mingling of voices — victims, survivors, terrorists, national leaders — which engenders confusion, ambiguity, chaos, and misunderstanding. Vinaver intends to 'fix' the event in memory, against the forgetfulness of oblivion, but does so without comment. Lang, in 11 septembre, mon amour, also composes a polyphonic work which pays homage to the victims by bringing their voices back to life. We hear their vibrant, tragic, last words of love, words that tell the impossibility of acting while there is still time, voices that still talk of regrets and hopes. In distinction to Vinaver's silence, Lang's text is characterized by a sense of solidarity for the victims and for an alternative America, antithetical to the harshly criticized official one.
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