Jarett Kobek

In the summer of 1999, Mohamed Atta defended a master's thesis that critiqued the introduction of Western-style skyscrapers in the Middle East and called for the return of the "Islamic-Oriental city." Using this as a departure point, Jarett Kobek's novel ATTA offers a fictionalized psychedelic biography of Mohamed Atta that circles around a simple question: what if 9/11 was as much a matter of architectural criticism as religious terrorism? Following the development of a socially awkward boy into one of history's great villains, Kobek demonstrates the need for a new understanding of global terrorism. The second work, "The Whitman of Tikrit" is a radical reimagining of Saddam Hussein's last day before capture.

& the Whitman of Tikrit

Atta

Fraser Simons

An incredible portrait of the architect of one of the cells that flew a plane into one of the towers on 9/11. The voice crafted for this is as successful for me as Lolita. Not with the goal of seducing the reader to the point-of-view of Atta, but more the believable, organic nature of the voice being entirely embodied in every level of the prose work. You absolutely revile the man, who rails against those less puritanical than him even as he refuses to interrogate an inch of himself. Yet even in so doing, there is massive conflict present. Always bubbling and psychically driving his thoughts, emotions, and actions. 

It’s actually an important work, I feel. When people do these things the gut reaction is to paint them as insane and dehumanize them and contrast them to us completely. But actually our creating a caricature of people who do these things only allows for us to continually misunderstand and often demonize entire groups which we ascribe the perpetrators of such actions. Similarly lacking the inward reflection and critical input from others, as well as the fostering of empathy everyone dearly, dearly needs to be and perceive and negotiate humanity. 

At a systemic level, Atta here does actually perceive real issues and real harm coming from western society. And he’s not wrong about them. But that anger turning to fostered, active hatred coupled with shame that could easily be likened to those of western rearing and socialization is similarly present. He does see, at times, that God is Love. But can’t internalize it because the rhetoric of his turned masculinity can’t justify that. 

So he does as everyone does: build their own prison. Play architect to their own pain and, in turn, filter everything through that skewed lens. 

Again, just as in Lolita, the reader should come away from this reflecting on their own lens. Where does our own motivated thinking take us? Where are we going? What are we doing? Harm? Or good?

Atta & the Whitman of Tikrit

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