At the time of writing, more than 20 novels have been written that deal directly or indirectly with the events of 9/11. In broad outlines, they fall under four categories: the novel of recuperation, the novel of first-hand witnessing, the great New York novel, and the novel of the outsider. It is the last category of novels – written by non-Americans – that demonstrates the extent to which 11 September has penetrated deep into the European psyche and thus has become a European event. What is surprising is that the gap between the continents seems smaller in fiction than in politics. Even Luc Lang's onze septembre mon amour, a strident anti-American screed, is characterized by a sense of solidarity for the victims and for an alternative America, antithetical to the official one. In Frédéric Beigbeder's Windows on the World (a French novel with an English title), Europe and the US remain united in the overarching concept of the West, sharing a common destiny. In Ian McEwan's Saturday, finally, the events in the US have become part and parcel of the protagonist's existence, even though he lives thousands of miles away in the posh part of London.