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A few short weeks after the horror of 9/11 Michael Davenport, eccentric English journalist for the occult magazine Enigma, returns to America for the first time since nearly losing his life in the seamy drug wars of Ciudad Juarez.

His boss had thrown a copy of Al Jazeera across his desk and Michael had become very interested by a report that two salvage workers had seen something decidedly unusual emerging from the rubble of Ground Zero twenty-six days after the towers fell.

A mirage most probably. A figment of over-tired imaginations. A wisp of smoke or some kind of silly American gag. Very unlikely to be of any serious consequence but there was just the slimmest possibility that it might be someone, or something, beyond our ordinary human world.

Reviews from the Readers

With all due respect to Steve Alten’s The Shell Game, Clanash Farjeon’s The Vampires of 9/11 is the real McCoy. Farjeon’s central sympathetic characters all know what went down on 9/11 – no ifs, ands or buts. What went down was an inside job with twisted-grin Dick Cheney at the black and bloodthirsty centre of a nasty cabal including a foul-mouthed Condoleezza Rice and the darkest prince of all, Henry Kissinger. No aliases, no excuses, no mercy – except some sympathy for a haunted George Bush and his loyal Laura, possessed of some decency as befits a former school librarian. Perhaps, without giving away too much of the story, the real central characters are the “transhumans” whose possibilities are raised on the first page and whose spectral presences continue – seen by some and inaccessible to others. What we know at the end is that a subject taboo within the cocoon of mainstream media can be accessed outside that cocoon through the art of the novel. As Picasso said, “Art is a lie that makes us realize truth.” Stieg Larsson might approve.

Barrie Zwicker, author of Towers of Deception: The Media Cover-Up of 9/11.

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