Nearly twenty-five years after the attacks of September 11, 2001, it is undeniable that the event’s geopolitical aftermath has permanently transformed the existing world order. Iterations of the global “War on Terror” in Afghanistan, Iraq, Syria, Libya, Somalia, Pakistan, Lebanon, and Yemen have produced civil instabilities that, in turn, have triggered waves of mass migration out of those imperiled nations. The rise of the surveillance state, escalating anti-Muslim sentiment, and the exponential increase of asylum-seekers have called into question the parameters of modern citizenship in the global North and South alike. The first quarter of this century has produced an entire generation of Muslims across the world who have come of age amidst the precarity of the post-9/11 era. Though much work has been published on topics such as 9/11 in American fiction, Islamophobia in literature, and media representations of Muslims, less prominent is scholarship on post-9/11 cultural production from the perspective of Muslims themselves that depicts the existential effects of living through two and half decades of the “War on Terror.” Work by such artists as Mohsin Hamid, Kamila Shamsie, H.M. Naqvi, Ayad Akhtar, Ramy Youssef, Riz Ahmed, and Wafaa Bilal all portray, at different points in this century, various ways that Muslims have incorporated the exigencies of the post-9/11 era into the practice of everyday life. This seminar asks: how do we see the cascading geopolitical effects of the “War on Terror” expressed in literary, visual, cinematic, musical, theatrical and televisual art that centers the experience of Muslims in the twenty-first century? Panelists may consider questions such as: How does art portray the experience of twenty-first century Muslims grappling with belief and crises of faith in response to the mainstream faulty conflation of Islam and terrorism? How are the societal consequences of inhabiting specific modes of dress or grooming depicted in the visual and literary arts? How do we see the specter of interrogation and detention affect modes of speech and writing? Are there genres of visual and literary arts more prevalent in representing the precarious citizenship of Muslim immigrants, migrants, and refugees? Other theoretical, formal, or philosophical inquiries into the  the experience of Muslims in the post-9/11 era as reflected in cultural production are certainly welcome. The goal of this seminar is to begin a conversation that will form the basis of an edited volume to be published by Palgrave. Questions about the seminar should be directed to Nasia Anam ([email protected]).