This paper reads Joshua Ferris’s best-selling 2007 novel Then We Came to the End as an unconventional entry into the canon of 9/11 fiction. The novel, best-known for its extended use of the first-person plural “we” narrator, deploys a number of plot echoes and strategic elisions to draw attention to events that are—nevertheless—left unstated. Drawing on narratology and Freud’s sense of the uncanny (particularly critic Mark Fisher’s supplemental ideas of the “weird” and “eerie”), this paper connects the use of “we” and narrative absences to larger cultural anxieties around the events of 9/11, ultimately arguing that the novel’s attempt to avoid “re-enacting the ‘terrorism of spectacle’” (Däwes 3) by foregrounding representational challenges runs into an alternate problem: turning readers away from the genuine historical complexities of those events. The paper closes with a discussion of how other 9/11 novels have navigated this same double-bind.