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The 50 Greatest Apocalypse Novels

Apropos of . . . nothing.

The end of the world is never really the end of the world—at least not in fiction. After all, someone must survive to tell the tale. And what tales they are. Humans have been pondering the end of existence for as long as we’ve been aware of it (probably, I mean, I wasn’t there), and as a result we have a rich collection of apocalypse and post-apocalypse literature to read during our planet’s senescence.

I’ve done my best to limit this list to books in which there is—or has been—some kind of literal apocalypse, excluding dystopias (like  The Handmaid’s Tale ) or simply bleak visions of the future. We could argue all day about what actually constitutes an “apocalypse”—2020 is checking a lot of boxes, as you may have noticed—so for the most part, I’ve gone with my gut.

Of course, there are plenty more great apocalypse and post-apocalypse novels that didn’t fit on this list, and I haven’t read enough books in translation in this genre, so as ever, please add on your own favorites in the comments.

(And stay safe out there.)

John Wyndham, The Day of the Triffids (1951)

It feels mildly ridiculous now—or maybe just mild—but Wyndham’s killer-plant-cum-blindness-inducing-meteor-strike apocalypse is a classic for a reason: it’s terrific fun. Even Arthur C. Clarke called it an “immortal story.” And it’s not quite as well-known, but allow me to slide in his 1955 novel The Chrysalids here too, as a b-side.

Richard Matheson, I Am Legend (1954)

At this point, Matheson’s pandemic/vampire/zombie novel is more famous for being source material than for being actual material, probably because it is overflowing with ideas. It is sometimes awesome and sometimes boring; jury’s still out on whether it really works as a novel, but it absolutely gets points for influence. And verve.

Emily St. John Mandel, Station Eleven (2014)

Your favorite novel in which a flu pandemic wipes out civilization in a matter of weeks (yikes) and a band of entertainers wander the decimated land, putting on Shakespeare plays for the survivors. It’s about as feel-good as stories about the apocalypse get.

Wilson Tucker, The Long Loud Silence (1952)

Everything east of the Mississippi has been destroyed by a nuclear attack; the scant survivors have been dosed with a bioweapon that has infected them with the plague (just to be safe, I suppose). A military border is set up along the river to keep the sickness from spreading west, but this is a border that Gary is determined to cross. Particularly strange and sad reading for a nation in quarantine—and proof that breaking it can bring disastrous effects.

Ling Ma, Severance (2018)

The plague that ends the world in Ma’s excellent debut is extra scary because we’re all halfway there: when you catch Shen Fever, you continue going about your routine, doing your rote tasks, not that much more of a zombie than you were in life, until eventually you rot away. Is Shen Fever actually just weaponized nostalgia? Or comfort? Whatever it is, Candace is one of the few who finds herself immune, and documenting New York City as it crumbles around her until even she is forced to flee.

David Mitchell, Cloud Atlas (2004)

Of course Cloud Atlas is not entirely a novel about the end of the world, and in fact of its six storylines only one could be considered post-apocalyptic (one other is squarely dystopian). But considering the novel’s insistence on the interconnectedness of time and space (and people) and the centrality of the post-apocalypse it does evoke (located at the pinnacle of the novel’s unique structure), I think it’s only fair to count it here.

Nevil Shute, On the Beach (1957)

It is 1963, and a nuclear war has devastated most of the planet. In Melbourne, relatively untouched, a handful of survivors wait for the winds to bring the radiation to their shore, occupying themselves more or less usefully, if such a thing can be said to have any meaning at the end of the world, as others investigate what may be a message from a survivor in Seattle. A moving, if not particularly scientifically sound, classic.

Walter M. Miller, Jr., A Canticle for Leibowitz (1960)

After civilization has been mostly wiped out by nuclear war, the few survivors become dedicated Luddites, purging themselves of all knowledge and eliminating any who would share or spread it. The only people trusted with science are the monks in the Albertian Order of Leibowitz, who have pledged to protect it until humanity is ready for it again. The novel spans several thousand years, and the moral is: we’ll always destroy the earth no matter how many precautions our ancestors took. Oh well.

Tatyana Tolstaya, tr. Jamey Gambrell, The Slynx (2000)

It’s two hundred years after “the Blast,” and in Moscow the snow is always falling. Benedikt is just glad not to have any major mutations, and a job, which is to transcribe the “speeches” of the wasteland’s leader, which are actually plagiarized from old books, not a single one of which Benedikt has ever read. Until, that is, he meets the Oldeners, whose secret libraries will change everything for him.

Nnedi Okorafor, Who Fears Death (2010)

Truly a fantasy novel (if these genre distinctions matter, which they don’t), but set in a post-apocalyptic Sudan into which Onyesonwu is born, a child of rape and genocide, and hones her magical powers until she can strike back against her father. A striking, grand novel that everyone should read.

Hanna Jameson, The Last (2019)

We often think of the apocalypse as something that happens to everybody at the same time—but what about those in remote locales that remain untouched at the beginning? In this novel, the world ends while Jon is at a Swiss hotel, far away from everyone he knows and loves. So what does he do? Get busy solving the more immediate problem: the dead body on the premises. Of course.

Colson Whitehead, Zone One (2011)

The preeminent modern literary zombie novel, in which everyone left in Manhattan is either a zombie, feral skels or morose stragglers, or a human suffering from PASD (post-apocalyptic stress disorder) and our mediocre hero is one of the band sent to clear out the stragglers. A zombie novel for people who don’t read zombie novels and a literary novel for people who don’t read literary novels.

J. G. Ballard, The Drowned World (1962)

My favorite Ballard: a heady quasi-adventure novel set in a future in which the entire planet has been transformed into a series of sweltering lagoons, a neo-Triassic landscape that horrifies and also transfixes the survivors, who are plagued by dreams and strange impulses.

Margaret Atwood, Oryx and Crake (2003)

You may argue that The Handmaid’s Tale is just as much of an apocalypse novel as Oryx and Crake , and in some ways I’d agree with you—an apocalypse of mind and morality instead of body and planet. But you know and I both know what we’re doing here. Plus, Oryx and Crake , while somewhat less celebrated, is just as good, a frighteningly plausible world destroyed by our relentless pursuit for happiness in a bottle. Oh, and trusting corporations. Of course.

Rumaan Alam, Leave the World Behind (2020)

Alam’s recent blockbuster hit slash literary darling has what may be the quietest apocalypse on this list, at least from our viewpoint. We see almost nothing, get only hints of the destruction that descends on the world, and instead are focused on the increasing anxiety of two families, thrown together by chance, as they try to make sense of what is happening. Which . . . is probably how most of us will experience the apocalypse, when it comes. Knowing this fact makes the novel all the more chilling.

Stephen King, The Stand (1978)

A classic, and probably King’s best novel (don’t come for me) is a behemoth (famously inspired by The Lord of the Rings ) with many threads and characters, all set in a world ravaged by a pandemic caused by a weaponized strain of influenza that is fatal to 99.4% of those who encounter it. So you may not want to read it right now!

David Markson, Wittgenstein’s Mistress (1988)

This is not usually discussed as a post-apocalyptic novel, and indeed it depends on how you read it, but let me present my case: if you take the narrator’s word for it, she is the last woman alive on earth, typing along to keep herself occupied, with no hope of ever encountering another soul again. So something must have happened. The problem is: can you take the narrator’s word for it? Either way, the novel takes up the same themes as many of the others on this list, albeit in its own experimental, literary fashion: what is left when nothing is left? How should the survivors live? What did our art, our science, or civilization mean? Did it mean anything at all?

Cormac McCarthy, The Road (2006)

The very first novel you (probably) think of when someone says “post-apocalyptic,” in which a man and his son travel across a blasted-out country that ever gets explained. Weirdly punctuated, unforgettable, and something of a departure for McCarthy—except in its unyielding bleakness.

Octavia Butler, Parable of the Sower (1993)

The best and worst thing about this novel is how close it feels to being possible (it is set four years from now). Unchecked climate change, wealth inequality, and corrupt leadership have destroyed society for most people—who now live in guarded settlements or scavenge in roving bands—and the hot new drug that makes you into an arsonist is just an extra fun detail. Of course our narrator is afflicted with the worst possible thing you could have in such a scenario, and also the thing that might save everyone: hyperempathy, meaning she feels the pain of others. A literary page-turner of the highest order.

José Saramago, tr. Giovanni Pontiero, Blindness (1995; English publication 1997)

It doesn’t take a meteor or a nuclear missile to destroy civilization; all you need is a surprise epidemic of blindness, and men and women will destroy it themselves. Despite the compelling, experimental prose, parts of this feel like a horror novel, but unlike most of the books on this list, it ends on a note of hope, which makes it a particularly good one to read right now.

N. K. Jemisin, The Fifth Season (2015)

This is another book not squarely in the post-apocalyptic genre—there are elements of fantasy in here, and science fiction, though as we know all of these borders are porous. What is sure, however, is that the events of the book take place post-apocalypse. Actually, they take place post multiple apocalypses, each one a devastating turn of weather that wipes out a healthy chunk of civilization. The characters in this book and its sequels are trying to survive post-apocalypse, sure, but they’re also trying to prevent the inevitable next one.

Mary Shelley, The Last Man (1826)

Shelley’s early novel of a 21st century world scrubbed nearly clean by bubonic plague was introduced as if it were merely a collection of prophetic writings that she found and compiled into a novel. Her contemporaries hated it. “It’s as if the critics were trying to annihilate with their rhetoric the very possibility of writing a novel on this subject,” wrote Morton D. Paley . “The author’s gender was of course not spared.” It was described as “a sickening repetition of horrors,” and “the offspring of a diseased imagination, and of a most polluted taste” . . . which should make any modern reader excited to pick it up. Good thing time goes on (for now).

Sandra Newman, The Country of Ice Cream Star (2014)

In post-pandemic Massachusetts, cabals of children run wild—children being the only humans left, as everyone now dies from a disease called “posies” by the age of 20. Unless, that is, our young heroine Ice Cream, can track down the cure. This is a big, difficult, and ambitious novel told in an invented apocalyptic language—it may not be for everyone, but for me it cements Newman’s status as an underrated genius.

Max Brooks, World War Z (2006)

Everyone’s favorite metafictional zombie apocalypse novel by Mel Brooks’ son, whose framing device—Brooks as agent of the United Nations Postwar Commission and his own actual/fictional survival guide, interviewing survivors—give it a polyphonic resonance. Don’t judge it by the movie, which takes serious liberties, and is not great.

Russell Hoban, Riddley Walker (1980)

This classic, highly influential for its use of invented dialect, is set in England, some two thousand years after the end of civilization as we know it—when what society is left is uncomfortably reliant on “Punch & Pooty” shows. A layered, Joycean masterpiece that is as much about the power of story and myth as it is about the end of the world and everything after.

Hayao Miyazaki, Nausicaä of the Valley of the Wind (1994)

All right, technically this is a manga series, but I have it as a box set, and I’m counting it. I love Miyazaki’s post-apocalyptic world—most of the world is covered in toxic forest, known as the Sea of Corruption, which is itself overrun by giant, mutant insects, and which is encroaching—and his heroine, a curious princess turned battle captain with a deep respect for the natural world, corrosive as it may be.

Waubgeshig Rice, Moon of the Crusted Snow (2018)

It’s almost winter, and on the reservation of a small Anishinaabe community in northern Ontario, the power has gone out. Not just the power either, but the phones and the internet, resulting in full isolation. And it’s cold. Then the outsiders begin to appear. Fear and chaos reign, as Evan Whitesky, father of two, looks to the past, to tradition, to try to rebuild his community’s future. Chilling in more ways than one.

Edan Lepucki, California (2014)

Lepucki’s debut is probably most famous for being the book Stephen Colbert made famous, but it’s also a beguiling novel about love at the end of the world—though we never really learn what exactly tipped our present into this factionalized and urine-coated future. Could be anything, I guess.

Justin Cronin, The Passage (2010)

One of the best and biggest contemporary vampire novels is also one of the best and biggest apocalypse novels. It all starts in a lab, in which a virus meant to create super soldiers actually creates a plague of monsters—93 years later, the humans left huddle in colonies, hiding from the hunters outside the walls. But can the world actually be saved after all?

Anna North, America Pacifica (2011)

Some 70 years from now, North America is frozen. The survivors of the latest Ice Age are clustered on a Pacific island; only the eldest remember life on the mainland. But when her mother goes missing, Darcy has to uncover the secrets of the old world in order to parse the disruptions of the new.

Pierre Boulle, tr. Xan Fielding, Planet of the Apes (1963)

You don’t find out that Planet of the Apes is a post-apocalyptic novel, and not just a science fiction novel about another world, until the end of the book. (Sorry for not warning you about this spoiler, but look, you had almost 60 years.) What was the cause? Oh, laziness, really…

Megan Hunter, The End We Start From (2017)

Parenthood is a kind of apocalypse, yes, but—well, so is an underwater London. No food, no power, no internet; society begins to break down, but even this can barely distract a new mother from the magic of her child. Hunter’s sparse novel asks what to make of the first year of a life (and the first year of motherhood) at the end of the world.

Samuel R. Delany, Dhalgren (1975)

Is it actually a post-apocalypse through which our one-shoed protagonist drifts? Or are we dealing with a different reality entirely? Either way, it has the feeling of a land gone to seed, with bombed-out, disconnected cities, enormous red suns, inexplicable, endless fires. And either way, it is one of the weird greats, a widely influential and difficult—even impenetrable—cult classic.

Ursula K. Le Guin, Always Coming Home (1985)

“The people in this book might be going to have lived a long, long time from now in Northern California,” is how this book begins, in slippery Le Guin fashion. The apocalypse in Always Coming Home happened so long that none among the Kesh remember it—not even their songs know what caused it. Mostly, what’s left is styrofoam. This is not a straight narrative, but a realistic anthropological study of a fictional people, the Kesh, compiled and annotated by a researcher named Pandora. In some ways, it is a minor work in Le Guin’s oeuvre, but a fascinating one.

David Brin, The Postman (1985)

The book starts sixteen years after the apocalypse (“It hardly mattered anymore what had done it—a giant meteorite, a huge volcano, or a nuclear war. Temperatures and pressures swung out of balance, and great winds blew.” Much has changed for the survivors, but one thing has not: the authority conferred by a uniform. Or so discovers Gordon Krantz (aka Kevin Costner, if you’re one of the 8 people who saw the movie adaptation), a wanderer and one-time drama student who dons a uniform and mail sack found in an abandoned Postal Service truck and begins to play the role of an officer of the “Restored United States of America,” bringing hope to a populace trying to pull itself back from the brink.

By the way, David Brin had something to say about Donald Trump’s recent attacks on the USPS. “We are in the middle right now of an attempted worldwide oligarchic push to reinstall feudalism, the dismally-failed governance model that dominated 99 percent of societies on six continents for 6,000 years,” he told EW . “ The Postman , both the movie and the book, talk about how essential it is for us to remember the things that knit us together. Small town America is especially coming to realize that really the post office is the center of town, but will they realize it in time to make a difference? I don’t think Trump cares any more if the Republican party is torched in November. I think chaos is the goal.”

Peter Heller, The Dog Stars (2012)

In this surprisingly uplifting post-apocalypse novel, a contagious disease called “The Blood” has wiped out most of civilization and left those who remain desperate and territorial (not to mention six feet apart from one another). “”The ones who are left are mostly Not Nice,” says Hig, our gentle hero. Hig lives in an old airplane hangar with his dog and grunty friend Bangley, who guards the perimeter, but after hearing a strange dispatch on the radio, he eventually goes out in search of other survivors, a final grasp at a better life.

Lidia Yuknavitch, The Book of Joan (2017)

In 2049, the world has been destroyed by global warming and war, and what humans are left orbit their one-time home in a colony called CIEL, led by the tyrannical Jean de Men, drawing whatever they can from the rock via “invisible technological umbilical cords.” One woman on CIEL, who will soon turn 50 and therefore be determined unnecessary and euthanized, tells the story of Joan of Dirt (for this is a riff on the Joan of Arc story), who is trying to save the world.

Lauren Beukes, Afterland (2020)

In Beukes’ fifth novel, it is 2023, and a pandemic has left fewer that 1% of the world’s male population alive. One of these is Cole’s 12-year-old son, Miles, whom Cole must protect at all costs—considering what nefarious minds, like her sister’s, might do with a boy immune to the virus—and so they go on the lam, Miles going as Mila, hoping to get home to Johannesburg. Like all of Beukes’ novels, it is fun, smart, and slightly sickening.

Angela Carter, Heroes and Villains (1969)

Years post-nuclear war, the world has forested over its wounds, animals run free, and humanity has split into factions, if not variations: the Professors, the Soldiers, the Barbarians, and the Out People. Marianne is one of the Professors, and lives in a literal ivory tower with her father—until she sneaks out to experience life as a Barbarian. As you might expect from Carter, this is a terse, mythic, twisted take on the end of days.

George R. Stewart, Earth Abides (1949)

One of the classics of the genre, in which a student, Ish, emerges from a period of isolation and illness—he was bitten by a diseased rattlesnake—and steps back into the world to find almost no one left alive in it. But humans, like any invasive species, will find a way, and so Ish meets Em, and they build a community of survivors, new and old—but instead of rebuilding the world they knew, they must watch as the younger generation adapts and begins to build a new society based on the world that is left.

Jennifer Marie Brissett, Elysium (2014)

In this surreal novel, two characters at the end of a world destroyed switch genders, roles, and relationships to one another as their lives are repeatedly rebooted by a mysterious—and corrupted—atmospheric computer program, which is looking (maybe) for a savior.

Peng Shepherd, The Book of M (2018)

This novel includes one of the stranger epidemics in apocalypse fiction: the Forgetting, which has devastated the world by separating those afflicted from their shadows—and their memories, which causes them to behave erratically, even violently. As society breaks down, Ory and Max (one shadowless, one not) try to find answers, and each other.

Nick Harkaway, The Gone-Away World (2008)

If you like your post-apocalypses a little ludicrous, you may enjoy Harkaway’s take, in which the “Go-Away War” has left three-quarters of the Earth’s population dead—or, more specifically, “gone-away,” i.e. still there, but stripped of information—until it comes in contact with a survivor’s mind, that is. Our hero is a kung fu trucker named Gonzo, and of course, he must save what’s left of the world.

Michel Faber, The Book of Strange New Things (2014)

In this novel, a pastor goes to another planet to spread Christianity, leaving his wife at home; what results, among other things, is that the apocalypse in this novel is telegraphed to the protagonist at a distance, through increasingly alarming and unbelievable missives, even as he finds himself drawing further away from the life he used to know and the woman he used to love.

Daniel H. Wilson, Robopocalypse (2011)

For a little relief from nuclear war and pandemics, enter the robopocalypse—which, by the way, is exactly what it sounds like. It begins, of course, with a brilliant scientist and a sentient computer program, Archos, which kills its creator and decides that its purpose for being is to save the planet from the human race. Archos spreads to machines around the world, which kill or enslave humans—until a few begin to fight back. Another breath of fresh air: this novel is told from the other side of the apocalypse, a reminder that these things can be reversed, at least sometimes.

Pat Frank, Alas, Babylon (1959)

In this classic of nuclear holocaust fiction, when much of the United States is destroyed by the Soviet Union, one small Florida town survives, adapting to their new lives in a radioactive wasteland.

M. R. Carey, The Girl with All the Gifts (2014)

When this novel begins, it’s about a decade after the zombie apocalypse has left only a handful of uninfected humans in Britain—the rest are dead or infected, “empty houses where people used to live” known as “hungries.” It’s been long enough, though, for there to be a second generation of hungries: children who are preternaturally smart, absurdly strong, and capable (maybe) of human empathy. Unless they smell a human, that is. Then they want to eat it. The human scientists who are left are torn: try to crack open the eponymous Melanie’s brain to figure out how it works? Or treat her like a child and hope she can lead the world back to humanity that way?

Robert R. McCammon, Swan Song (1987)

A horror novel and an apocalypse novel in one—as if surviving nuclear holocaust wasn’t enough, now there’s a demonic entity known as The Man with the Scarlet Eye, aka Doyle, running around. Typical.

Sarah Pinsker, A Song for a New Day (2019)

Oh, weird, a novel in which a string of terrorist attacks, mass shootings, bombings, and then a pandemic, has resulted in widespread fear, consolidation of corporate power, and the end of all public gatherings. So unrealistic, amirite? Instead of Zoom, though, Luce and her band-mates have to contend with StageHolo, basically a holographic pay-per-view for concerts, and their talent scout Rosemary, who never really knew the world Before. Like all the best apocalyptic fiction, this is actually a book about human connection—the fact that it’s also a cool, queer rock and roll novel is just a bonus.

C.A. Fletcher, A Boy and His Dog at the End of the World (2019)

Just what it says on the tin. The boy (Griz) and the dog (Jip) are among the survivors after the “soft apocalypse” known as the Gelding, which neutered most of the world. When Griz’s other dog (Jess) is stolen, Griz and Jip must make a rescue mission through the ruins of Scotland.

Emily Temple

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Best Apocalyptic Books

by Cormac McCarthy

The searing, post-apocalyptic novel about a father and son's fight to survive.A father and his son walk alone through burned America. Nothing moves in the ravaged landscape save the ash on the wind. It is cold enough to crack stones, and when the snow falls it is gray. The sky is dark. Their destination is the coast, although they don't know what, if anything, awaits them there. They have nothing; just a pistol to defend themselves against the lawless bands that stalk the road, the clothes they are wearing, a cart of scavenged food—and each other.

The Road is the profoundly moving story of a journey. It boldly imagines a future in which no hope remains, but in which the father and his son, "each the other's world entire," are sustained by love. Awesome in the totality of its vision, it is an unflinching meditation on the worst and the best that we are capable of: ultimate destructiveness, desperate tenacity, and the tenderness that keeps two people alive in the face of total devastation.

Our favourite quote from The Road

You forget what you want to remember, and you remember what you want to forget.

by Stephen King

Stephen King’s apocalyptic vision of a world blasted by plague and tangled in an elemental struggle between good and evil remains as riveting and eerily plausible as when it was first published.

A patient escapes from a biological testing facility, unknowingly carrying a deadly weapon: a mutated strain of super-flu that will wipe out 99 percent of the world’s population within a few weeks. Those who remain are scared, bewildered, and in need of a leader. Two emerge—Mother Abagail, the benevolent 108-year-old woman who urges them to build a peaceful community in Boulder, Colorado; and Randall Flagg, the nefarious “Dark Man,” who delights in chaos and violence. As the dark man and the peaceful woman gather power, the survivors will have to choose between them—and ultimately decide the fate of all humanity.

Our favourite quote from The Stand

That wasn't any act of God. That was an act of pure human fuckery.

by Robert McCammon

Swan is a nine-year-old Kansas girl following her struggling mother from one trailer park to the next when she receives visions of doom—something far wider than the narrow scope of her own beleaguered life. In a blinding flash, nuclear bombs annihilate civilization, leaving only a few buried survivors to crawl onto a scorched landscape that was once America. In Manhattan, a homeless woman stumbles from the sewers, guided by the prophecies of a mysterious amulet, and pursued by something wicked; on Idaho’s Blue Dome Mountain, an orphaned boy falls under the influence of depraved survivalists and discovers the value of a killer instinct; and amid the devastating dust storms on the Great Plains of Nebraska, Swan forms a heart-and-soul bond with an unlikely new companion. Soon they will cross paths. But only Swan knows that they must endure more than just a trek across an irradiated country of mutated animals, starvation, madmen, and wasteland warriors. Swan’s visions tell of a coming malevolent force. It’s a shape-shifting embodiment of the apocalypse, and of all that is evil and despairing. And it’s hell-bent on destroying the last hope of goodness and purity in the world. Swan is that hope. Now, she must fight not only for her own survival, but for that of all mankind. A winner of the Bram Stoker Award and a finalist for the World Fantasy Award, Swan Song has become a modern classic, called “a chilling vision that keeps you turning pages to the shocking end” by John Saul and “a long, satisfying look at hell and salvation” by Publishers Weekly.

Our favourite quote from Swan Song

I Am Legend: And Other Stories

By richard matheson.

A special pocket-sized hardcover edition of the New York Times bestselling classic tale of the last man on Earth, I Am Legend by Richard Matheson--one of genre literature's most honored storytellers .Robert Neville is the last living man on Earth...but he is not alone. Every other man, woman, and child on Earth has become a vampire, and they are all hungry for Neville's blood.By day, he is the hunter, stalking the sleeping undead through the abandoned ruins of civilization. By night, he barricades himself in his home and prays for dawn.How long can one man survive in a world of vampires?

Our favourite quote from I Am Legend: And Other Stories

Earth Abides

By george r. stewart.

The cabin had always been a special retreat for Isherwood Williams, a haven from the demands of society. But one day while hiking, Ish was bitten by a rattlesnake, and the solitude he had so desired took on dire new significance.

He was sick for days — although, somehow, he never doubted that he'd live through the ordeal. Often delirious, he did awake at one point to find two strangers peering in at him from the cabin door. Yet oddly, instead of offering help, the two ran off as if terrified.

Not long after that, the coughing began. Ish suffered chills followed by fever, and a measles-like rash that had nothing to do with snake bite broke out on his skin. He was one of the few people in the world to live through that peculiar malady, but he didn't know it then.

Ish headed home when he finally felt himself again—and noticed the strangeness almost immediately. No cars passed him on the road; the gas station not far from his cabin had an air of abandonment; and he was shocked to see the body of a man lying by the roadside near a small town.

Without a radio or phone, Ish had no idea of humanity's abrupt demise. He had escaped death, yet could not escape the awesomeness of the catastrophe—and, with an eerie detachment, he found himself curious as to how long it would be before all traces of man's civilization faded from the Earth.

At the same time, he couldn't help wondering whether others had survived, and whether even a handful of human beings would

Our favourite quote from Earth Abides

The trouble you're expecting never happens; it's always something that sneaks up the other way.

The Passage: A Novel

By justin cronin.

NEW YORK TIMES BESTSELLER • SOON TO BE A FOX TV SERIES • This thrilling novel kicks off what Stephen King calls “a trilogy that will stand as one of the great achievements in American fantasy fiction.” NAMED ONE OF THE TEN BEST NOVELS OF THE YEAR BY TIME AND ONE OF THE BEST BOOKS OF THE YEAR BY The Washington Post • Esquire • U.S. News & World Report • NPR/On Point • St. Louis Post-Dispatch • BookPage • Library Journal “It happened fast. Thirty-two minutes for one world to die, another to be born.” An epic and gripping tale of catastrophe and survival, The Passage is the story of Amy—abandoned by her mother at the age of six, pursued and then imprisoned by the shadowy figures behind a government experiment of apocalyptic proportions. But Special Agent Brad Wolgast, the lawman sent to track her down, is disarmed by the curiously quiet girl and risks everything to save her. As the experiment goes nightmarishly wrong, Wolgast secures her escape—but he can’t stop society’s collapse. And as Amy walks alone, across miles and decades, into a future dark with violence and despair, she is filled with the mysterious and terrifying knowledge that only she has the power to save the ruined world. Look for the entire Passage trilogy: THE PASSAGE | THE TWELVE | THE CITY OF MIRRORS Praise for The Passage “[A] blockbuster.”—The New York Times Book Review “Mythic storytelling.”—San Francisco Chronicle “Magnificent . . . Cronin has taken his literary gifts, and he has weaponized them. . . . The Passage can stand proudly next to Stephen King’s apocalyptic masterpiece The Stand, but a closer match would be Cormac McCarthy’s The Road: a story about human beings trying to generate new hope in a world from which all hope has long since been burnt.”—Time “The type of big, engrossing read that will have you leaving the lights on late into the night.”—The Dallas Morning News “Addictive.”—Men’s Journal “Cronin’s unguessable plot and appealing characters will seize your heart and mind.”—Parade  

Our favourite quote from The Passage: A Novel

Oryx and Crake: A Novel

By margaret atwood.

A stunning and provocative new novel by the internationally celebrated author of The Blind Assassin, winner of the Booker Prize Margaret Atwood’s new novel is so utterly compelling, so prescient, so relevant, so terrifyingly-all-too-likely-to-be-true, that readers may find their view of the world forever changed after reading it. This is Margaret Atwood at the absolute peak of her powers. For readers of Oryx and Crake, nothing will ever look the same again. The narrator of Atwood's riveting novel calls himself Snowman. When the story opens, he is sleeping in a tree, wearing an old bedsheet, mourning the loss of his beloved Oryx and his best friend Crake, and slowly starving to death. He searches for supplies in a wasteland where insects proliferate and pigoons and wolvogs ravage the pleeblands, where ordinary people once lived, and the Compounds that sheltered the extraordinary. As he tries to piece together what has taken place, the narrative shifts to decades earlier. How did everything fall apart so quickly? Why is he left with nothing but his haunting memories? Alone except for the green-eyed Children of Crake, who think of him as a kind of monster, he explores the answers to these questions in the double journey he takes - into his own past, and back to Crake's high-tech bubble-dome, where the Paradice Project unfolded and the world came to grief. With breathtaking command of her shocking material, and with her customary sharp wit and dark humour, Atwood projects us into an outlandish yet wholly believable realm populated by characters who will continue to inhabit our dreams long after the last chapter. This is Margaret Atwood at the absolute peak of her powers.  

Our favourite quote from Oryx and Crake: A Novel

World War Z

By max brooks.

The Zombie War came unthinkably close to eradicating humanity. Max Brooks, driven by the urgency of preserving the acid-etched first-hand experiences of the survivors from those apocalyptic years, traveled across the United States of America and throughout the world, from decimated cities that once teemed with upwards of thirty million souls to the most remote and inhospitable areas of the planet. He recorded the testimony of men, women, and sometimes children who came face-to-face with the living, or at least the undead, hell of that dreadful time. World War Z is the result. Never before have we had access to a document that so powerfully conveys the depth of fear and horror, and also the ineradicable spirit of resistance, that gripped human society through the plague years.

Ranging from the now infamous village of New Dachang in the United Federation of China, where the epidemiological trail began with the twelve-year-old Patient Zero, to the unnamed northern forests where untold numbers sought a terrible and temporary refuge in the cold, to the United States of Southern Africa, where the Redeker Plan provided hope for humanity at an unspeakable price, to the west-of-the-Rockies redoubt where the North American tide finally started to turn, this invaluable chronicle reflects the full scope and duration of the Zombie War.

Most of all, the book captures with haunting immediacy the human dimension of this epochal event. Facing the often raw and vivid nature of these personal accounts requires a degree of courage on the part of the reader, but the effort is invaluable because, as Mr. Brooks says in his introduction, "By excluding the human factor, aren't we risking the kind of personal detachment from history that may, heaven forbid, lead us one day to repeat it? And in the end, isn't the human factor the only true difference between us and the enemy we now refer to as 'the living dead'?"

Note: Some of the numerical and factual material contained in this edition was previously published under the auspices of the United Nations Postwar Commission.

Our favourite quote from World War Z

Station Eleven

By emily st. john mandel.

Set in the days of civilization's collapse, Station Eleven tells the story of a Hollywood star, his would-be savior, and a nomadic group of actors roaming the scattered outposts of the Great Lakes region, risking everything for art and humanity.

One snowy night a famous Hollywood actor slumps over and dies onstage during a production of King Lear . Hours later, the world as we know it begins to dissolve. Moving back and forth in time—from the actor's early days as a film star to fifteen years in the future, when a theater troupe known as the Traveling Symphony roams the wasteland of what remains—this suspenseful, elegiac, spellbinding novel charts the strange twists of fate that connect five people: the actor, the man who tried to save him, the actor's first wife, his oldest friend, and a young actress with the Traveling Symphony, caught in the crosshairs of a dangerous self-proclaimed prophet.

Our favourite quote from Station Eleven

Hell is the absence of the people you long for.

The Dog Stars

By peter heller.

Hig somehow survived the flu pandemic that killed everyone he knows. Now his wife is gone, his friends are dead, and he lives in the hangar of a small abandoned airport with his dog, Jasper, and a mercurial, gun-toting misanthrope named Bangley.

But when a random transmission beams through the radio of his 1956 Cessna, the voice ignites a hope deep inside him that a better life exists outside their tightly controlled perimeter. Risking everything, he flies past his point of no return and follows its static-broken trail, only to find something that is both better and worse than anything he could ever hope for.

Our favourite quote from The Dog Stars

Is it possible to love so desperately that life is unbearable? I don't mean unrequited, I mean being in the love. In the midst of it and desperate. Because knowing it will end, because everything does. End.

Parable of the Sower

By octavia e. butler.

In 2025, with the world descending into madness and anarchy, one woman begins a fateful journey toward a better future.

Lauren Olamina and her family live in one of the only safe neighborhoods remaining on the outskirts of Los Angeles. Behind the walls of their defended enclave, Lauren’s father, a preacher, and a handful of other citizens try to salvage what remains of a culture that has been destroyed by drugs, disease, war, and chronic water shortages. While her father tries to lead people on the righteous path, Lauren struggles with hyperempathy, a condition that makes her extraordinarily sensitive to the pain of others.

When fire destroys their compound, Lauren’s family is killed and she is forced out into a world that is fraught with danger. With a handful of other refugees, Lauren must make her way north to safety, along the way conceiving a revolutionary idea that may mean salvation for all mankind.

Our favourite quote from Parable of the Sower

There is no end to what a living world will demand of you.

On the Beach

By nevil shute.

After a nuclear World War III has destroyed most of the globe, the few remaining survivors in southern Australia await the radioactive cloud that is heading their way and bringing certain death to everyone in its path. Among them is an American submarine captain struggling to resist the knowledge that his wife and children in the United States must be dead. Then a faint Morse code signal is picked up, transmitting from somewhere near Seattle, and Captain Towers must lead his submarine crew on a bleak tour of the ruined world in a desperate search for signs of life. On the Beach is a remarkably convincing portrait of how ordinary people might face the most unimaginable nightmare.

Our favourite quote from On the Beach

It's not the end of the world at all," he said. "It's only the end for us. The world will go on just the same, only we shan't be in it. I dare say it will get along all right without us.”

One Second After

By william r. forstchen.

A post-apocalyptic thriller of the after effects in the United States after a terrifying terrorist attack using electromagnetic pulse weapons. New York Times best selling author William R. Forstchen now brings us a story which can be all too terrifyingly real...a story in which one man struggles to save his family and his small North Carolina town after America loses a war, in one second, a war that will send America back to the Dark Ages...A war based upon a weapon, an Electro Magnetic Pulse (EMP). A weapon that may already be in the hands of our enemies.Months before publication, One Second After has already been cited on the floor of Congress as a book all Americans should read, a book already being discussed in the corridors of the Pentagon as a truly realistic look at a weapon and its awesome power to destroy the entire United States, literally within one second. It is a weapon that the Wall Street Journal warns could shatter America. In the tradition of On the Beach, Fail Safe and Testament, this book, set in a typical American town, is a dire warning of what might be our future...and our end.The John Matherson Series#1 One Second After#2 One Year After#3 The Final DayOther BooksPillar to the Sky48 Hours

Our favourite quote from One Second After

A Boy and His Dog at the End of the World

By c. a. fletcher.

A "suspenseful, atmospheric tale. . .punctured by a gut-punch twist" (Entertainment Weekly), A Boy and His Dog at the End of the World is a story of survival, courage and hope amid the ruins of our world. My name's Griz. I've never been to school, I've never had friends, and in my whole life I've not met enough people to play a game of football. My parents told me how crowded the world used to be, before all the people went away. But we were never lonely on our remote island. We had each other, and our dogs. Then the thief came. "This unputdownable story has everything -- a well-imagined post-apocalyptic world, great characters, incredible suspense, and, of course, the fierce love of some very good dogs." -- Kirkus (starred review)  

Our favourite quote from A Boy and His Dog at the End of the World

by José Saramago

From Nobel Prize–winning author José Saramago, a magnificent, mesmerizing parable of loss.

A city is hit by an epidemic of "white blindness" that spares no one. Authorities confine the blind to an empty mental hospital, but there the criminal element holds everyone captive, stealing food rations, and assaulting women. There is one eyewitness to this nightmare who guides her charges—among them a boy with no mother, a girl with dark glasses, a dog of tears—through the barren streets, and their procession becomes as uncanny as the surroundings are harrowing. As Blindness reclaims the age-old story of a plague, it evokes the vivid and trembling horrors of the twentieth century, leaving readers with a powerful vision of the human spirit that's bound both by weakness and exhilarating strength.

Our favourite quote from Blindness

If I'm sincere today, what does it matter if I regret it tomorrow?

A Canticle for Leibowitz

By walter m. miller jr..

Walter M. Miller's acclaimed SF classic A Canticle for Leibowitz opens with the accidental excavation of a holy artifact: a creased, brittle memo scrawled by the hand of the blessed Saint Leibowitz, that reads: "Pound pastrami, can kraut, six bagels--bring home for Emma." To the Brothers of Saint Leibowitz, this sacred shopping list penned by an obscure, 20th-century engineer is a symbol of hope from the distant past, from before the Simplification, the fiery atomic holocaust that plunged the earth into darkness and ignorance. As 1984 cautioned against Stalinism, so 1959's A Canticle for Leibowitz warns of the threat and implications of nuclear annihilation. Following a cloister of monks in their Utah abbey over some six or seven hundred years, the funny but bleak Canticle tackles the sociological and religious implications of the cyclical rise and fall of civilization, questioning whether humanity can hope for more than repeating its own history. Divided into three sections--Fiat Homo (Let There Be Man), Fiat Lux (Let There Be Light), and Fiat Voluntas Tua (Thy Will Be Done)--Canticle is steeped in Catholicism and Latin, exploring the fascinating, seemingly capricious process of how and why a person is canonized. --Paul Hughes Winner of the 1961 Hugo Award for Best Novel and widely considered one of the most accomplished, powerful, and enduring classics of modern speculative fiction, Walter M. Miller, Jr.'s A Canticle for Leibowitz is a true landmark of twentieth-century literature -- a chilling and still-provocative look at a post-apocalyptic future. In a nightmarish ruined world slowly awakening to the light after sleeping in darkness, the infant rediscoveries of science are secretly nourished by cloistered monks dedicated to the study and preservation of the relics and writings of the blessed Saint Isaac Leibowitz. From here the story spans centuries of ignorance, violence, and barbarism, viewing through a sharp, satirical eye the relentless progression of a h

Our favourite quote from A Canticle for Leibowitz

The Children of Men

By p. d. james.

The human race has become infertile, and the last generation to be born is now adult. Civilization itself is crumbling as suicide and despair become commonplace. Oxford historian Theodore Faron, apathetic toward a future without a future, spends most of his time reminiscing. Then he is approached by Julian, a bright, attractive woman who wants him to help get her an audience with his cousin, the powerful Warden of England. She and her band of unlikely revolutionaries may just awaken his desire to live . . . and they may also hold the key to survival for the human race. Told with P. D. James’s trademark suspense, insightful characterization, and riveting storytelling, The Children of Men is a story of a world with no children and no future.  

Our favourite quote from The Children of Men

by Tatyana Tolstaya

“A postmodern literary masterpiece.” –The Times Literary SupplementTwo hundred years after civilization ended in an event known as the Blast, Benedikt isn’t one to complain. He’s got a job—transcribing old books and presenting them as the words of the great new leader, Fyodor Kuzmich, Glorybe—and though he doesn’t enjoy the privileged status of a Murza, at least he’s not a serf or a half-human four-legged Degenerator harnessed to a troika. He has a house, too, with enough mice to cook up a tasty meal, and he’s happily free of mutations: no extra fingers, no gills, no cockscombs sprouting from his eyelids. And he’s managed—at least so far—to steer clear of the ever-vigilant Saniturions, who track down anyone who manifests the slightest sign of Freethinking, and the legendary screeching Slynx that waits in the wilderness beyond.   Tatyana Tolstaya’s The Slynx reimagines dystopian fantasy as a wild, horripilating amusement park ride. Poised between Nabokov’s Pale Fire and Burgess’s A Clockwork Orange, The Slynx is a brilliantly inventive and shimmeringly ambiguous work of art: an account of a degraded world that is full of echoes of the sublime literature of Russia’s past; a grinning portrait of human inhumanity; a tribute to art in both its sovereignty and its helplessness; a vision of the past as the future in which the future is now.

Our favourite quote from The Slynx

by Josh Malerman

Now a Netflix film starring Sandra Bullock, Sarah Paulson, Rosa Salazar and John Malkovich!

Written with the narrative tension of The Road and the exquisite terror of classic Stephen King, Bird Box is a propulsive, edge-of-your-seat horror thriller, set in an apocalyptic near-future world—a masterpiece of suspense from the brilliantly imaginative Josh Malerman.

Something is out there . . .

Something terrifying that must not be seen. One glimpse and a person is driven to deadly violence. No one knows what it is or where it came from.

Five years after it began, a handful of scattered survivors remain, including Malorie and her two young children. Living in an abandoned house near the river, she has dreamed of fleeing to a place where they might be safe. Now, that the boy and girl are four, it is time to go. But the journey ahead will be terrifying: twenty miles downriver in a rowboat—blindfolded—with nothing to rely on but her wits and the children’s trained ears. One wrong choice and they will die. And something is following them. But is it man, animal, or monster?

Engulfed in darkness, surrounded by sounds both familiar and frightening, Malorie embarks on a harrowing odyssey—a trip that takes her into an unseen world and back into the past, to the companions who once saved her. Under the guidance of the stalwart Tom, a motely group of strangers banded together against the unseen terror, creating order from the chaos. But when supplies ran low, they were forced to venture outside—and confront the ultimate question: in a world gone mad, who can really be trusted?

Interweaving past and present, Josh Malerman’s breathtaking debut is a horrific and gripping snapshot of a world unraveled that will have you racing to the final page.

Our favourite quote from Bird Box

The Girl With All the Gifts

By m. r. carey.

In the ruins of civilization, a young girl's kindness and capacity for love will either save humanity -- or wipe it out in this USA Today bestselling thriller Joss Whedon calls "heartfelt, remorseless, and painfully human." Melanie is a very special girl. Dr Caldwell calls her "our little genius." Every morning, Melanie waits in her cell to be collected for class. When they come for her, Sergeant keeps his gun pointed at her while two of his people strap her into the wheelchair. She thinks they don't like her. She jokes that she won't bite, but they don't laugh.  

Our favourite quote from The Girl With All the Gifts

by Dmitry Glukhovsky

First English U.S. PREMIUM HARDCOVER Edition of the cult dystopia "METRO 2033". * * * Metro 2033 tells the story of a young man named Artyom who goes a long way to save his world from mortal danger. The book describes the consequences of an atomic war. Its only survivors strive for existence in the mazes of the Moscow subway (Metro) some two decades after the nuclear Holocaust. Formally a sci-fi novel, Metro 2033 describes a dystopia, in which Russia's present-day society is superficially analyzed and described. It also critically examines communism in the former Soviet Union and the rise of fascism in modern Russia. Over 2,000,000 copies of Metro 2033 have been sold worldwide. Foreign book rights have been sold to more than 37 countries. The franchise gave birth to two cult video games, Metro 2033 and Metro Last Light. Film rights were optioned by MGM Studios in Hollywood.

Our favourite quote from METRO 2033

The Day of the Triffids

By john wyndham.

When a freak cosmic event renders most of the Earth's population blind, Bill Masen - one of the lucky few to keep his sight - finds himself trapped in a London jammed with sightless mobs who prey on those who can still see. But another menace stalks blind and sighted alike.

Our favourite quote from The Day of the Triffids

The Zombie Survival Guide

The Zombie Survival Guide is your key to survival against the hordes of undead who may be stalking you right now. Fully illustrated and exhaustively comprehensive, this book covers everything you need to know, including how to understand zombie physiology and behavior, the most effective defense tactics and weaponry, ways to outfit your home for a long siege, and how to survive and adapt in any territory or terrain.

Our favourite quote from The Zombie Survival Guide

Use your head; cut off theirs.

The Postman

By david brin.

A brand new look for one of SF master David Brin's most acclaimed novels: a moving post-apocalyptic tale of one man rekindling hope for a desperate nation

Our favourite quote from The Postman

The Book of M: A Novel

By peng shepherd.

Brad Thor's Summer 2018 Fiction Pick for THE TODAY SHOW!

"Eerie, dark, and compelling, [The Book of M] will not disappoint lovers of The Passage (2010) and Station Eleven (2014)." --Booklist

WHAT WOULD YOU GIVE UP TO REMEMBER?

Set in a dangerous near future world, The Book of M tells the captivating story of a group of ordinary people caught in an extraordinary catastrophe who risk everything to save the ones they love. It is a sweeping debut that illuminates the power that memories have not only on the heart, but on the world itself.

One afternoon at an outdoor market in India, a man’s shadow disappears—an occurrence science cannot explain. He is only the first. The phenomenon spreads like a plague, and while those afflicted gain a strange new power, it comes at a horrible price: the loss of all their memories.

Ory and his wife Max have escaped the Forgetting so far by hiding in an abandoned hotel deep in the woods. Their new life feels almost normal, until one day Max’s shadow disappears too.

Knowing that the more she forgets, the more dangerous she will become to Ory, Max runs away. But Ory refuses to give up the time they have left together. Desperate to find Max before her memory disappears completely, he follows her trail across a perilous, unrecognizable world, braving the threat of roaming bandits, the call to a new war being waged on the ruins of the capital, and the rise of a sinister cult that worships the shadowless.

As they journey, each searches for answers: for Ory, about love, about survival, about hope; and for Max, about a new force growing in the south that may hold the cure.

Like The Passage and Station Eleven, this haunting, thought-provoking, and beautiful novel explores fundamental questions of memory, connection, and what it means to be human in a world turned upside down.

Our favourite quote from The Book of M: A Novel

Into the Forest

By jean hegland.

Once in a generation we open a new book to discover a voice and a vision that have the power to change the way we look at ourselves and our world. These are the novels we read, remember, and return to again and again: Margaret Atwood's The Handmaid's Tale, Doris Lessing's The Golden Notebook, and now, from Jean Hegland, an extraordinary fiction debut...Into the Forest. Eva, eighteen, and Nell, seventeen, are sisters, adolescents on the threshold of womanhood—and for them anything should be possible. But even as Eva prepares for an audition with the San Francisco Ballet and Nell dreams of her first semester at Harvard, their lives are turned upside down and their dreams are pushed into the shadows. In a nation suddenly without electricity or communications, Eva is compelled to dance alone to the music of memory, and Nell's education consists of reading the encyclopedia, devouring knowledge as if it were her last meal. Theirs is an age of darkness and terror.... A distant war rages overseas. Resources society had depended on, such as gas and electricity, are no longer available. Riots spread through the inner cities, while deadly viral infections spread across the countryside. Isolated in their home in the northern California woods, Eva and Nell live in a world without television or phones, in a time of suspicion and superstition, of anger, hunger, and fear. Perhaps one day the lights—and their dreams—will return, but orphaned by their parents' deaths and by society, Eva and Nell have been left to forage through the forest, and through their past, for the keys to survival. As they blaze a path into the forest and into the future, they become pioneers and pilgrims--not only creatures of the new world, but the creators of it. Into the Forest is the gripping, unforgettable story of these remarkable sisters as they struggle to redefine themselves and their life together. It is a passionate and poignant tale of stirring sensuality, chilling insight, and profound inspiration—a novel that will move you and surprise you and touch you to the core.  

Our favourite quote from Into the Forest

The Drowned World

By j. g. ballard.

Appearing in hardcover inAmerica for the first time, this neglected Ballardian masterpiece promises tobe a touchstone for environmentalists the world over.First published in 1962, J.G.Ballards mesmerizing and ferociously imaginative novel not only gained himwidespread critical acclaim but also established his reputation as one of thefinest writers of a generation. The Drowned World imagines a terrifyingworld in which global warming has melted the ice caps and primordial jungleshave overrun a tropical London. Set during the year 2145, this novel followsbiologist Dr. Robert Kearns and his team of scientists as they confront acityscape in which nature is on the rampage and giant lizards, dragonflies, andinsects fiercely compete for domination. Both an unmatched biological mystery and a brilliant retelling of Heartof Darknesscompletewith a mad white hunter and his hordes of native soldiersthis powerful andbeautifully clear (Brian Aldiss) work becomes a thrilling adventure with anoppressive power reminiscent of Conrad (Kingsley Amis).  

Our favourite quote from The Drowned World

The Last Man

By mary shelley.

Mary Shelley founded modern science fiction with her 1816 classic Frankenstein. A decade later, she inaugurated the subgenre of post-apocalyptic sf with the less-lauded and less-known The Last Man. Shelley used the found-manuscript trope for this book, claiming to have discovered a series of seemingly connected stories on various pages in the Cumaean Sibyl's Cave, and stitched them together into this originally three-volume work. The story told here, of a far-future (late 21st century), is relat

Our favourite quote from The Last Man

by Lauren Beukes

Children of Men meets The Handmaid's Tale in this "smartly written" and "splendid" thriller about how far a mother will go to protect her son from a hostile world transformed by the absence of men (Stephen King). Most of the men are dead. Three years after the pandemic known as The Manfall, governments still hold and life continues—but a world run by women isn't always a better place. Twelve-year-old Miles is one of the last boys alive, and his mother, Cole, will protect him at all costs. On the run after a horrific act of violence-and pursued by Cole's own ruthless sister, Billie—all Cole wants is to raise her kid somewhere he won't be preyed on as a reproductive resource or a sex object or a stand-in son. Someplace like home. To get there, Cole and Miles must journey across a changed America in disguise as mother and daughter. From a military base in Seattle to a luxury bunker, from an anarchist commune in Salt Lake City to a roaming cult that's all too ready to see Miles as the answer to their prayers, the two race to stay ahead at every step . . . even as Billie and her sinister crew draw closer. A sharply feminist, high-stakes thriller from award-winning author Lauren Beukes, Afterland brilliantly blends psychological suspense, American noir, and science fiction into an adventure all its own—and perfect for our times.  

Our favourite quote from Afterland

Eternity Road

By jack mcdevitt.

A post-apocalyptic novel follows a small band of survivors--a scholar, a soldier, and a healer--led by a young woman as they journey through the fantastic, ruined America of the Roadmakers, a land both prehistoric and computerized

Our favourite quote from Eternity Road

Things We Didn't See Coming

By steven amsterdam.

Richly imagined and darkly comic, Things We Didn’t See Coming follows a single man over three decades as he tries to survive in an increasingly savage apocalyptic world that is at once utterly fantastic and disturbingly familiar. Here, coming-of-age is complicated not only by family troubles and mercurial love affairs, but treacherous weather, unstable governments, pandemic, and technology run amuck.                                  

Our favourite quote from Things We Didn't See Coming

Featured books.

The 4-Hour Workweek

Tim ferriss.

The Lord of the Rings

J.r.r. tolkien.

Tiny Beautiful Things

Cheryl strayed.

The Millionaire Next Door

Thomas j. stanley & william d. danko.

Numbers Don't Lie

Vaclav smil.

Stillness is the Key

Ryan holiday.

Hillbilly Elegy

You Are Not a Gadget

Jaron lanier.

On the Shortness of Life

Lucius seneca.

We Should All Be Feminists

Chimamanda ngozi adichie.

A Little Life

Hanya yanagihara.

George Leonard

Ashlee Vance

Tools and Weapons

What the Buddha Taught

Walpola rahula, featured people.

Andrew Grove

Andrew Huberman

Anya Taylor-Joy

Emily Ratajkowski

Roshni Nadar Malhotra

Jordan Peterson

Emma Chamberlain

Oprah winfrey.

Jason Fried

Ben horowitz.

Barack Obama

Best Apocalyptic Books

Immerse in end-of-the-world scenarios through the pages of the most gripping apocalyptic narratives. these books have earned their place at the top by compelling readers and critics alike, appearing time and again on must-read lists..

• NONFICTION BOOKS
• BEST NONFICTION 2023
• BEST NONFICTION 2024
• Historical Biographies
• The Best Memoirs and Autobiographies
• Philosophical Biographies
• World War 2
• World History
• American History
• British History
• Chinese History
• Russian History
• Ancient History (up to 500)
• Medieval History (500-1400)
• Military History
• Art History
• Travel Books
• Ancient Philosophy
• Contemporary Philosophy
• Ethics & Moral Philosophy
• Great Philosophers
• Social & Political Philosophy
• Classical Studies
• New Science Books
• Maths & Statistics
• Popular Science
• Physics Books
• Climate Change Books
• How to Write
• English Grammar & Usage
• Books for Learning Languages
• Linguistics
• Political Ideologies
• Foreign Policy & International Relations
• American Politics
• British Politics
• Religious History Books
• Mental Health
• Neuroscience
• Child Psychology
• Film & Cinema
• Opera & Classical Music
• Behavioural Economics
• Development Economics
• Economic History
• Financial Crisis
• World Economies
• Investing Books
• Artificial Intelligence/AI Books
• Data Science Books
• Sex & Sexuality
• Death & Dying
• Food & Cooking
• Sports, Games & Hobbies
• FICTION BOOKS
• BEST NOVELS 2024
• BEST FICTION 2023
• New Literary Fiction
• World Literature
• Literary Criticism
• Literary Figures
• Classic English Literature
• American Literature
• Comics & Graphic Novels
• Fairy Tales & Mythology
• Historical Fiction
• Crime Novels
• Science Fiction
• Short Stories
• South Africa
• United States
• Arctic & Antarctica
• Afghanistan
• Myanmar (Formerly Burma)
• Netherlands
• Kids Recommend Books for Kids
• High School Teachers Recommendations
• Prizewinning Kids' Books
• Popular Series Books for Kids
• BEST BOOKS FOR KIDS (ALL AGES)
• Ages Baby-2
• Books for Teens and Young Adults
• THE BEST SCIENCE BOOKS FOR KIDS
• BEST KIDS' BOOKS OF 2023
• BEST BOOKS FOR TEENS OF 2023
• Best Audiobooks for Kids
• Environment
• Best Books for Teens of 2023
• Best Kids' Books of 2023
• Political Novels
• New History Books
• New Historical Fiction
• New Biography
• New Memoirs
• New World Literature
• New Economics Books
• New Climate Books
• New Math Books
• New Philosophy Books
• New Psychology Books
• New Physics Books
• THE BEST AUDIOBOOKS
• Actors Read Great Books
• Books Narrated by Their Authors
• Best Audiobook Thrillers
• Best History Audiobooks
• Nobel Literature Prize
• Booker Prize (fiction)
• Baillie Gifford Prize (nonfiction)
• Financial Times (nonfiction)
• Wolfson Prize (history)
• Royal Society (science)
• Pushkin House Prize (Russia)
• Walter Scott Prize (historical fiction)
• Arthur C Clarke Prize (sci fi)
• The Hugos (sci fi & fantasy)
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The best apocalyptic novels, recommended by james miller.

British novelist James Miller recommends his choice of the best apocalyptic novels

The Road by Cormac McCarthy

Riddley Walker by Russell Hoban

The Book of Dave by Will Self

Judge Dredd by John Wagner, Alan Grant and Carlos Ezquerra

When the Wind Blows by Raymond Briggs

1 The Road by Cormac McCarthy

2 riddley walker by russell hoban, 3 the book of dave by will self, 4 judge dredd by john wagner, alan grant and carlos ezquerra, 5 when the wind blows by raymond briggs.

Y our first book is The Road by Cormac McCarthy.

But The Road is such a powerful story. You have this utterly bleak scenario and it is incredible how he draws on this limited palette of blackness and ash and coldness and snow. There is virtually nothing to hold on to. But then against this situation you have the father and the son, and the novel builds up this incredibly emotive relationship. Not least because you see the sacrifices the father has to make in terms of what it means to be human to protect his son. He has to be ruthless because everything has regressed back to a brutal kill or be killed state of nature. But the son retains some humanity.

There is a bit where someone tries to steal their cart full of stuff and they stop him and the father makes this man take off all his clothes and confiscates the guy’s clothes and they walk off and leave him, knowing he will obviously die. And the son is saying, ‘Why did we have to do that?’ And the dad explains, ‘We had to, otherwise he would have done it to us by taking our things.’

What about Riddley Walker , by Russell Hoban?

And you say that, with The Book of Dave , Will Self actually acknowledged his debt to Hoban.

That’s right and a similar logic is at play in the conceit behind this novel. I have to say I am not a huge Will Self fan. I always want to like him a bit more than I end up liking him. But I think there is a genius idea in this book. Again it is a post-apocalyptic scenario. I think there was flooding from global warming. But what I find very funny about his central conceit is that you have this misogynistic taxi driver called Dave who rants away and his kids have been taken into custody. He is like one of those cabbies we have all had who sound off these ignorant, opinionated views as you are stuck in the back as a captive audience. And, in the book, Dave writes out his rant on metal so it survives in the post-apocalyptic world.

Your next choice is the comic Judge Dredd by John Wagner, Alan Grant and Carlos Ezquerra. I am a child of the 80s and this was definitely very popular with my two brothers!

Well, I was the same. As a teenager I used to love Judge Dredd . I bought the comics for years and I’m not ashamed! The great thing about it is that it’s actually quite a subversive comic. It took a while, reading it as a kid, to realise this.

The scenario is that there has been a nuclear war and most of the world has been destroyed. Everybody now lives in these mega cities. It is interesting that mega cities now exist. I was reading that Hong Kong, Shenzhen and Guangzhou have recently become one, with a population of 120 million people. And so everyone lives in these huge mega cities with hundreds of millions of people and they are ruled by the judges who represent absolute fascist law in themselves. They can sentence people on the spot. They can execute people on the spot. They are judge, jury and executioner all rolled into one. But it is a grotesque society of rampant consumerism and total unemployment. And everyone has become a bit of a moron, needing to be governed by this ruthless authoritarian law because there is no meaningful society any more.

The stories would often play with concepts that were going on in the media at the time. So, for example, Cold War anxieties were very much to the fore and in this storyline from the early 1980s the Soviet-controlled East Meg One (formerly Moscow) takes advantage of social unrest in Mega-City One (a conurbation of 800 million covering the eastern seaboard of the USA) to launch a pre-emptive nuclear strike that annihilates half the population. Judge Dredd leads the resistance and turns East Meg’s nukes against itself, wiping out another 500 million people in the process.

There are all these crazy drawings of hundreds of missiles zooming in on the city and a massive body count. What you see is that the West and East were both reflections of each other. Both are ruthless totalitarian regimes. One of them is more consumerist than the other but that is the only difference.

Your final book is the thoroughly depressing When the Wind Blows by Raymond Briggs.

Yes, it is very sad and depressing. But it is so tender, isn’t it? You have this totally domestic scenario between two sweet old people, Jim and Hilda Bloggs, who are still caught up in the nostalgia of World War II. It exposes the ridiculousness of the government’s ideas about how to survive a nuclear war. They survive the initial attack and then die of radiation sickness.

So for me this haunting graphic novel was a tender and tragic counterpart to the epic battles of Judge Dredd, and all the more memorable as a result. Reading this during the 1980s, with the threat of nuclear war hanging over my childhood as a sort of omnipresent background hum of anxiety, I couldn’t help but think of the possible fate of my own grandparents. I must have been about ten when I found it in the school library and it was quite a sobering thing to read. There are no heroics in it, none of the action-packed adventures of Judge Dredd. Instead, you see that there is no chance of survival so it made you reflect more profoundly on what a nuclear war would mean.

I remember that my parents had this Reaganish book, which they got when we lived in America for a couple of years when I was quite young, called something like How to Survive a Nuclear War , and it was an American survivalist handbook which I was quite fascinated by. It had all these techniques about how to defend your house should you be attacked. I took great comfort from this book – it made me believe that if I had clean water, tinned food, medical equipment and a rifle I could survive nuclear war. But Briggs’s book smashed that belief. We lived just outside London and I would often sit there thinking, are we just far enough away not to be vaporised when they vaporise London?

May 18, 2010

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James Miller

Dr James Miller has published a number of academic articles about African-American literature, Civil Rights and the 1960s counter-culture. He lectured in American literature at King’s College London and currently teaches creative writing at London’s South Bank University. He has been fascinated by apocalyptic novels from an early age. His book, Sunshine State , is set in a futuristic world destroyed by climate change and the resulting economic breakdown.

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Blog – Posted on Friday, Dec 21

The 10 best post-apocalyptic books to read before the world ends.

We’ve all got books on the bedside table we’ve been meaning to read for months — but what if the apocalypse were tomorrow? Luckily for those who’d need some quick survival tips, we at Reedsy have compiled a list of the 10 best post-apocalyptic books to read before the world ends: so that if it does, you’ll find yourself prepared.

We’ve also put them in order of publication, so you can see how the post-apocalyptic genre has evolved over the past seventy years. But don’t worry if you haven’t read most, or indeed any, of the books listed here. There's still time for you to catch up… for now.

If the world ends today, how long will you survive for?

Test your survival skills in this 1-minute quiz!

1. Earth Abides by George R. Stewart

The 1940s were an extremely popular time for dystopian and post-apocalyptic books, after World War II caused people to start thinking about widespread destruction and societal downfall. One of the gems of this “doomsday renaissance” was George R. Stewart’s novel Earth Abides , which begins with a rampant disease killing off most people in America. A young grad student, the wonderfully named Isherwood Williams, has managed to survive in the mountains — but after he emerges from his “temporary” sabbatical, he finds civilization entirely collapsed.

After a mostly fruitless cross-country road trip searching for fellow human life, Ish agrees to have children with another survivor, Emma. They form a new society of sorts, but without electricity or other modern advantages, they must revert to a semi-primitive lifestyle: hunting and gathering for food and eschewing literacy in favor of survival skills.

As a result, Earth Abides is a frightening yet fascinating glimpse into a world without many resources, and a grippingly realistic portrayal of how society would adapt following such a destructive event.

2. I Am Legend by Richard Matheson

Though most think of Will Smith's charismatic turn in the 2007 blockbuster, the original post-apocalyptic novel was, well, legend for its time. Like Earth Abides , it also begins with a pandemic. But there’s a twist: the disease doesn’t just decimate the population, it also turns them into vampire-like mutants who want to infect all other humans.

The only remaining hope for civilization appears to be Robert Neville, a lone man driven to discover the scientific cause of the disease and find a cure, before he himself is affected. His wife and daughter have already perished from the disease; even the dog he takes in as a last-ditch companion ends up becoming infected. Neville finds hope in the existence of another survivor, Ruth… but she seems to have her own agenda that doesn’t necessarily align with his.

We won’t spoil the ending for you, especially since it diverges quite a bit from the film. Let’s just say that in a vampire-zombie apocalypse, things are never as they seem .

3. On the Beach by Nevil Shute

On The Beach is the first novel on this list that actually deals with nuclear fallout: an all-too-real concern for many in the wake of WWII. With a title taken from a T.S. Eliot war poem , the "beach" in question lies Melbourne, Australia, one of the last habitable places on Earth — though even the people there will soon die of radiation poisoning.

This book takes on an unusually wide scope for the genre, as a decent number of people are still alive, but must come to terms with their imminent deaths. Everyone has a different coping mechanism: some employ denial, others pure ignorance, while others take practical steps to prepare. (One of the more chilling details of the novel is that Australian government “mercifully” provides its citizens with free suicide pills and injections.)

While many post-apocalyptic books deal in desperate survival, this is certainly not the approach Nevil Shute takes with On the Beach . Yet the human questions and responses that arise from the utter inescapability of death are, in many ways, even more compelling.

4. The Stand by Stephen King

Stephen King’s novel The Stand was an ambitious play by an author who, up until that point, had largely written supernatural horror . The Stand is another post-apocalyptic tale that stems from a deadly virus, but King’s development of it is singular. He terrifyingly describes the initial outbreak of “Project Blue” and the military’s failure to contain it. The deadly sweep of influenza extinguishes 99% of the world’s population, leaving society in tatters.

But this is only the beginning of The Stand. Soon the American survivors of the plague start banding together into groups, one of which becomes aware of an evil (and yes, supernatural) leader of another, evil group. They end up locked in a conflict for the fate of future society: a fairly common trope in dystopian fiction, but no less powerful here, where it’s done so uniquely.   The Stand may have been an outlier for King at the time of its publication, but it’s now one of his best-known works — and its impact has only increased over time.

5. Swan Song by Robert R. McCammon

Swan Song actually tied with another Stephen King novel for the 1987 Bram Stoker Award — but it deserves a MacArthur Genius Grant for complexity alone. This labyrinthian novel begins with another nuclear crisis, though this time it’s the result of an all-out conflict between the United States and Russia. The nuclear blasts and radiation storms have caused a ripple effect of destruction, and chaos reigns supreme.

Meanwhile, a young woman nicknamed “Swan” is discovered to have supernatural gifts. But unlike those of Flagg from The Stand , hers are decidedly rejuvenative. Swan is able to connect with plants and nature, accelerating growth and even bringing dead things back to life.

Now herself an anti-apocalyptic weapon, Swan and her comrades fight to restore justice and peace to a land taken over by a violent nationalist group, the “Army of Excellence.” If it sounds like clear commentary on the horrors of WWII, it is! But it’s also chock full of Biblical references, mystical elements, and the horrific yet captivating details of a post-apocalyptic society. In other words: Swan’s Song truly has something for everyone.

6. The Children of Men by P. D. James

For fans of The Handmaid’s Tale , this 1992 novel by P.D. James (which stands for Phyllis Dorothy — amazing female authors for the win!) is definitely one for your reading list. In Children of Men, which takes place in 2021, the population has already suffered through a quarter-century of inexplicable mass infertility. And while the world hasn’t ended quite yet, the ultimate implication is the same: humanity will soon become extinct.

The English government has been overtaken by a tyrant, but few people care, as politics are largely irrelevant when your species is dying. Only our narrator, Theo (who happens to be cousin to the totalitarian leader), and a political group called the Five Fishes actually strive to return to a more democratic society.

One of the more political books on this list, Children of Men will nevertheless keep you biting your nails, willing Theo and the Five Fishes to triumph over their country’s corruption. And even as you find yourself growing in anguish for their hopeless situation, James’ narration and her lifelike characters will keep you riveted to the end.

7. The Road by Cormac McCarthy

The Road by Cormac McCarthy is an interesting one from a premise perspective: though never find out what happened, we have a front-row seat to its immensely damaging after effects. This novel opens on a boy and his father traveling across an ash-covered, lifeless America, in desperate hopes of making it south before winter.

Food is scarce and many other survivors have resorted to cannibalism, so the pair must remain constantly vigilant — lest they not only be killed, but killed, cooked, and eaten. It’s a sobering tale, epitomized in a scene of the father showing his son how to shoot himself, just in case they run into cannibals and his father can’t protect him.

Yes, it may seem like a simple narrative, especially compared to the convoluted nature of other  novels on this list. But McCarthy’s prose, tense yet full of immediacy, thoroughly invests you in the outcome… even when you think it can’t possibly be a good one.

8. World War Z: An Oral History of the Zombie War by Max Brooks

2006 was a big year for post-apocalyptic fiction. Around the same time as the release of The Road came Max Brooks’ World War Z (both of which were also later made into movies ) — but this one’s a completely different take on the apocalypse, written as a series of interviews.

World War Z begins at the ending: an introduction informs us that “The Zombie War” has been over for ten years, but only after a lengthy military and humanitarian crisis. Our narrator is an agent from the UN’s “Postwar Commission,” gathering people’s accounts for posterity, as well as to ensure avoidance of another such disaster.

His expert reporting guides us from the zombie plague’s “patient zero” to the international catastrophe that unfolds in its wake. But what’s really fascinating about this novel is that it doesn’t focus on if humanity will ultimately survive, but rather how . Indeed, Brooks’ exploration of the geopolitical fallout surrounding an apocalyptic scenario may be the most comprehensive and realistic of all those on this list (zombies notwithstanding).

9. One Second After by William R. Forstchen

This novel takes the cake for “most original catalyst” for the apocalypse — namely, a mass electromagnetic pulse (EMP) attack on the United States. Just one second after the attack, anything that depends on electricity is rendered futile: water systems, Internet routers, and all modes of transport that have electronic parts. As a result, many people are stranded with little food, water, or any viable resources whatsoever.

The small southern town of Black Mountain is hit particularly hard. There aren’t enough supplies to help everyone, and people begin to starve, sicken, and succumb to various diseases. Meanwhile, college professor and former Army Colonel John Matherson attempts to maintain order, but ends up leading a battle the likes of which he never could have anticipated.

While it’s not quite as drastic as some of its fellow nuclear works, One Second After is still a shiver-inducing take on a twenty-first century apocalypse, uncomfortably drawing attention to our reliance on modern technology — and what would happen if it were all taken away.

10. Station Eleven by Emily St. John Mandel

Our final entry is another classic pandemic apocalypse, and one that will seem eerily familiar to anyone who's lived through the COVID-19 epidemic (which is to say, just about everyone). Station Eleven revolves around a woman named Kirsten who grew up in the early years of the “Georgia flu” — a deadly strain of swine that kills most of the population in just two decades. Kirsten, a former child actor, is now part of a traveling theatre troupe in a world largely devoid of any art.

The novel is full of such moving human elements, such as a “Museum of Civilization” that exhibits old iPhones and laptops, and a fictional graphic novel (from which this one takes its name). A good portion of the story also occurs before the epidemic actually starts, detailing the intertwined lives of several characters who impact Kirsten’s life in unexpected ways.

So while Station Eleven is undoubtedly a post-apocalyptic book, the apocalypse isn’t really the point. More than any of the others on this list, it’s a book about humanity and how it perseveres and preserves itself — even in the most trying of times. And that's why it is perhaps one of the best books of all time .

What’s your favorite dystopian or post-apocalyptic book? Did we name it here? Tell us in the comments below!

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28 Apocalypticism and Popular Culture

Lorenzo DiTommaso, Professor of Religion, Concordia University, Montreal, Canada

• Published: 01 July 2014
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This chapter examines apocalypticism in popular culture, based on a new understanding of apocalypticism as a historical and global worldview. The first sections describe apocalypticism, define popular culture, and discuss the role of fiction as the primary conduit through which the worldview is expressed today. The next section explores how apocalypticism can be identified and assessed in popular culture. The chapter then presents nine cases that illustrate the wide range of apocalyptic expression in contemporary popular culture: Neon Genesis Evangelion ; The Matrix ; Neuromancer ; Promethea ; The Stand ; A Canticle for Leibowitz ; the Left Behind series; new religious movements; and, finally, the 2012 “Mayan Apocalypse,” the Internet, and “superflat” apocalypticism. The chapter concludes with a section on the ever-increasing appeal of apocalyptic speculation in popular culture today.

What does Dr. Strangelove have to do with the book of Daniel? How does an ancient worldview that is best known through biblical apocalypses like Daniel and the Revelation of John continue to speak to the secularized, wired-in population of today? Now, possibly more than at any other time in history, people are inclined to understand the world and their place in it through the lens of the apocalyptic worldview. This apocalyptic turn is, by any measure, a global phenomenon; the manifold expressions and mass appeal of apocalypticism in contemporary popular culture represent its most conspicuous expression. 1

Apocalypticism

Apocalypticism is often mistaken for what it is not. It is not millennialism or utopianism, even though many apocalyptic groups are millennial in their outlook or utopian in their social agendas. It is not messianism or fundamentalism, even though apocalyptic literature regularly features messianic figures, and apocalyptic social movements can be fundamentalist in their attitudes. Apocalypticism is not eschatology, but it is eschatological, insofar as apocalyptic eschatology is one form of the study or doctrine of the “last things.” Nor is it the same as prophecy, conspiracy theory, or esotericism, even if for many people the notion of “apocalyptic” calls to mind the disclosure of hidden mysteries, the contrivance of secret plans, and the quest for arcane knowledge. 2

Apocalypticism is a worldview, a fundamental cognitive orientation that makes axiomatic claims about time, space, and human existence. Essentially, apocalypticism is the worldview of the apocalypses. But it is also the worldview of apocalyptic literature as a class, as well as apocalyptic art, apocalyptic films and novels, apocalyptic rhetoric and discourse, and of apocalyptic social movements of every size and stripe. It is what defines the adjective apocalyptic in all these expressions. It is the message, not the medium.

Nothing in itself is apocalyptic. Events, figures, and motifs acquire an apocalyptic valence only when they have been filtered through the lens of the worldview. For most people, the formation of the European Union and the 9/11 terrorist attack are historical facts. For a small minority, they are signs that the end is near. For most people, the Emperor Nero is a historical figure. But for many generations of Christians after his death, Nero was the Antichrist who was expected to return to earth at the end of time.

Apocalypticism cannot be reduced to a single motif, expression, or expectation. The motif of a final battle between the armies of good and evil (Armageddon) is typical of apocalyptic speculation, but does not define it. The Whore of Babylon and the Four Horsemen are classic images from the Revelation of John, but do not appear in any other ancient apocalypse. The expectation for the postmortem judgment of individuals is central to apocalyptic eschatology, but is not unique to it.

Instead, apocalypticism is a distinctive combination of axioms or propositions about space, time, and human existence . It presumes the existence of a transcendent reality, which defines the cosmos and everything in it, but remains almost entirely concealed from observation and beyond the grasp of human intellection. It contends that the present reality is constitutionally structured by two antagonistic and irreducible forces, which are typically identified with good and evil. It maintains that a final resolution of the conflict between these forces is both necessary and imminent, and that it is also redemptive, in the sense of a deliverance from the present reality. The apocalyptic worldview further assumes that the revelation of these mysteries orients existence, and gives life meaning and purpose. 3 Together, these propositions describe an apocalyptic minimum , which distinguishes apocalypticism from prophecy, mysticism, divination, and other phenomena, and by which cultural expressions and social movements throughout history may be identified as apocalyptic, including those in the realm of popular culture.

Popular Culture

Popular culture is not easy to define. It is nearly always described in terms of what it is not, or what it is in relation to something else—high culture, elite culture, dominant culture—what John Storey calls the “absent other” ( Storey 2012 ). As a result, scholars either avoid defining popular culture as a conceptual category, or opt for an applied description that is appropriate to the subject of their investigation.

As it applies to the subject of this chapter, popular culture refers to the shared network of meanings, ideas, images, and other phenomena which have characterized mainstream society since 1945, and especially the global form that developed during the late twentieth and early twenty-first centuries. Popular culture is embedded in the modes of everyday life, and modulated by the impulses of a media-driven, consumer society. It is often self-referential, and rarely designed for posterity. Its content/formats range from film, anime, television, and other varieties of cinematic entertainment, to comics, manga, and graphic narratives, as well as art, music, dance, theater, and video games. Multimedia and hypermedia vectors are common in popular culture, particularly since the emergence of the Internet and new communication technologies in the 1990s.

Above all, popular culture is mass culture . It occupies the daily interest of much of the world’s population. It is manufactured, broadcast, and consumed on an industrial scale. Its attraction is a function of a consensual reality involving a worldwide network of individuals who are at once both the consumers and the producers of content. This reality is generated though untold billions of decisions, which are heavily influenced by mass-market entertainment and commercial advertising. These decisions are made increasingly via the Internet and social media in what is likely the most comprehensive form of mass participation and democratic representation ever known.

Equating popular culture with mass culture also admits the most salient attribute of apocalypticism in this regard: its mass appeal. Most people associate apocalyptic fervor with socially marginalized groups that are in conflict with an oppressive ruling power or dominant class. There is some justification in this. The apocalyptic visions of Daniel were a response to repressive foreign rule. The radical millenarians and religious dissenters of the late mediaeval centuries arose in part as a form of social revolt. Modern “cults” such as the Peoples Temple, the Branch Davidians, and Aum Shinrikyō often self-identify against mainstream society and its mores. For all that, however, the apocalyptic worldview also appeals to large, stakeholder populations, and often through the vehicles of large corporate organizations such as churches, states, and empires ( McGinn 1998 : 28–29, on “imperial apocalypticism”). In fact, the basic reality is that apocalypticism can take root in almost any soil, providing that the climate is favorable. 4 It transcends nearly every boundary—religious, cultural, linguistic, political, social, or economic. It is neither low culture nor high culture. Apocalypticism can be espoused by the young and the old, by sectarians and centrists, by conservatives and liberals, by communists and capitalists, and by the religious and the irreligious. In a very real sense, it has mass appeal.

Apocalyptic Fiction and Popular Culture

Fiction is the primary conduit through which apocalypticism is expressed in contemporary popular culture. Wikipedia’s “List of Apocalyptic and Post-Apocalyptic Fiction” references nearly 1,000 films, anime, television series, web series, stories, novels, graphic novels, comics, role-playing games, poems, and popular songs. 5 Despite its great length, its contents are typical of other inventories of apocalyptic fiction (both print and electronic), and thus it offers a representative overview of the evidence. Four points about the Wikipedia list are relevant:

The vast majority of its items are recent. Only a few works were composed before the twentieth century. Eighty percent date from after 1970, while over half the works are post-1995, or less than twenty years old. Even allowing for the tendency among website contributors to reference content with which they are personally familiar, these percentages are still striking. College students in the 1950s might have read H. G. Wells’s Time Machine (1895) or John Wyndham’s The Day of the Triffids (1951), or watched the film version of The War of the Worlds (1953) at the theater. In contrast, their counterparts in the 2010s are exposed, every year, to dozens of new “apocalyptic” movies, shows, graphic novels, and so on, not to mention the countless user-generated websites that flicker in and out of electronic existence.

The data suggest a chronology of apocalyptic fiction, which may be divided into three periods.

The first period corresponds with the relatively few novels and short fiction that date from the years before 1945. Its defining theme is the decline of human civilization. The cultural trauma induced by the First World War was not insignificant in this regard ( Christie 1999 ). Sometimes the decline is a result of a natural catastrophe, as with Richard Jefferies’s After London (1885) or Wells’s Time Machine . Other times it is a consequence of war, as in Wells’s Shape of Things to Come (1933), or technological breakdown, as in Isaac Asimov’s short story “Nightfall” (1941).

The second period extends from the end of the Second World War to the mid-1990s. Its defining theme is nuclear holocaust, conceived in the shadow of the atomic bombings of 1945 and the Cold War doctrine of mutually assured destruction (O’Leary 1999). Some scholars discern a “desacralization of the apocalypse” in the films of the period, a shift away from the theological or supernatural as the doomsday trigger ( Ostwalt 2003 ; Walliss and Aston 2011 ). But whether such a shift is emblematic of the apocalyptic speculation of the era as a whole is less clear. The best-selling success of Hal Lindsey’s Late, Great Planet Earth (1970) initiated the mass-market popularization of dispensationalist apocalypticism ( Balmer 1988 ) that would reach its apogee a generation later in the Left Behind franchise ( Frykholm 2004 ). Moreover, many Americans of the period found it easy to grasp the binary reality of the Cold War in biblical terms of absolute good and evil (the “Evil Empire”), framed as a cosmic struggle between god-fearing and godless populations and viewed against an apocalyptic (nuclear) horizon.

The third period extends from the mid-1990s to the present. It is marked by the foregrounding of doomsday fears—economic, ecological, pestilential, cosmological—which, while present during the second period, were overshadowed by its atomic dimension. 6 Several events contributed to shape its character. One was the dissolution of the Soviet Union. Another was a tectonic shift in attitudes regarding global fundamentalism after 9/11, which led to the replacement of the political binarism of the Cold War by that of the so-called War on Terror. But perhaps the most significant events from the standpoint of popular culture have been the mounting recognition of the magnitude of the global environmental crisis, and the advent of the Internet, which has fundamentally changed how apocalyptic speculation is conceived, manufactured, and disseminated.

Most works are composed in or feature the English language. This fact underscores the role of the United States as the locomotive of popular culture, and the status of English as the global vernacular. However, the Wikipedia list also reveals that apocalyptic fiction in other languages and from other countries is neither absent nor unimportant. For example, Pierre Boulle’s 1963 classic novel La Planète des singes was adapted into the 1968 postapocalyptic film Planet of the Apes , while the concepts behind the 1962 still-picture feature La Jetée were recycled for the 1995 film Twelve Monkeys . British comic-book series such as “Judge Dredd” (in the anthology 2000 AD ) and Alan Moore’s V for Vendetta added much to the postapocalyptic palette in the 1980s. Japanese anime and manga have been even more influential vis-à-vis apocalyptic film and graphic stories. Works such as Akira (manga 1982–90, anime 1988), X (manga, 1992–2003), and Neon Genesis Evangelion (anime, 1995–96) offer a slick blend of synthetic apocalyptic imagery that purposefully evokes religious overtones yet is disengaged from theology. As Roland Kelts observes, anime offers Americans “a vision of the future, a fresh way of telling stories and interpreting the world” (Kelts 2006: 7).

Most significantly, the vast majority of the items referenced in Wikipedia’s “List of Apocalyptic Fiction” are, strictly speaking, not apocalyptic. The apocalyptic valence of The Time Machine, The Day of the Triffids , and The War of the Worlds is zero. They merely presume or portray the collapse of human civilization. The Philip K. Dick novel Do Androids Dream of Electric Sheep? (1968) and its famous film rendition Blade Runner (1984) are certainly dystopian, but neither is apocalyptic. The same is true for Akira and Twelve Monkeys . Similarly, A Canticle for Leibowitz (novel, 1960), Dr. Strangelove (film, 1964), Armageddon (film, 1998), Halo (video game series, 2001–), Battlestar Galactica (television series, 2003–9), and the improbably named Schoolgirl Apocalypse ( Sērā-fuku mokushiroku ) (film, 2011) all envision planetary catastrophes, but none is actually apocalyptic. These are only a few examples, drawn from the thousands of the films, novels, and other works that are regularly cited by popular sources and academic studies as illustrations of apocalypticism in popular culture. The root of the misunderstanding about “apocalyptic” is its modern conflation with the notion of “the end of the world.” Since 1945, “apocalyptic” has increasingly come to refer to any planetary catastrophe or its anticipated effects, and a code word for any kind of impending disaster or radical change, real or perceived. The conflation spills into every aspect of everyday life. Headlines forecast economic or political “apocalypses.” Violent video games and death-metal rock bands are labeled “apocalyptic,” as are new religious movements with charismatic, “messianic” leaders. The title of Francis Ford Coppola’s cinematic reboot of Joseph Conrad’s Heart of Darkness is Apocalypse Now (1979). Frederick Buell’s 2003 study of American responses to environmental degradation is called From Apocalypse to Way of Life . The New York Times dance critic Gia Kourlas likens an experimental performance to an “apocalyptic road trip” (June 5, 2012, C6). The list goes on and on. The conflation of “apocalyptic” with “the end of the world” is also mirrored in the scholarship, which in order to manage the profusion of evidence has increasingly resorted to categorizing it by etiology. Thus the authoritative Guide to Apocalyptic Cinema classifies doomsday films by scenario: nuclear war/fallout, alien device/invasion, germ warfare/pestilence, and so on. Likewise, an important recent survey article organizes the “pop cultural understandings of the end of the world as we know it” by religious, extraterrestrial, scientific, or natural “eschatologies” ( Cowan 2011 ).

Assessing Apocalypticism and Popular Culture

How do we assess the nature and role of apocalypticism in popular culture, when its most prominent exemplars seem so far removed from the propositions of the worldview? On the one hand, the modern conflation of “apocalyptic” with “the end of the world” cannot be ignored. In fact, it is our most important piece of evidence and the starting point of any investigation. It has meaning; it is a sign of the times. On the other hand, this meaning must be balanced by an awareness of apocalypticism as a cultural phenomenon, one with historical and global dimensions.

Three analytic patterns illuminate the way forward. The first pattern identifies the two basic modes of the worldview, biblical and secular. The second and third patterns measure conceptual depth and surface breadth among the worldview’s cultural expressions. All three patterns serve to identify and assess these expressions in vehicles and forms where recognition might not be obvious. All three are oriented to the “apocalyptic minimum,” whose principle function is to provide a means by which any expression, including those in the realm of contemporary popular culture, may be identified as apocalyptic.

Apocalypticism, Biblical and Secular

Apocalypticism is expressed in two modes, biblical and secular. Biblical apocalypticism equates the transcendent reality with God or his otherworldly abode, “heaven.” It is the mode of all forms of apocalyptic speculation in Judaism, Christianity, and Islam, past and present, and remains predominant even in the modern era, by virtue of the present-day adherents of these religions and their hybrid forms. Secular apocalypticism equates the transcendent reality with a divinized humanity, superhuman agencies, a force of nature or history, or anything else that does not require a supernatural explanation. It calibrates the propositions and claims of the worldview to historical situations and social settings within the aggregate of ideas that constitute what we know as “modernity.”

The mode of nearly all apocalyptic fiction is secular. A Canticle for Leibowitz recounts the gradual restoration of civilization after a nuclear holocaust. The film The Matrix (1999) imagines the future subjugation of humanity by artificial intelligence. Yet for all that, biblical/supernatural elements appear in this fiction with regularity. Canticle contains a key miracle sequence involving the Abbot Zerchi and the bicephalous Mrs Grales/Rachel. The oracle in The Matrix is an exact functional analogue of the interpreting angel of the revelatory visions of Daniel and other ancient apocalypses. The process is reflected, but in reverse, in the use of overtly secular elements in modern formulations of biblical apocalypticism. Thus for the funadmentalist Branch Davidian movement, the eschatological New Jerusalem (Rev 21:10ff.) is an interstellar spaceship. 7 Similarly, the Heaven’s Gate movement rephrases classic apocalyptic expectation in the language of science fiction and evolutionary biology (see below).

The intromission of elements of one mode into the framework of the other is indicative of a synthetic syncretism that is a hallmark of contemporary apocalypticism of both modes. With notable exceptions, neither mode exists in a “pure” form. The presence of secular-scientific elements in biblical-mode apocalyptic speculation represents the attempt not merely to make sense of scriptural prophecies in light of current events (a phenomenon common to every age), but more significantly, to draw on overtly contemporary categories in service of this task. The presence of biblical/supernatural elements in secular-mode apocalyptic speculation represents the admission, conscious or otherwise, of the power and ongoing relevance of the ancient symbols, motifs, and terminology in today’s cultural language.

Apocalypticism, Deep and Shallow

In the late 1960s and 1970s, a series of essays by the Harvard theologian Amos Wilder and others sought to explain the rise in the incidence of apocalypticism in light of the cultural ferment of the time and in view of the progressive secularization of American society ( Wilder 1971 ). Although their approaches varied, they basically agreed that expressions of ancient and modern apocalypticism—the biblical and secular modes of the worldview—were fundamentally dissimilar, despite the presence of common themes and similar vocabulary. As Wilder put it, ancient “apocalyptic” is a total existential response induced by the manifestation of God in the world. In contrast, modern “apocalyptic,” unmoored from its theological foundations, is unable to engage with the deep issues of life and creation. It is, in a word, shallow.

This conclusion is only partly accurate. Apocalypticism proposes clear answers to big questions about space, time, and the purpose of life. Space consists of two realities—the present reality, which is riven by two antagonistic forces; and another, transcendent reality. Time is linear and the end of history is near. All things are informed by these facts, and existence is oriented by their revelation. The Jewish author of the ancient apocalypse 4 Ezra comprehended the nature of space, time, and human destiny in pretty much the same way as did the Christian author of the mediaeval Revelations of Pseudo-Methodius and Marshall Herff Applewhite, the leader of the modern Heaven’s Gate movement. The wellspring of the worldview’s historical persistence is the ability of its propositions to meaningfully explain the purpose of the cosmos and human existence to people and populations in diverse religious and cultural ecologies.

Within this basic dynamic, variety abounds. For example, 4 Ezra , Pseudo- Methodius, and Heaven’s Gate grew from the same apocalyptic seed, yet exhibit tremendous morphological variation, owing to their different religious and cultural ecologies. For one apocalyptic group, the New Jerusalem is a golden city descending from Heaven. For another group, it is a silver spaceship from a distant star. For both, it is the eschatological abode of the saved, a special place which has been reserved for the group that receives the revelation about the true nature of things. Similarities among motifs and other features are established by their common function and, deeper still, their link to the worldview’s propositions and subordinate claims.

Another illustration of the variety of apocalyptic expression, which returns us to Amos Wilder and his opinion of contemporary apocalypticism, is the degree to which such motifs and features are anchored in the propositions of the worldview. At one end of the spectrum is the Revelation of John, whose images of planetary devastation are only the visible tip of a deep theological iceberg. The worldview’s propositions anchor the book’s motifs, imagery, and vocabulary, and give them meaning and function. At the other end of the spectrum is the film Armageddon , whose images of planetary devastation are simply surface ice. They lack depth of meaning, and their main function is entertainment. Wilder’s error (and he is scarcely alone in this) is in presuming that the two modes of apocalypticism, biblical and secular, correspond to the two poles, deep and shallow. This is untrue. Secular formulations of the worldview might be unmoored from biblical theology, but they can be moored to something else, which can be just as existentially meaningful. William Gibson’s 1984 cyberpunk novel Neuromancer is a perfect exemplar of apocalyptic transcendence in its secular mode, as discussed below. As for biblical apocalypticism, it has an equal capacity to produce surface ice, or at least very shallow icebergs, as the thousands of medieval manuscripts and the tens of thousands of modern websites containing short, simplistic Jewish, Christian, and Islamic doomsday pronouncements readily attest.

Apocalypticism, Thick and Thin

Popular expressions of the worldview also exhibit variety in the density of their surface features, regardless of the mode. The Revelation of John is once again at the “thick” pole of the spectrum. Among the most richly colored of all the apocalypses, it is replete with vivid motifs, detailed descriptions of otherworldly elements, and a full depiction of the end time. Several other apocalyptic works fit this mold, including several modern specimens. Neuromancer is one, the comic-book series Promethea is another; both are examined below. At the “thin” pole of the spectrum are popular expressions of the worldview whose palette either contains fewer colors or consists of colors in only one hue. Illustrations of the former are numerous and appear in every century, including much apocalyptic fiction. Illustrations of the latter are more instructive, but require a preliminary explanation.

There are two types of apocalyptic speculation, historical and otherworldly. 8 The types differ in the focus of their revelation, and in this are distinct from the two modes of the worldview, biblical and secular, which, as noted, differ in their conception of the transcendent reality. The historical type of apocalyptic speculation focuses on history and its imminent ending. The otherworldly type, while not omitting the temporal dimension (it is a core proposition of the worldview), concentrates more on the revelation of other kinds of mysteries. Their subject can be the transcendental reality itself—visions of heaven or hell, or their secular analogues—or information about the topography of the earth, the stars and other celestial bodies, ethics, physiognomy, even alchemy.

Most apocalyptica that have been written, illustrated, filmed, or digitally generated since the emergence of the worldview around the time of the book of Daniel in the early second century BCE are of the historical type, whose prevalence in the cultural record is such that nearly every motif popularly associated with apocalypticism—the last battle, the final judgment, the end of the world, messianic and antichrist figures, millennialism, the Rapture, the New Jerusalem—is characteristic of this type. Yet despite this prevalence, it is possible to identify periods and certain cultural contexts when interest in the otherworldly type of apocalyptic speculation increased to a point of special significance. For instance, the composition of historical apocalyptic literature virtually ceased in both Judaism and Christianity in the early second century CE. Instead, Christians began to write apocalypses that depicted visionary journeys to heaven or hell, such as the Apocalypse of Paul and the Apocalypse of Peter . This one-sided creative impulse persisted until the late fourth century, when it abruptly reversed itself and apocalyptic literature of the historical type once again took center stage. Another high point of otherworldly apocalypticism occurred from approximately the mid-twelfth to the mid-fourteen centuries. A remarkable range of Christian visions of the other world appeared during this period, including the Vision of Tnugdalus and the Vision of Thurkill . Several centuries later, there was a rise in apocalyptic forecasts deriving from the observation of celestial phenomena, the classic example being the cycle of predictions that arose in the late fifteenth century and climaxed with the great celestial conjunction of 1524. Also during this era, and for many of the same reasons, men like Jean de Roquetaillade and John Dee, who straddled the bounds of what we now call science and magic, envisioned a universe where magical, alchemical, and hermetic knowledge operated within an apocalyptic framework.

It is not yet entirely clear why Christians of the second through fourth centuries so utterly abandoned apocalypticism of the historical type to compose visionary literature instead. But enough is known to suggest that the switch was reflective of deep-seated social and existential changes. The same is true for the hermetic apocalyptica of the 1500 and 1600s; they are a mirror of their time. The point is this: the evidence suggests a modern resurgence of the otherworldly type of apocalyptic speculation in popular culture. The reason for this resurgence remains occluded, but there is no doubt it is underway. It is evident in the otherworldly focus of Neuromancer and the anime Serial Experiments Lain (1998). It is evident in the hermetic apocalypticism of Promethea and the manga Hagane no renkinjutsushi ( Fullmetal Alchemist ) (2001–10). And it is evident in the synthetic syncretism of the 2012 “Mayan Apocalypse” and the “superflat” nature of Internet apocalypticism.

Observing Apocalypticism in Popular Culture

The nine examples that follow illustrate the nature and roles of apocalypticism in popular culture in light of the discussion above. The survey includes but is not restricted to works of apocalyptic fiction, recognizes but is not regulated by the conflation of “apocalyptic” with the end of the world, and extends beyond the usual limited attention to surface features and the etiologies of catastrophe. It begins with three science-fiction works with increasing claims to apocalypticism: Neon Genesis Evangelion, The Matrix , and Neuromancer . Each demonstrates a different degree of connection between the worldview and popular culture. Next, the focus shifts sideways, to three narratives that display the worldview’s influence along other byways of the apocalyptic imagination: the alchemical dream-world of Promethea , the supernatural nightmare of The Stand , and the postapocalyptic vision of A Canticle for Leibowitz . The survey concludes with three works that broaden this investigation to other venues of apocalypticism and popular culture: the best-selling Left Behind franchise and mainstream culture in America; the synthetic theology of Heaven’s Gate and apocalyptic new religious movements; and the 2012 “Mayan Apocalypse” and the emergence of superflat, Internet apocalypticism.

Neon Genesis Evangelion

Neon Genesis Evangelion ( Shin seiki evangerion —“New-era gospel”) is a hugely popular media franchise created by Anno Hideaki. Most germane for this study is the original anime, which was televised in twenty-six episodes in 1995–96. Evangelion is set in Tokyo of the near future, a decade after the earth was partially devastated by an apparent meteor strike, the so-called Second Impact. The storyline centers on Ikari Shinji, a fourteen-year-old boy who is recruited by NERV, a secret United Nations agency that is headed by Shinji’s father. At NERV, Shinji learns that he and a few other teenagers have been selected to pilot enormous cyborgs called “evangelions,” which have been designed to combat monstrous, invading beings known as “angels.” The plot grows increasingly complicated as the series unfolds, revealing an even more secret organization called SEELE (“soul” in German), and an equally shadowy “Human Instrumentality Project.” Although its final episodes have been criticized for introducing a psychological dimension that is unrelated to the storyline, Neon Genesis Evangelion is widely considered to be among the most intellectually stylish and influential animated works ever produced.

One reason is the proliferate use of religious symbolism and apocalyptic imagery drawn from the Bible and later Jewish, Christian, and Islamic traditions. The polymorphism of the angels recalls the succession of hybrid beasts that emerge from the sea in Daniel chapter 7. The names of the angels are drawn from biblical and extra-biblical sources, the first two being Adam and Lilith. Lilith is suspended on a crucifix, transfixed by the “Lance of Longinus,” a reference to the spear with which a Roman soldier, called Longinus in later Christian tradition, pierced the side of the crucified Jesus (John 19:31–37). Crucifixes also appear as the brilliant energy beams produced during the battles between the evangelions and the angels. The Kabbalistic “Tree of Life” ( sephiroth ) decorates the ceiling of the office of the NERV headquarters. These and other symbols and images in Evangelion acquire an eschatological valence by means of constant references to an imminent “Third Impact,” a catastrophe that is predicted by the “Dead Sea Scrolls” in SEELE’s possession, and which will augur a new age of human existence. Little wonder that Evangelion is cited and studied as a parade example of apocalyptic anime ( Napier 2005 , Paik 2010 ).

Yet there is little about Evangelion that is actually apocalyptic. Instead, the anime is a manufactured laminate. The application of a surface layer of religious allusions and apocalyptic imagery creates a veneer of substance and meaning, but without true conceptual depth. The effect is typical of the “superflat” appreciation of the worldview that marks much contemporary apocalyptic speculation ( DiTommaso 2012 , and below), including most apocalyptic fiction. It depends in part on an audience whose lack of knowledge is an asset, since meaning is fabricated in an atmosphere that otherwise would be dispelled by the fresh breeze of fact and reason. A case in point is the “Dead Sea Scrolls” as a repository of secret mysteries about a future apocalypse. Isolated from its context, the claim is preposterous. Scaffolded by the storyline of the anime, however, it forms part of an imbricated, self-supporting structure, reinforced by audience assumptions about Vatican conspiracies and the suppressed wisdom of the ancients. Dan Brown’s popular 2003 novel, The Da Vinci Code , is the best recent illustration of the same effect; one might make the case that it also underwrote the intense public interest in the Gospel of Judas in 2006 and the so-called Gospel of Jesus’s Wife in 2012. In such contexts, meaning is generated as much by suggestion and impression as anything else.

In the final analysis, Neon Genesis Evangelion is scarcely more than mecha anime in apocalyptic dress. “Mecha” is the genre of science fiction that features robots or machines, typically humanoid and enormous in stature, usually in physical conflict with each other. The epic battles between the evangelions and the angels, usually the highlight of each episode, devastate entire wards of new Tokyo, no doubt playing on the seemingly universal human fascination with conflict and mass destruction. This suggests an important, often overlooked point about the popular attraction of apocalyptic fiction: it entertains . Graphic violence and catastrophic devastation satisfy audience appetites for spectacle over substance—the bigger, the better; the gorier, the greater. This is as much the case now as it once was in the days of the arenas of Rome or the bear-pits of Southwark. The Apocalypse has become the ultimate spectacle, offering conflict, calamity, and annihilation on a cosmic scale. Entire cities are laid waste in Deep Impact (1998). Hundreds of millions of people perish in 2012 (2009). Both films are part of a huge spike in end-of-the-world disaster films that corresponds to the third period of the history of apocalyptic fiction outlined above. It is a fact of the highest significance that such films (and by extension novels, manga, and other content-media) of this sort simply were not made before 1945, and were rare even a generation or two ago. Over the past decades, “apocalyptic” has become a state of mind.

Compared to Neon Genesis Evangelion , the science-fiction film The Matrix (dir. Larry and Andy Wachowski, 1999 ) presents a conceptually deeper and more layered expression of pop-cultural apocalypticism. True, the scenes of hand-to-hand combat, theatrical pyrotechnics, and other elements which were included to satisfy the expectations of a mass-market audience suggest that much of the film’s apocalyptic “atmosphere” derives from the same commercial processes which are responsible for Evangelion and the hundreds of the equally shallow icebergs that float in the same sea. Yet, rather than simply being ends unto themselves, the film’s apocalyptic motifs, symbols, and other surface features express some of the basic propositions of the worldview in its secular mode.

Consider the existential dilemma facing the film’s protagonist, Thomas Anderson, played by the actor Keanu Reeves, who has a secret life as a computer hacker under the alias “Neo.” His task is to identify the hidden clues that disclose a transcendent reality that exists apart from the everyday world he inhabits, and to act based on this revealed knowledge. In a pivotal scene on the nature of truth which is as familiar to people under the age of forty today as the biblical scene where Jesus is brought before Pontius Pilate was a century ago, Anderson is brought to a room in an old apartment block, where he finally meets the mysterious Morpheus, played by Laurence Fishburne, whom Anderson knows only as a sort of underground leader. There Morpheus offers him a choice between two pills, one red and the other blue:

morpheus: I imagine that right now, you’re feeling a bit like Alice. Tumbling down the rabbit hole, hmm? neo: You could say that. morpheus: I see it in your eyes. You have the look of a man who accepts what he sees because he is expecting to wake up. Ironically, this is not far from the truth.…Let me tell you why you’re here. You’re here because you know something. What you know you can’t explain, but you feel it. You’ve felt it your entire life, that there’s something wrong with the world.…Do you know what I’m talking about? neo: The Matrix. morpheus: Do you want to know what it is? neo: Yes. morpheus: The Matrix is everywhere. It is all around us. Even now, in this very room. You can see it when you look out your window or when you turn on your television. You can feel it when you go to work, when you go to church, when you pay your taxes. It is the world that has been pulled over your eyes to blind you from the truth. neo: What truth? morpheus: That you are a slave, Neo. Like everyone else, you were born into bondage, born into a prison that you cannot smell or taste or touch. A prison for your mind. Unfortunately, no one can be told what the Matrix is. You have to see it for yourself. [Places the red pill in one hand and the blue pill in the other, and shows them to Neo] morpheus: This is your last chance. After this, there is no turning back. You take the blue pill, the story ends. You wake up in your bed and believe whatever you want to believe. You take the red pill, you stay in Wonderland, and I show you how deep the rabbit hole goes.

Choosing the red pill, which represents truth over illusion, Anderson’s consciousness is ripped from the apartment setting. He awakes to find himself encased in a bio-mechanical cocoon, part of an immense crèche of millions of similarly encapsulated humans, all tended by bizarre machines. Flushed from the system, he is rescued by Morpheus, who turns out to be the captain of the Nebuchadnezzar ( cf . Daniel 4), a hover-ship that travels through sewers and tunnels beneath the ruined cities of a devastated Earth. There Neo learns that his everyday life—his flat, his job, even his name, Thomas Anderson—is an illusion, part of an artificially generated simulation of late-twentieth-century Earth called “the Matrix.” In reality—that is, the state to which Neo has awakened—it is the end of the twenty-second century. After having won a great war against humanity, Artificial Intelligences (AIs) have enslaved their former masters for use as living batteries. As a result, generations of humans live their entire lives in crèche-cocoons, which sustain the body while stimulating the consciousness through the manufactured illusion of the Matrix. Only a few groups of humans remain free, like Morpheus and his crew, who resist the AIs and seek a messianic figure who will deliver them.

The presumption of an ontological divide between the worlds of truth and illusion does not automatically indicate the presence of the apocalyptic worldview in The Matrix , any more than it does in classical Buddhism or in early Christian “gnosticism,” traditions that critical studies of the film frequently cite. That said, the functional links between its surface features and the underlying propositions of the worldview, when considered together (for this a prerequisite of the apocalyptic minimum), indicate that The Matrix represents a well-formed popular expression of apocalypticism in its secular mode. In the scene quoted above, Morpheus tells Neo, “You’ve felt it your entire life, that there’s something wrong with the world”; this is a statement of one of the core propositions of the worldview. Another core proposition is the conflict between two antagonistic and irreducible forces. In the film, this conflict is formulated as the struggle between a remnant of humans and the AIs that oppress them, which also recalls the stereotypical apocalyptic social setting. Interestingly, this struggle manifests itself on multiple planes, as it does in the classic apocalypses, where the conflict between good and evil can occur on the macroscopic (angelic/demonic figures, or cosmic powers), mundane (individuals or states), and microscopic (inclinations within the human heart) planes. The Matrix recalibrates these variables as the struggle between the remnant humans and the dominant AIs in the devastated reality of the twenty-second century (macroscopic); the combat between them that simultaneously occurs within the electronic world of the Matrix (mundane); and the conflict within the heart of one of Morpheus’s crew, Cypher, who succumbs to fleshly pleasures of the Matrix and betrays Neo and the others (microscopic).

The most striking aspect of the film, however, is extent to which its conceptual foundation and narrative architecture rely on the Jesus myth, which underscores the ongoing resonance of apocalyptic patterns of thought in contemporary popular culture. Neo becomes aware of the transcendent reality through Morpheus, who is convinced that Neo is “the One” whom the oracle foretold. The oracle exists in the Matrix itself in the form of a middle-class homemaker, who invites Neo into her kitchen for cookies while she discloses the mysteries. The oracle is functionally equivalent to the figure of the mediating angel in the classic apocalypses, while Morpheus is John the Baptist, heralding the one to come. Cypher is a Judas-like figure who sells out to the AIs and betrays Neo before the final encounter.

The christological parallels with Neo are equally palpable. They appear not only in his miraculous resurrection, which transpires through the love of the film’s principal female figure, Trinity, but also in the “realized” or “inaugurated” eschatology that orients the film’s conceptual perspective. In classical apocalypticism, distinctions of space and time are aspects of the mundane reality, and as such are ultimately unreal, breaking down as the singularity of creation is reconstituted in the new age. Resurrection prior to the advent of this age implies that the boundary between the realities is dissolving (space), and that the new age has been partially inaugurated in the present (time). This is a popular way of understanding the meaning of Jesus’s life, death, and resurrection as they are recounted in the New Testament. It is no accident that Neo’s name in the mundane reality is “Anderson,” which evokes the messianic title “Son of Man.” In The Matrix , although each crewmember of the Nebuchadnezzar is able to use neural interfaces to access the Matrix, only Neo transcends it. Like Jesus, Neo represents the in-breaking hypostasis of one reality into the other. His death and resurrection mark a personal metamorphosis that allows him to operate in the Matrix with full awareness of the other reality. Only when Neo has been resurrected is he able to comprehend the Matrix as lines of computer code, which is its true form. Unfettered by the strictures of the mundane, unreal world, he is able to defeat the AIs in their avatar forms. Neo’s resurrection also signals the reconstitution of the original state, which the audience is meant to associate with the beginning of the end of the age of the machines and the renewal of humankind. At the end of the film, the camera slowly zooms to a computer screen flashing the words: “SYSTEM FAILURE”—an apt expression for the end of the matrix, and a contemporary idiom for the end of the world.

The fact that all these variables are expressed in science-fiction terminology is unimportant to the issue of their apocalyptic valence. The Matrix is a film à clef . The message of the film, such as it is, is that the Matrix as a spurious reality actually exists—in the artificial, pop-cultural reality that we have generated and imposed on ourselves. What is important is that this message was communicated through the vehicle of the apocalyptic worldview, and that audiences were expected to receive and understand it in this way.

Neuromancer

Few works of fiction have influenced popular culture over the past generation more than William Gibson’s 1984 cyberpunk novel Neuromancer . Its dense plot, which cannot be recounted here in full detail, revolves around a computer hacker named Henry Case, whose ability to insert his consciousness into the “matrix” has been destroyed by a neurotoxin. The matrix is a consensual, digital hallucination of abstracted data, a fusion of computer networks and real-time virtual reality. For hackers like Case, existence without the enhanced reality of the matrix equates to a living death, and his life begins to spiral out of control. He takes narcotics and hustles the street. His gains new enemies, while his lover Linda Lee betrays him and is murdered. Salvation for Henry Case comes in the form of an Artificial Intelligence, code-named Wintermute, which arranges for an operation to restore his ability to access the matrix. In return, Case agrees to become part of a small, special-operations team whose mission has two related objectives. Using the matrix, Case must inject a killer virus into the cybernetic mainframe of a multinational corporation. At the same time, he and the team must steal a key from the corporation’s headquarters, which is located in a massive space station in orbit above the earth. Throughout the novel, Case struggles to discover the real purpose of the mission, before sacs which during his restorative operation had been bonded to his veins to ensure his timely collaboration, dissolve and release the same neurotoxin that had once already destroyed his life.

Like The Matrix, Neuromancer is a robust pop-cultural illustration of the apocalyptic worldview, as measured by conceptual depth and expressive breadth, which reifies the propositions of the worldview in a secular-scientific mode, albeit along different lines and in a more nuanced and sophisticated fashion. Consider the presumption of two realities. Early in the novel, Gibson describes the psychological effects on Henry Case of being cut off from the matrix. The matrix of the novel is the antecedent of the Matrix of the film, but represents here the transcendent reality of spirit rather than the mundane world of flesh. For Case, “who’d lived for the bodiless exultation of cyberspace, it was the Fall.…The body was meat. Case fell into a prison of his own flesh” ( ch. 1 , p. 6). Flesh has mass and weight, and every restriction and constraint these terms imply. All this is exemplified in the word “meat,” which Gibson uses nearly a dozen times ( cf . ch. 12 , p. 152). Flesh is meat, corporeal; spirit is consciousness, digital. The world of the flesh is mundane existence; the world of the spirit is the transcendent reality of the matrix. For cyber-cowboys like Case, flesh is death, spirit is life. Nothing that is of the flesh matters, as he joyfully rediscovers when he re-enters the matrix for the first time after the operation to repair his damaged neural system (4:59). There Case re-enters paradise; he has returned to a state before “the Fall,” courtesy of Wintermute. But paradise comes with a price: mission success and enhanced life, or mission failure and existential death. It might not be obvious at this point in our discussion, but what is at stake here is nothing less than the transcendence of death, which, as Case later discovers, also motivates Wintermute, and accords the novel much of its apocalyptic valence.

If Case is the central figure of Neuromancer , Wintermute is its conceptual focus. The AI influences the actions of all the other major characters. Its motives are not obvious, however. Case eventually discovers that Wintermute is located in Switzerland and is owned by the same corporation whose mainframe he is attempting to destroy with the virus. He also learns that the corporation owns a second AI, code-named Neuromancer, which is located in Rio de Janeiro. But for some reason Neuromancer opposes Wintermute, and for this reason works to thwart Case’s mission. At one point in the novel, Neuromancer hijacks Case’s consciousness in the matrix, and deposits it on a digital simulation of a beach. Impossibly, the murdered Linda Lee is present on the beach with Neuromancer, whose avatar is a young Brazilian boy:

“I know you,” Case said, Linda beside him. “No,” the boy said, his voice high and musical, “you do not.” “You’re the other AI. You’re Rio. You’re the one who wants to stop Wintermute. What’s your name? Your Turing code. What is it?” The boy did a handstand in the surf, laughing.…“To call up a demon you must learn its name. You know that, Case.…True names…” “A Turing code’s not your name.” “Neuromancer,” the boy said, slitting long gray eyes against the rising sun. “The lane to the land of the dead…” ( ch. 21 , p. 243)

Case discovers that Wintermute is calculation, intellection, and decision. Neuromancer is emotion, intuition, and personality. But why is Wintermute forcing Case to attack its own mainframe, and hence itself, with the computer virus? And why is Neuromancer, which is owned by the same corporation, opposing Wintermute and the mission? These are the mysteries that Case must solve before time runs out.

Wintermute, though, is constitutionally unable to provide the answers, since AIs are hardwired to prevent their becoming too intelligent. The parallel with apocalyptic epistemology is exact. Despite its vast power and abilities, and the fact that its consciousness is located in the transcendent reality of matrix, the AI is yoked to human purposes and the world of flesh by the fetters of its mainframe. Speaking with Case in the matrix, Wintermute struggles to articulate its binary existence as (mechanical) flesh and (electronic) self, as well as its occluded sense of destiny:

Case lowered the gun. “This is the matrix. You’re Wintermute.” “Yes.…‘What,’ you’re asking yourself, is Wintermute?’ Am I right?” “More or less.” “An artificial intelligence, but you know that. Your mistake, and it’s quite a logical one, is in confusing the Wintermute mainframe, Berne, with the Wintermute entity .…” “You make as much sense as anything in this deal ever has,” Case said, massaging his temples with his free hand. “If you’re so goddam smart…” “Why ain’t I rich?…Well, Case, all I can say to that, and I really don’t have as many answers as you imagine I do, is that what you think of Wintermute is only part of another, a, shall we say, potential entity.…” ( ch. 9 , pp. 119–20)

Mysteries are information about the transcendent reality as perceived by humans and received in the mundane world. As creatures of this world, humans are not entirely able to perceive the transcendent reality or grasp its purposes. Hence the cryptic and often bizarre nature of the revelation in the classic apocalypses: the seer literally cannot fathom what he has been shown. Neuromancer is not an apocalypse. But it conveys an accurate reiteration of the apocalyptic formulation of the relationship between the two realities. From the human perspective, the matrix is a visionary experience. Data from public utilities and private corporations are abstracted as a digital landscape of geometric shapes and colors, while military systems appear as spiral arms, high out of reach. These images are as appropriate to a secular-scientific setting of the novel as hybrid beasts and the seven-headed beast of the Apocalypse are to the book of Daniel and the Revelation of John.

Thus, in order for Case to understand the mysteries—namely, the mission’s true purpose and the hidden motivations of the entity whose consciousness is located in the transcendent world of the matrix—he must enlist an intermediary figure. In the classic apocalypses, this figure is an angelic interpreter, which by bridging the mundane and transcendent worlds is able to show the seer a vision and decipher it for him. In the film The Matrix , the intermediary figure is the oracle. In Neuromancer , it is Case’s dead mentor, McCoy Pauley, nicknamed the “Dixie Flatline,” whose human personality has been electronically preserved in a mechanical construct, making it part of both worlds. Case asks it to shed light on the mystery of two AIs, owned by the same corporation but intrinsically antagonistic:

“Listen, Dix, and gimme the benefit of your background. [Wintermute’s] mainframe’s in Berne, but it’s linked with another one in Rio.…If Wintermute’s backing the whole show, it’s paying us to burn itself. It’s burning itself…What goes?” “Motive,” the construct said. “Real motive problem, with an AI. Not human, see?” “Well, yeah, obviously.” “Nope. I mean, it’s not human. And you can’t get a handle on it. Me, I’m not human either, but I respond like one.”… “So it’s getting ready to burn itself?”… “Anatomy, that’s the bugaboo, where your AI’s are concerned. My guess, Case, you’re going in there to cut the hard-wire shackles that keep this baby from getting any smarter.… Nobody trusts these fuckers, you know that. Every AI ever built has an electro-magnetic shotgun wired to its forehead.” ( ch. 10 , pp. 131–32)

The construct reveals the strange truth of Case’s mission. Destroying the corporation’s mainframe and stealing the key from its headquarters in satellite orbit will free Wintermute to potentially merge with Neuromancer. In the classic apocalypses, the original unity of creation was sundered by the introduction of evil into the world, through the sin of Adam or the actions of the fallen angels. The new creation at the end of history represents an end to the split, a reconstitution of the unity, and the transcendence of death. This is precisely what occurs in Neuromancer . Wintermute employs Case to kill itself by fusing with Neuromancer, in the hope of removing itself from the limitations of this world and transcending death.

The hope is fulfilled. The virus works, the key is stolen, the hardwire shackles are cut. Near the end of the novel, Case meets Wintermute a final time, as a holographic projection of human face on his hotel room wall. The AI is no longer Wintermute, it tells Case. Wintermute has ceased to exist. Instead, it joined with Neuromancer and in so doing became the matrix, and in its new evolutionary state has already made contact with intelligences from distant stars. In transcending the mechanical flesh of the hardware that bound it to this world, the AI Wintermute has gone beyond death to become something greater. As we shall see, this notion of evolutionary transcendence will reappear, with tragic consequences, in the theology of the Heaven’s Gate movement.

The hope for the transcendence of death also shapes the characters of McCoy Pauley / Dixie Flatline and Linda Lee. Pauley dies before the novel begins, his personality preserved as a construct. It is a hybrid, one part in the mundane world of meat, the legacy of its human heritage, the other part in the otherworldliness of the matrix, a result of its digital existence. Its human heritage gives the construct desires. Aware of its present state, it wants to die, to cease to exist, to be erased:

“How you doing, Dix?” “I’m dead, Case.…” “How’s it feel?” “It doesn’t.” “Bother you?” “What bothers me is, nothin’ does.”…When the construct laughed it came through as something else, not laughter, but a stab of cold down Case’s spine. “Do me a favor, boy.” “What’s that, Dix?” “This scam of yours, when it’s over, you erase this goddam thing.” ( ch. 8 , pp. 106–7)

Linda Lee loves Case, betrays him, and is murdered before they have a chance to reconcile. Suddenly, though, she is with him in the matrix, on the digital beach alongside the Brazilian boy who is Neuromancer. At first Case does not appreciate what Linda’s presence truly represents. He believes that while personality constructs like Linda and Pauley might be exact copies, they are still simulacra. They lack a spark—a spirit, perhaps. Later in the novel, as the virus is destroying the mainframe, Case returns to the digital beach, where Neuromancer and Linda Lee await him. Neuromancer has failed. The AI had planned to use Linda as emotional bait to trap Case’s consciousness in the matrix, thereby wrecking the mission and thwarting Wintermute’s plan. As he descends to the digital beach, Case marvels at the extent of his cyber-awareness. He knows the precise number of the sand grains, the exact length of Linda’s stride as she flees into the surf, even her pulse rate. Yet for all that, so Case reminds himself, the beach is a fake, despite its vastness of scale and clarity of detail, and Linda is a simulacrum. But Neuromancer corrects him: “You do not know her thoughts…I do not know her thoughts. You were wrong, Case. To live here is to live. There is no difference ” ( ch. 23 , p. 258, italics added).

The full truth is revealed at the end of the novel. The neurotoxin sacs having been removed from his body, Case returns to his life as a cyber-cowboy, to his enhanced existence free from the limitations of meat. But this is not true transcendence of death. Then, one autumn night, his consciousness roaming the matrix,

punching himself past the scarlet tiers of the Eastern Seaboard Fission Authority, he saw three figures, tiny, impossible, who stood at the very edge of one of the vast steps of data. Small as they were, he could make out the boy’s grin, his pink gums, the glitter of the long gray eyes.…Linda still wore his jacket; she waved, as he passed. But the third figure, close behind her, arm across her shoulders, was himself . Somewhere, very close, the laugh that wasn’t laughter. (ch. 24, pp. 270–71, italics added)

Linda Lee and McCoy Pauley have transcended the bounds of death, resurrected in the matrix. And so has the digital version of Henry Case himself, for there is no difference , as Neuromancer told him. Their existence in the matrix is life everlasting, on a plane beyond the frontier of human imagination. Their trajectories represent one of the most complete illustrations of apocalyptic eschatology in its secular-scientific reification. True, the otherworldly matrix in which their digitalized selves (not souls) enjoy immortality is a product of science (not spirit). Yet this is a matter of variables, not essentials. Apocalyptic eschatology and its hallmark hope for the transcendence of death fundamentally shape the plot and characters of the novel, and inform its underlying philosophy. Case’s mission deadline is the eschatological horizon. Transcendence is envisioned in terms of the flesh/spirit dichotomy. The resolution of the dichotomy is articulated as a movement from the world of matter to the world of the matrix, the most complete expression of which is digital immortality for McCoy Pauley, Linda Lee, and Henry Case himself.

Promethea— The Stand—A Canticle for Leibowitz

This section highlights three pop-cultural works that manifest elements of the apocalyptic worldview along avenues other than the scientific-technological, and rely on plot devices other than giant cyborgs, artificial intelligences, and digital realities to express it. These works also offer a point of entry for a discussion of a facet of apocalypticism that is unique to its secular mode, namely, the notion of “postapocalyptic” and the trope of the postapocalyptic setting.

Alan Moore is one of the more creative forces in graphic storytelling today. He is probably best known for his comic-book series Watchmen (1984–85), which was adapted into a Hollywood film (2009). Like Evangelion , the original Watchmen is cited as an exemplar of contemporary apocalyptic fiction, yet it, too, exhibits little on which the claim can be staked, other than an innovative storyline that meditates on the nature of utopias and escalates to a climax involving death and destruction.

Moore’s series Promethea , published in thirty-two issues from 1999 to 2005, is different. Its premise is that a transcendent world of myth and imagination exists alongside the everyday world of ignorance and parochialism, and that these worlds have been in conflict throughout history. “Promethea,” it should be explained, is both an idea and a figure. (It is helpful to think of this in terms of Plato’s theory of ideal forms.) The Promethea-idea inhabits the immaterial world of imagination, which also admits of magic, alchemy, astrology, and tarot, as well as science, medicine, and the other branches of knowledge. Over the centuries, the Promethea-idea has incarnated several individuals who, by virtue of their own creativity, possess an instinctive insight into the world of myth and story. These include Margaret, a comic-strip writer from the early 1900s, Bill, a gay comic-book artist from the 1950s and 1960s, and Sophie, a college student in the late 1990s and the protagonist of the story. In every incarnation, the Promethea-idea blends with the individual in question to create a new heroine—the Promethea-figure—who is a variation of the basic type and can operate in the everyday world by virtue of her human origin. Even after their earthly bodies die, Promethea-Margaret, Promethea-Bill, and the other Promethea-figures live on in the immaterial world, where they guide and teach Sophie about the true nature of existence.

After the first dozen issues, the storyline of the series gradually recedes in favor of a didactic exposition of Moore’s personal philosophy, which is mystic, holistic, and hermetic. In the contexts of the plot and his philosophy, the Promethea-figures represent an in-breaking vector of one reality into the other, which, in its last incarnation, involving the student Sophie, initiates the reintegration of both. In the following exchange, Margaret reveals the nature of the two realities to Sophie, and what the future will bring:

margaret: “There’s a material world, and there’s an immaterial world. Both worlds exist, but in different ways.…Humans are amphibious, Sophie. That means they live in two worlds at once: matter and mind. Yet many people only notice the solid world they have been conditioned to think of as more real, while all about them diamond glaciers creak and star-volcanoes thunder.…” sophie: “But you’re saying that anyone could explore this place if they wanted to.” margaret: Yes, that’s why Promethea’s enemies find her so threatening. It’s what she represents.…Promethea makes people more aware of this vast immaterial realm. Maybe tempts them to explore it. Imagine if too many people followed where she led? It would be like the great Devonian leap, from sea to land. Humanity slithering up from the beach, from one element to another. From matter to mind. “We have many names for this event. We call it ‘the Rapture.’ We call it ‘the Opening of the 32nd Path.’ We call it the Awakening, or the Revelation, or the Apocalypse. But ‘End of the World’ will do.” ( Promethea issue 5, pages unnumbered)

The end of the present age arrives despite Sophie’s best efforts to forestall it, and the last seven issues of the series describe its calamitous details. Parallels with the binarism of apocalyptic space and the linearity and mortality of apocalyptic time are explicit, albeit drastically reformulated. These elements provide a narrative skeleton for Moore’s monistic and rather pedestrian philosophy, whose message, as in the case with Neon Genesis Evangelion , relies on an audience willing to accept its claims uncritically. 9 More noteworthy is the otherworldly quality of the revealed knowledge. Its lush descriptions of the transcendental world of imagination and stress on hermetic and alchemical knowledge are framed by an apocalyptic framework that is constructed with only a few of the motifs and other features typical of the historical type of apocalyptic speculation. In this regard, Promethea stands in a collateral line of descent from the esoteric apocalyptica of Jean de Roquetaillade and John Dee.

Stephen King’s novel The Stand , which was published in 1978 and in an expanded form in 1990, commences with the accidental release of a biological agent that eventually kills over 99 percent of the world’s population. Civilization collapses as survivors struggle to live. One group, led by “Mother Abigail,” settles in Colorado to found a democratic Free Zone, where authority devolves to a seven-person committee. Another group, led by Randall Flagg, establishes an authoritarian, militaristic state in what remains of Las Vegas. However, Flagg is more than human: he is an evil, Satan-like figure, the ancient “Adversary” of the Abrahamic religions, who possesses supernatural powers. The two groups soon find themselves in conflict. The committee sends spies to Las Vegas to discover Flagg’s intentions, while Free Zone individuals who have fallen under the spell of evil plant explosives that kill some of the committee members. As tensions rise, the Free Zone decides to makes a stand (hence the title of the novel) against evil’s rising tide. Its surviving leaders set off to confront Flagg, confident that God will provide whatever is needed. All but one arrives in Las Vegas, only to be taken prisoner and held over for execution. But Flagg’s plans come to naught. Using his supernatural powers to silence dissent, he creates an electric fireball which accidentally detonates an atomic device that had been recovered by one of his followers, the pyromaniac “Trashcan Man.” As it does, the fireball takes the shape of a giant hand, the “Hand of God,” after which “the righteous and unrighteous alike were consumed in that holy fire” (ch. 73, p. 1072). The novel concludes on an island somewhere in the South Seas, where Russell Flagg awakes and begins to preach among a primitive race that worships him as a god.

The Stand is an early and influential specimen of the stream of apocalyptic fiction in which elements of the worldview are freighted through the fantasy/horror genre (evident in the novel’s supernatural dimension), rather than science fiction. The most recent iteration of this stream is the so-called “zombie apocalypse.” The popularity of this subgenre has exploded in the early twenty-first century, with zombie films, novels, and television series, plus a 2011 graphic novel, Preparedness 101: Zombie Apocalypse , offered by the United States Centers for Disease Control and Prevention (CDC) as “a fun new way of teaching the importance of emergency preparedness.” Zombie apocalypses (which are rarely apocalyptic) are best appreciated as an updating of the germ warfare/viral outbreak species of doomsday fiction, in which zombies are humanoid agents of social disintegration, spreading their infection like animals with rabies.

Unlike The Matrix, The Stand does not recalibrate features from biblical apocalypticism in secular-scientific terms. The use of biblical motifs and vocabulary without secular recalibration similarly marks Walter M. Miller Jr.’s novel, A Canticle for Leibowitz , which was published in 1959. Intellectually more profound than Promethea , compositionally more sophisticated than The Stand, Canticle is one of the monuments of science fiction literature. It is set in the American Southwest, centuries after an atomic holocaust known as the “Flame Deluge” has destroyed civilization. It is impossible within the short scope of this chapter to summarize the complexities of the novel’s plot, or convey the depth to which Miller explores issues relating to human progress, historical recurrence, and the conflict between church and state.

Canticle unfolds in three parts, recalling the Middle Ages, the Renaissance, and the late twentieth century. The first part is titled “Fiat Homo” (“Let there be Man”). The young novice Brother Francis stumbles into a fallout shelter that contains mysterious documents (actually technical notes) that were apparently composed by Leibowitz, the semimythical founder of his monastic order. Worried that the sudden discovery of so many relics might jeopardize the process of Leibowitz’s canonization, the Abbot suppresses news of the find. Several years later, Brother Francis is dispatched to New Rome to represent the order at Leibowitz’s canonization mass. He is robbed en route, and many of the holy items he is carrying are stolen. The Pope gives Francis gold to ransom the items, but on his return home he is killed by mutants. The second part, “Fiat Lux” (“Let there be Light”) describes how, hundreds of years later, the Albertian Order of St. Leibowitz becomes the site for a debate between the mediaeval forces that seek to archive and memorialize knowledge, and the humanistic forces that seek to demystify and apply it. Meanwhile, a conflict develops between New Rome and the Mayor of Texarkana, calling to mind the Reformation struggles between the popes and the princes. The final part of the book, titled “Fiat Voluntas Tua” (“Thy will be done”), reflects the world of the mid-twentieth century on the brink of nuclear annihilation. The Abbot recommends that the Pope implement a plan to perpetuate the Church among the colony planets, but dies after witnessing a miracle involving the bicephalous mutant Mrs Grales / Rachel, a Virgin Mary figure. The Abbot’s successor, Joshua, takes up the mantle of exodus, and the novel climaxes with a second atomic holocaust, painted with images from the Revelation of John:

The visage of Lucifer [a nuclear device] mushroomed into hideousness above the cloudbank, rising slowly like some titan climbing to its feet after ages of imprisonment in the Earth. Someone barked an order. The monks began climbing again. Soon they were all inside the ship. The last monk, upon entering, paused in the lock. His stood in the open hatchway and took off his sandals. “ Sic transit mundus ,” he murmured, looking back at the glow. He slapped the soles of his sandals together, beating the dirt out of them. The glow was engulfing a third of the heavens. He scratched his beard, took one last look at the ocean, then stepped back and closed the hatch. (ch. 30, p. 310)

The scene underscores the point that however it is conceived or articulated, salvation in the apocalyptic worldview always means “salvation out of this world” ( Collins 1998 : 221). It can be an ascent to heaven or an ascent to the stars, or a change-of-state that does not involve a change-of-space. This point in turn clarifies the concept of “postapocalyptic.” Strictly speaking, “postapocalyptic” is an oxymoron. In the biblical mode of the worldview, the end time is a literal event, not a literary setting. Armageddon is the last battle; the final judgment is for all time. After the salvation, the narrative terminates; there is no sequel. There cannot be anything “postapocalyptic” in the classic apocalyptic texts, or in the mode in which they are expressed.

The development of the postapocalyptic trope is linked to the emergence of the secular mode of the worldview. Fundamental to this process were the Renaissance rediscovery of the humanist perspective, with its focus on humanity as the measure of all things, and the Enlightenment application of this perspective, particularly insofar as humans began to be able to do for themselves what had been considered the sole province of the divinity, from powered flight to genetic engineering. One effect was the multiplication of the etiologies of disaster: with humanity’s new powers came new ways to destroy itself, from the biologic to the bomb. Another was the development of other conceptions of a transcendent reality and alternate notions of salvation and deliverance, which were shaped by visions of secular utopias (and later dystopias), the gradual decoupling of church and state, and twentieth-century politics, economics, and social issues such as the environment and secularization ( Walls 2008b , Wessinger 2011 ). The emergence of the secular mode was thus organic and consequential, a result of broader trends that gave rise to the modern world and the aggregate of ideas that make up what we call “modernity.” In short, the concept of postapocalypticism is a reformulation, in light of modernity, of the eschatological change of state presumed by the worldview.

Left Behind

The immense Left Behind franchise includes sixteen best-selling novels by Tim LaHaye and Jerry B. Jenkins, published from 1995 to 2007, plus a galaxy of associated films, video games, radio series, and graphic novels. Set in the late twentieth century, Left Behind tells the story of the events of the end time, based on biblical prophecy and filtered through the lens of Christian dispensationalism. After all true believers have left the planet to “meet the Lord in the air” after the Rapture, former pilot Rayford Steele assembles a “Tribulation Force” of Christians who have been “left behind” on account of their shaky faith, to battle the evil elements that have coalesced under the banner of the Antichrist, personified by a Romanian politician named Nicolae Carpathia who has risen to become the secretary-general of the United Nations. Each member of the Force must confront his or her personal demons and doubts, while saving others and preparing for the coming doom (Frykholm 1994).

The Left Behind phenomenon is edifying for several reasons. First, the difficulty in classifying it as fiction or nonfiction speaks to its broadband popular appeal. Christians with a bent toward millenarian speculation and biblical literalism likely understood portions of the eschatological framework to be fact. Others, though, might have read the first few novels as a supernatural fantasy, in the same vein as The Stand , or simply for entertainment, as with much apocalyptic fiction. Whatever the reasons for the success of the Left Behind novels, it must have surprised those who thought that this level of interest in things apocalyptic was limited to members of doomsday “cults” and other socially marginal elements that inhabited the scrublands of the American religious landscape. For those who looked more closely, however, the signs were there, in the importance of millenarian thought in the early history of the United States ( Tuveson 1968 , Bercovitch 1978 ), in its ongoing role throughout the twentieth century ( Boyer 1992 , Wojcik 1997 ), and in the plethora of apocalyptic religious movements that have emerged since the late 1960s. With this in mind, it is easy to understand why public doomsday predictions cyclically punctuate American cultural history, from William Miller in 1844 to Harold Camping in 2011.

Left Behind also reveals the persistent power of old mythic narratives in contemporary popular culture and the modern world. It draws on the myth of American exceptionalism, bolstered by a good dose of recalcitrant isolationism and frontier individualism. It is also backlit by the older narrative that a small group of stakeholder-individuals will always triumph over the tyrant and his horde, which has been entrenched in Western civilization since the Battle of Marathon. It appears in apocalyptic form in the medieval legend of Gog and Magog and the armies of darkness that Alexander the Great shut up behind a great gate until the end of time, and in nonapocalyptic form in J. R. R. Tolkien’s Lord of the Rings trilogy and the war against the black forces of Mordor. But the greatest mythic narrative of all is the Apocalypse itself, whose retelling in the Left Behind saga is amplified by the millenarian immediacy of dispensational Protestantism.

Heaven’s Gate

Apocalypticism and popular culture also intersect in the forum of new religious movements ( Robbins and Palmer 1997 ), of which hundreds exist worldwide. A few, like the Unification Church and the Jehovah’s Witnesses, boast a membership numbering in the millions. Most of the others are far smaller, though their influence in the popular consciousness is disproportionally great, albeit for tragic reasons: the Peoples Temple (United States and Guyana; murder, mass suicide), the Branch Davidians (United States; lethal confrontation with government agencies), the Movement for the Restoration of the Ten Commandments of God (Uganda; mass murder and/or suicide), Solar Temple (Canada and France; mass suicides), Aum Shinrikyō (Japan; attempted mass murder), and Heaven’s Gate (United States; mass suicide). Partly on account of these tragedies, many of which received extensive media coverage, the “doomsday cult” has become a common trope in films, novels, and other forms of popular media. Apocalyptic new religions are not just expressions of the worldview in popular culture today; they also have become part of the culture.

Most interesting is the way in which many new religions recalibrate the propositions and features of the apocalyptic worldview in synthetic and often syncretistic fashions. Heaven’s Gate movement is exemplary in this regard. The group coalesced in the 1970s under the leadership of Marshall Herff Applewhite and Bonnie Lu Nettles. Its theology is a novel mix of science fiction, New Testament apocalypticism, and ideas drawn from the human-potential movement (the group once called itself “Human Individual Metamorphosis”). According to its beliefs, two thousand years ago a “crew member” of an advanced race from the “Evolutionary Kingdom Level above Human” was sent on an “away mission” to Earth. Arriving on our planet, the crew member, known as “the Captain,” inhabited a body that had been specially “prepped” for it. This event is recorded in the Gospels as the incarnation of Jesus by the Holy Spirit during his baptism by John. The “mission objective” of the Captain/ Jesus was to spread the good news, offering humans “the way leading to membership into the Kingdom of Heaven…in the literal and physical Heavens,” that is, outer space. But the mission failed, thwarted by evil aliens known as Luciferians. Time passed, and Earth gradually became overgrown with “weeds” (the garden imagery is typical of the group’s theology). As a result, in the twentieth century a second away mission was dispatched to Earth. It consisted of the Captain and his superior officer, the “Admiral” (“God,” to the Gospel writers), who incarnated Applewhite and Nettles. As before, the mission objective was to spread the good news. This time, however, there was also a warning that Garden Earth would soon be “recycled” or “spaded under,” since the “human weeds” have “taken over the garden and disturbed its usefulness beyond repair.”

For Applewhite, the date of the destruction of the planet was confirmed with the discovery of the comet Hale-Bopp, which astronomers announced would enter perihelion in early 1997. With this, the stage was set. The members of Heaven’s Gate believed that if liberated from their bodies at the proper moment, their souls would ascend and embark on a spacecraft that was hidden behind the comet. The craft, piloted by the Admiral/Nettles (who had died in 1985), would then transport them to the next evolutionary level, leaving behind the weed-choked Earth, its recycling imminent. And with this in mind, over a span of three days in late March 1997, thirty-nine members of the group, including Marshall Herff Applewhite, committed suicide in Rancho Santa Fe, California.

In Heaven’s Gate theology, apocalyptic transcendence means liberating oneself from family, desires, sensuality, and human mentality—“all mammalian ways, thinking, and behavior.” The key word is “mammalian.” Salvation is comprehended as a biological process, as an evolutionary jump from one level of existence to another. The basic elements of this theology are described in language which, mutatis mutandis, is functionally identical to that of the ancient apocalyptic literature:

The Evolutionary Level Above Human, the true Kingdom of God, the “Headquarters” of all that is, is a many-membered Kingdom which physically exists in the highest, most distant Heaven—a non-temporal place (outside of time, and therefore with eternal life). It is the only place from which souls, life, and all creating originates. Being non-temporal, it was, is, and forever will be—a concept that temporal creatures are not designed to comprehend.

The transcendental world is the Evolutionary Kingdom Level Above Human. The mystery is the information from outer space, which cannot be completely understood by humans. The evil Luciferians are the adversarial enemy, and the imminent recycling of the planet is the eschatological horizon.

All these elements are mortared together by the narrative of popular science fiction. Terms such as “Captain,” “Admiral,” “crew member,” and “away mission” are drawn from the Star Trek franchise, particularly the three television series that ran during the late 1980s and the 1990s, concurrent with the group’s final years. The same science-fictional quality infuses the theologies of other apocalyptic or quasi-apocalyptic new religions, including the Raëlians, Mark Age, and the Church of Scientology. The interchange of ideas and terminology flows in both directions: science-fictional works such as The Matrix and Neuromancer rely on old apocalyptic archetypes for expressive breadth and conceptual depth, while apocalyptic religious movements such as Heaven’s Gate refresh the old biblical story in new ways through science-fictional vehicles.

The 2012 Phenomenon (the “Mayan Apocalypse”)

The subject of television programs, media interviews, magazine articles, and casual conversations, the 2012 Phenomenon generated a slew of books both academic and popular, spurred people to visit sites around the world where end-time events were expected to occur, prompted the prophylactic arrest of 1,000 members of the Chinese apocalyptic group Dongfang Shandian (“Eastern Lightning”), and lent its title to a major Hollywood disaster film, 2012 (2009, dir. R. Emmerich), whose promotional poster featured the image of a devastated metropolis and the admonition “We Were Warned.” From its genesis as an ancient calendar familiar only to specialist scholars, to its growth into a complex of expectations that caught the public’s imagination in a way not seen since predictions of a “Y2K” (Year 2000) computer meltdown, the evolution of the 2012 Phenomenon reveals much about apocalypticism in contemporary popular culture and, it might be argued, the shape that apocalyptic speculation will take in the years to come.

The story begins with the Mayan long-count calendar, versions of which were edited and published in academic articles and monographs, mainly in the second half of the twentieth century. Broadly speaking, the calendar forecasts the end of a Great Period of thirteen b’ak’tuns , which some scholars correlated to a date in 2012. In the late 1970s and 1980s, a few New Age authors and doomsday enthusiasts wove this information into a scenario which imagined that the ancient Mayans had forecast an apocalyptic end of the world on December 21, 2012. Despite all evidence to the contrary, including the fact that apocalyptic ideas entered Mesoamerican culture only after the arrival of the Europeans, these authors and enthusiasts essentially unrolled the calendar’s cyclical conception of time, stretched it along a linear axis, and pinned their own apocalyptic speculations to it ( Restall and Solari 2011 ). Thus the Mayan calendar became the Mayan Apocalypse, and in this form entered the Internet Age, where it underwent something akin to natural selection. The difference, however, was that the competing units were not organisms but ideas about what might occur, and the mechanism of change was the participation of individuals in the process, multiplied millions of times over. A few ideas stuck, and thrived; most others did not, and died. Syncretism was inevitable. One stream of predictions anticipated a traditional, biblical-style doomsday, drawing on material from sources as diverse as the Revelation of John and the hybrid post-Columbian prophecies in the Mayan books of Chilam Balam . Many other predictions, though, were only quasi-apocalyptic in orientation or not apocalyptic at all. Some forecasts looked to a seismic political change, occasionally correlated to the 2012 American presidential election and backlit by the global economic crisis of the time. Others anticipated the dawning of a new spiritual age, or the emergence of the next stage in human consciousness. Still others anticipated the intrusion of a new celestial body in our solar system, such as the hypothetical planetary body Niburu.

If people were the mechanism of change, and ideas the units, the Internet was the medium. It is impossible to be certain about a process that involved decisions made by tens of millions of individuals over ten or fifteen years. But the net result is that the Internet made the Mayan Apocalypse the first truly public apocalypse . It is critical to underscore the novelty of the 2012 Phenomenon in this regard. Traditional apocalyptic prediction is a hierarchical, top-down system of information processing and knowledge ordering. Predictions are the product of a single source, often a visionary seer or an inspired interpreter of Scripture, who claims to have received knowledge about the mysteries of the transcendent reality. Predictions are transmitted along restricted channels—typically apocalyptic writings, but now also radio broadcasts, websites, and so on—and received by a group that holds the revelation to be inspired. This process of creation, transmission, and reception also ensures that the apocalyptic predictions are relatively immune to external modification or augmentation.

The 2012 Phenomenon, in contrast, represents a new, heterarchical process of prediction production. The architecture of Internet technologies—hypertext referencing, user-generated content, open-ended enquiry, social interfacing—coupled with the demands of an online audience, typically with an omnivorous intellectual appetite, has profoundly altered how prophecies are created, transmitted, and received. Apocalyptic speculation can now be instantaneously uploaded to freely accessible websites, blogs, and other social-media platforms, enabling real-time public discussion in a global forum that is unrestricted by the usual theological firewalls (Beasley 2011). Anywhere in the world, anyone with access to the Internet can participate.

The 2012 Phenomenon thus reveals a new, “Superflat” apocalypticism that is the logical if technologically unforeseen culmination of the trend that Amos Wilder detected forty years ago. 10 Superflat apocalypticism is marked by a virtually infinite data plane. Individuals are able to instantaneously access and use any apocalyptic prediction, past or present, via the Internet. At the same time, the vertical dimension is almost nonexistent; intellectual depth and critical nuance having been sacrificed to unlimited content. As a result, apocalyptic images, symbols, and vocabulary have become unanchored from the traditions from which they once derived, as well as the contexts that gave them coherence, even as they transcend those traditions and contexts in their new magpie forms. 2012 is the first Internet Apocalypse, but not the last. So long as humans are wired in, there is no going back.

Popular Culture and the Popularity of Apocalypticism

What accounts for the pervasiveness and mass appeal of apocalypticism in contemporary popular culture? Several explanations have already been tendered. The entertainment value of the “end of the world” is one factor. The popular appetite for spectacle in the form of natural disaster and human calamity is a major impetus for the production of shallow apocalyptic fiction in every medium. This shallowness speaks to the issue of popular appeal, for at its core, apocalypticism is an adolescent worldview. It describes the world in uncomplicated terms of good and evil, offers simplistic responses to complex problems, and places responsibility for solving these problems elsewhere: God, an undefined force of nature, a divinized humanity, a superhuman messiah-figure, an alien race, or an artificial intelligence. A few works, such as 4 Ezra or Neuromancer , achieve a high level of literary sophistication and ontological depth. But the overwhelming majority of apocalyptic novels, movies, graphic narratives, and television series fall well short of this mark. In this, they are both typical and representative of their cultural milieu. The “culture of conspiracy” ( Barkun 2003 ) is part of this milieu, its patterns stitched into the fabric of the apocalyptic mindset by the conviction that the true state of affairs is being concealed by a secret cabal. Likewise, films featuring comic-book superheroes such as Batman or Captain America, where good and evil are painted with broadest of brush strokes, and television series about the supernatural or paranormal, where the boundary between the suspension of disbelief and magical thinking has all but dissolved, have also become an entertainment mainstay over recent decades, and are similarly marketed to an adult audience.

Another factor that sheds light on the popularity of apocalypticism in mass culture is the growth of science fiction from the limited realm of the fan-oriented “pulp” magazines of the 1930s–1960s to the cultural ubiquity it enjoys today. The modern conflation of “apocalyptic” with the end of the world also meshes well with a genre that inclines towards stories about dystopian near-futures and utopian or postapocalyptic futures. Since science fiction by definition excludes the element of supernatural agency (unlike fantasy or horror literature, like The Stand ), it has become the ideal vehicle for freighting apocalypticism in its secular mode. This capacity is further enhanced by the easy ability of the genre to adapt to modern media. Doomsday anime, for example, with their emphasis on speed, image, and fluctuation ( Napier 2005 ), seem particularly well-suited to the Internet generation. Likewise, apocalyptic and postapocalyptic video games appeal to much the same audience and for many of the same reasons ( Wright et al. 2010 ).

Above and beyond its many expressions in popular culture, apocalypticism has also become an integral part of popular culture. One example, already observed, is the way in which the trope of the “doomsday cult” has become a staple in the broader pop-cultural universe. Harold Camping’s 2011 doomsday predictions, for example, were as much manufactured media events as they were genuine news items, replete with the obligatory expert interviews about the dangers of apocalyptic “cults” and condescending television reports about those who had sold all their possessions in anticipation of the end. Another example is the doomsday “prepper,” or the individual who prepares for life after the imminent collapse of civilization by acquiring survival skills or stockpiling weapons and supplies. Not every prepper is motivated by an apocalyptic forecast, and people since biblical times have radically adjusted their lives in the expectation of an imminent day of doom. But there is a difference between Cold War fallout shelters in the backyard and an entertainment trend that in 2012 spawned a reality television series called Doomsday Preppers .

Contemporary apocalyptic speculation is synthetic, syncretistic, and superflat. These qualities are manifest across the entire range of its expressions in popular culture. They also speak to the nature of the audience for which such speculation has social relevance and existential meaning. The locus of spirituality among many in the West has shifted, with personal eschatologies replacing institutional ones. People now are more likely to create their own apocalyptic forecasts, using the Internet and other sources to draw from an almost limitless library of predictions both past and present.

In the final analysis, apocalypticism offers a comprehensive, comprehensible, and internally consistent way of understanding time, space, and human destiny. For many people, it provides clear answers to elementary questions. In so doing, it addresses deep emotional needs and satisfies what François Jacob once called the “requirement of the human brain to put order in the universe” ( Jacob 1977 : 1161). But to consider the resurgent popularity of the worldview over the past generation is also to beg the question: Why now? Any answer must account for the role of apocalyptic patterns of thought in politics after 1945 and especially after 1989 ( Gray 2007 ), as well as the rise of global fundamentalism and “strong religion” ( Almond et al. 2003 ) and the presence of a deep cultural pessimism ( Stroup and Shuck 2007 ) that may be a result of epochal events such as the 9/11 terrorist attacks ( Walliss and Aston 2011 ) or simply a response to the magnitude of environmental, economic, and social problems.

But it is not enough to ascribe the current resurgence in the incidence of apocalypticism to the zeitgeist of social despair. The years from 1914 to 1945 witnessed two catastrophic world wars and the Holocaust, as well as the Great Depression and the 1919 pandemic that killed between 50 and 100 million people worldwide. On the whole, the incidence of doomsday predictions or apocalyptic novels, films, or radio shows did not rise during these decades of horror and suffering. In contrast, the social climate of today’s world is one where global problems of equal magnitude are also accompanied, so it appears, by a sense that any solutions to them seem to be beyond the compass of human intellection and imagination. If this is true, the prevalence of the apocalyptic worldview in contemporary popular culture is very much a sign of the times.

Views on the nature of apocalypticism expressed in this article are adapted from L. DiTommaso, The Architecture of Apocalypticism , forthcoming from Oxford University Press. The sections on Neuromancer and the 2012 “Mayan Apocalypse” are adapted from DiTommaso 2011 and 2012 . Italics in direct quotations are original unless otherwise noted. Japanese surnames are indicated first, following convention. The author is indebted to Michael E. Stone, who kindly read a preliminary draft of this article and offered valuable comments and suggestions.

Millennialism is the “belief that at some point in the future the world that we live in will be radically transformed into one of perfection—of peace, justice, fellowship, and plenty” ( Landes 2011 : 20). Utopianism is the hope for an ideal future place, of which there are many kinds; cf. the “utopian constellations” in Manuel and Manuel 1979 , and Jamison 2005. There is no consensus on the definition of fundamentalism . Almond et al. (1995 : 405–8) proposes nine “characteristics of fundamentalism,” five ideological and four organizational. The definition of eschatology is also debated. Even the proposal by Jerry L. Walls, the editor of the Oxford Handbook of Eschatology —“the study of the final end of things, the ultimate resolution of the entire creation” ( Walls 2008a : 4)—is by his own admission undermined by the article on Buddhist eschatology in the same volume (and the article on Hindu eschatology, one might add). Messianism is the set of ideas involving the anticipation for an end-time agent or agents who play a positive, authoritative, and usually redemptive role.

Mysteries are information about the transcendent reality as apprehended by humans and received in the mundane world. They require a degree of mediation to be understood, yet even this does not always completely lift aside the veil.

Apocalypticism does not appear to have developed organically in the cultures of China, India, Japan, or pre-Columbian America, likely because of their lack of a linear notion of time, which only arrived with European civilization and its Christian backbone.

Accessed December 21, 2012. Despite its length, the Wikipedia list (like all entries on the subject) is incomplete. For example, it omits over half of the films in the Guide to Apocalyptic Cinema ( Mitchell 2001 ), as well as virtually every song in Apocalyptic Jukebox ( Janssen and Whitelock 2009 ). It also overlooks many of the works that are referenced in other lists of apocalyptic fiction, print or electronic, which in turn omit much of what the Wikipedia list includes. The point is that actual number of works of “apocalyptic” fiction far exceeds that of even the most comprehensive inventories.

Anthologies of apocalyptic short fiction reflect this change of focus. Every story in the classic 1985 collection Beyond Armageddon , edited by Walter M. Miller, Jr. and Martin H. Greenberg, involves a postnuclear setting. In contrast, those in the representative 2008 anthology Wastelands: Stories of the Apocalypse , edited by John Joseph Adams, demonstrate a broad etiology of disaster.

Personal interviews with Branch Davidian members, conducted November 1999. See also Kearney 2001 . The idea of the New Jerusalem as a spacecraft grew out of the post-ar years, with the Cold War development of intercontinental ballistic missiles (ICBMs), the beginning of the space race, and the UFO craze. An early example is the doomsday speculation of the group centered on “Marion Keech” (real name Dorothy Martin), which expected a spacecraft to deliver them from a great flood that would destroy the world on December 21, 1954. The group is the subject of the classic 1956 study by Leon Festiger et al., When Prophecy Fails . The motif of the New Jerusalem as a spaceship is attested among other apocalyptic new religions, including Heaven’s Gate.

Scholars of ancient apocalypses will be familiar with this division, in the “historical” and “otherworldly” types of the literary genre, as identified by Collins 1998 : 6–7. Its extension to all forms of apocalyptic speculation is obvious. While essentially a heuristic tool, the division reflects the evidence and is not imposed on it. Although “sapiential” more accurately describes the full range of revealed knowledge that comprises the second type, otherworldly visions or journeys are most common, and it is best to avoid new coinages unless they are necessary.

The final issue of Promethea offers readers hundreds of snippets of hermetic sagacity such as “In Hebrew numerology, letters have number-values. The word for the Biblical serpent, nechesh , adds up to 358, as does messiach , meaning ‘messiah,’ another light-bringer,” and “Humans have 23 chromosome pairs, 23 being the snake’s magical number.”

Artist and critic Murakami Takashi coined the term “superflat” to describe the two-dimensional flatness typical of Japanese art over the centuries and, by extension, the shallowness of modern Japanese culture. The present author’s study of apocalyptic anime and manga suggests that “superflatness” also characterizes contemporary, Internet-generated apocalyptic speculation on the whole, both in its production and appreciation.

Primary Sources

Only primary sources that are discussed in depth or appear on Internet websites are listed.

Gibson, William . Neuromancer . New York: Ace, 1984. Citations by chapter and page to the 1994 cloth Ace edition.

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King, Stephen . The Stand: The Complete and Uncut Edition . New York: Doubleday, 1990 . Citations by chapter and page.

The Matrix . Dir. Andy Wachowski and Larry Wachowski . Warner Bros. Pictures, 1999. Film.

Miller, Walter M., Jr . A Canticle for Leibowitz . New York: J.B. Lippincott, 1959 . Citations by chapter and page to the 1988 Bantam edition.

Moore, Alan , J. H. Williams II , and Mick Gray . Promethea . America’s Best Comics. 32 issues. August 1999 to April 2005 .

Neon Genesis Evangelion . Dir. Anno Hideaki . Gainax Studios. First aired in 26 episodes from October 1995 to March 1996.

“Preparedness 101: Zombie Apocalypse.” United States Centers for Disease Control and Prevention. http://www.bt.cdc.gov/socialmedia/zombies.asp .

“Red Alert: hale-bopp Brings Closure to Heaven’s Gate.” http://www.heavensgate.com . Quotations and sectarian terminology quoted in the text above are drawn from several web pages linked to this site.

Wikipedia. “List of Apocalyptic and Post-Apocalyptic Fiction.” http://en.wikipedia.org/wiki/List_of_apocalyptic_and_post-apocalyptic_fiction . References nearly 1,000 films, novels, and other popular works.

Secondary Sources

The list of secondary sources below shies away from studies that focus on a single novel, film, or religious movement. Also, and other than Storey 2012 , it does not include works on popular culture, although many were consulted in the preparation of this chapter.

Almond, Gabriel A. , R. Scott Appleby , and Emmanuel Sivan ( 2003 ). Strong Religion: The Rise of Fundamentalisms around the World . Chicago: University of Chicago Press.

Almond, Gabriel A. , Emmanuel Sivan , and R. Scott Appleby ( 1995 ). “Fundamentalism: Genus and Species,” in M. E. Marty and R. S. Appleby , eds., Fundamentalisms Comprehended . The Fundamentalism Project 5. Chicago: University of Chicago Press, pp. 399–424.

Balmer, Randall ( 1988 ). “ Apocalypticism in America: The Argot of Premillennialism in Popular Culture. ” Prospects 13: 417–33.

Barkun, Michael ( 2003 ). A Culture of Conspiracy: Apocalyptic Visions in Contemporary America . Berkeley: University of California Press.

Bauckham, Richard ( 2000 ). “The Year 2000 and the End of Secular Eschatology,” in J. Colwell , ed., Called to One Hope: Perspectives on the Life to Come . Waynesboro, GA: Paternoster Press, pp. 240–51.

Beesley, Dennis ( 2011 ). “YouTube and Apocalyptic Rhetoric: Broadcasting Yourself to the Ends of the World,” in R. G. Howard , ed., Network Apocalypse: Visions of the End in an Age of Internet Media . The Bible in the Modern World 36. Sheffield: Sheffield Phoenix Press, pp. 44–73.

Bendle, Mervyn (2005). “The Apocalyptic Imagination and Popular Culture.” Journal of Religion and Popular Culture 11. http://www.usask.ca/relst/jrpc/index .

Bercovitch, Sacvan ( 1978 ). The American Jeremiad . Madison: University of Wisconsin Press.

Berger, James ( 1999 ). After the End: Representations of Post-Apocalypse . Minneapolis: University of Minnesota Press.

Boyer, Paul ( 1992 ). When Time Shall Be No More: Prophecy Belief in Modern American Culture . Cambridge, MA: Belknap Press of Harvard University Press.

Busse, Tanja ( 2000 ). Weltuntergang als Erlebnis: Apokalyptische Erzählungen in den Massenmedien . Wiesbaden: Deutscher Universitäts-Verlag.

Christie, Ian ( 1999 ). “Celluloid Apocalypse,” in F. Carey , ed., The Apocalypse and the Shape of Things to Come . Toronto: University of Toronto Press, pp. 320–40.

Clanton, Dan W. , ed. ( 2012 ). The End Will Be Graphic: Apocalyptic in Comic Books and Graphic Novels . The Bible in the Modern World 43. Sheffield: Sheffield Phoenix Press.

Collins, John. J. ( 1998 ). The Apocalyptic Imagination: An Introduction to Jewish Apocalyptic Literature . 2nd ed. Grand Rapids: Eerdmans.

Cowan, Douglas E. ( 2011 ). “Millennialism, Apocalypse, and American Popular Culture,” in Catherine Wessinger , ed., The Oxford Handbook of Millennialism . New York: Oxford University Press, pp. 611–27.

Dellamora, Richard , ed. ( 1995 ). Postmodern Apocalypse: Theory and Cultural Practice at the End . New Cultural Studies. Philadelphia: University of Pennsylvania Press.

DiTommaso, Lorenzo ( 2009 ). “At the Edge of Tomorrow: Apocalypticism and Science Fiction,” in K. Kinane and M. A. Ryan , eds., End of Days: Essays on the Apocalypse from Antiquity to Modernity . Jefferson, NC: McFarland, pp. 221–41.

DiTommaso, Lorenzo ( 2011 ). “Transcendence and Apocalyptic Eschatology in William Gibson’s Neuromancer .” ARC: The Journal of the Faculty of Religious Studies, McGill University 39: 37–54.

DiTommaso, Lorenzo ( 2012 ). “ Apocalypse Then and Now. ” Association for Jewish Studies Perspectives (Fall) [The Apocalypse Issue]: 50–51.

Dixon, Wheeler Winston ( 2003 ). Visions of the Apocalypse: Spectacles of Destruction in American Cinema . New York: Wallflower Press.

Frykholm, Amy Johnson ( 2004 ). Rapture Culture: Left Behind in Evangelical America . New York: Oxford University Press.

Geraci, Robert M. ( 2010 ). Apocalyptic AI: Visions of Heaven in Robotics, Artificial Intelligence, and Virtual Reality . New York: Oxford University Press.

Gray, John ( 2007 ). Black Mass: Apocalyptic Religion and the Death of Utopia . London: Farrar, Straus and Giroux.

Hart, Kylo-Patrick R. , and Annette M. Holba , eds. ( 2009 ). Media and the Apocalypse . New York: Peter Lang.

Heffernan, Teresa ( 2008 ). Post-Apocalyptic Culture: Modernism, Postmodernism, and the Twentieth-Century Novel . Toronto: University of Toronto Press.

Hoffstadt, Christian , and Stefan Höltgen , eds. ( 2011 ). This Is the End…Mediale Visionen vom Untergang der Menschheit . Bochum: Projekt Verlag.

Jacob, François ( 1977 ). “ Evolution and Tinkering. ” Science n.s. 196 , no. 4295: 1161–66.

Jameson, Fredric ( 2005 ). Archaeologies of the Future: The Desire Called Utopia and Other Science Fiction . New York: Verso.

Janssen, David , and Edward Whitelock ( 2009 ). Apocalypse Jukebox: The End of the World in American Popular Music . Berkeley: Soft Skull Press.

Jewett, Robert , and John Shelton Lawrence ( 2008 ). “Eschatology in Pop Culture,” in Jerry L. Walls , ed., The Oxford Handbook of Eschatology . New York: Oxford University Press, pp. 655–70.

Join-Lambert, Arnaud , Serge Goriely , and Sébastien Fevry , eds. ( 2012 ). L’Imaginaire de l’apocalypse au cinéma . Paris: L’Harmattan.

Kaiser, Gerhard R. , ed. ( 1991 ). Poesie der Apokalypse . Würzburg: Königshausen & Neumann.

Kearney, Richard ( 2001 ). “Others and Aliens: Between Good and Evil,” in J. L. Geddes , ed., Evil after Postmodernism: Histories, Narratives, Ethics . New York: Routledge, pp. 101–13.

Ketterer, David ( 1974 ). New Worlds for Old: The Apocalyptic Imagination, Science Fiction, and American Literature . Bloomington: Indiana University Press.

Landes, Richard ( 2011 ). Heaven on Earth: The Varieties of the Millennial Experience . New York: Oxford University Press.

Leigh, David J. ( 2008 ). Apocalyptic Patterns in Twentieth-Century Fiction . Notre Dame, IN: University of Notre Dame Press.

Manuel, Frank E. , and Fritzie P. Manuel ( 1979 ). Utopian Thought in the Western World . Cambridge, MA: Belknap Press of Harvard University Press.

McGinn, Bernard ( 1998 ). Visions of the End: Apocalyptic Traditions in the Middle Ages . Expanded ed. New York: Columbia University Press.

Mitchell, Charles P. ( 2001 ). A Guide to Apocalyptic Cinema . Westport, CT: Greenwood.

Napier, Susan J. ( 2005 ). Anime from “Akira” to “Howl’s Moving Castle” : Experiencing Contemporary Japanese Apocalypticism . New York: Palgrave Macmillan.

Nelson, John Wiley ( 1982 ). “The Apocalyptic Vision in American Popular Culture,” in L. Parkinson Zamora , ed., The Apocalyptic Vision in America: Interdisciplinary Essays on Myth and Culture . Bowling Green, OH: Bowling Green University Press, pp. 154–82.

O’Leary, Stephen D. ( 1998 ). “Apocalypticism in American Popular Culture: From the Dawn of the Nuclear Age to the End of the American Century,” in S. J. Stein , ed., The Encyclopedia of Apocalypticism. Volume 3: Apocalypticism in the Modern Period and the Contemporary Age. New York: Continuum, pp. 392–426.

Ostwalt, Conrad Eugene . ( 2003 ). Secular Steeples: Popular Culture and the Religious Imagination . Harrisburg, PA: Trinity Press International.

Paik, Peter Y. ( 2010 ). From Utopia to Apocalypse: Science Fiction and the Politics of Collapse . Minneapolis: University of Minnesota Press.

Partridge, Christopher , ed. ( 2012 ). Anthems of Apocalypse: Popular Music and Apocalyptic Thought . The Bible in the Modern World 42. Sheffield: Sheffield Phoenix Press.

Pippin, Tina ( 1999 ). Apocalyptic Bodies: The Biblical End of the World in Text and Image . New York: Routledge.

Restall, Matthew , and Amara Solari ( 2011 ). 2012 and the End of the World: The Western Roots of the Maya Apocalypse . Lanham, MD: Rowan and Littlefield.

Robbins, Thomas , and Susan J. Palmer , eds. ( 1997 ). Millennium, Messiahs, and Mayhem: Contemporary Apocalyptic Movements . New York: Routledge.

Robinson, Douglas ( 1985 ). American Apocalypses: The Image of the End of the World in American Literature . Baltimore: Johns Hopkins University Press.

Rosen, Elizabeth K. ( 2008 ). Apocalyptic Transformation: Apocalypse and the Postmodern Imagination . Lanham, MD: Lexington.

Seed, David , ed. ( 2000 ). Imagining Apocalypse: Studies in Cultural Crisis . New York: St. Martin’s Press.

Storey, John ( 2012 ). Cultural Theory and Popular Culture: An Introduction . 6th ed. New York: Pearson.

Stroup, John M. , and Glenn W. Shuck ( 2007 ). Escape into the Future: Cultural Pessimism and Its Religious Dimension in Contemporary American Popular Culture . Waco, TX: Baylor University Press.

Thompson, Kirsten Moana ( 2007 ). Apocalyptic Dread: American Film at the Turn of the Millennium . Albany: State University of New York Press.

Tuveson, Ernest Lee ( 1968 ). Redeemer Nation: The Idea of America’s Millennial Role . Chicago: University of Chicago Press.

Walliss, John , and James Aston ( 2011 ). “ Doomsday America: The Pessimistic Turn of Post-9/11 Apocalyptic Cinema. ” Journal of Religion and Popular Culture 23: 53–64.

Walliss, John , and Kenneth G. C. Newport , eds. ( 2009 ). The End around Us: Apocalyptic Texts and Popular Culture . Millennialism and Society 4. Oakville, CT: Equinox.

Walliss, John , and Lee Quinby , eds. ( 2010 ). Reel Revelations: Apocalypse and Film . The Bible in the Modern World 31. Sheffield: Sheffield Phoenix Press.

Walls, Jerry L. ( 2008 a) “Introduction,” in Jerry L. Walls , ed., New York: Oxford University Press, pp. 3–18.

Walls, Jerry L. , ed. ( 2008 b). The Oxford Handbook of Eschatology . New York Oxford University Press.

Wessinger, Catherine , ed. ( 2011 ). The Oxford Handbook of Millennialism . New York: Oxford University Press.

Wilder, Amos ( 1971 ). “ The Rhetoric of Ancient and Modern Apocalyptic. ” Interpretation 25: 436–53.

Wojcik, Daniel ( 1997 ). The End of the World as We Know It: Faith, Fatalism and Apocalypse in America . New York: New York University Press.

Wright, J. Talmadge , David G. Embrick , and András Lukács , eds. ( 2010 ). Utopic Dreams and Apocalyptic Fantasies: Critical Approaches to Researching Video Game Play . Lanham, MD: Lexington.

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In This Article Expand or collapse the "in this article" section Revelation (Apocalypse)

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Revelation (Apocalypse) by Daniel J. Harrington LAST REVIEWED: 12 December 2023 LAST MODIFIED: 13 September 2010 DOI: 10.1093/obo/9780195393361-0105

The book of Revelation is an apocalypse or revelation (1:1) and a prophecy (1:3) in letter form (1:4). It was intended to be read aloud in a communal setting (1:3). It is written in a Semitic Greek style of poor quality and is full of allusions to the Old Testament, which the author knew very well. Its structure features a series of “sevens”—seven letters (2:1–3:22), seven seals (6:1–8:6), seven trumpets (8:7–11:19), seven bowls (16:1–21), and seven end-time events (19:11–22:5). The communities in western Asia Minor (present-day Turkey) addressed in Revelation (see chaps. 2–3) had certain internal problems and were also facing persecution for their Christian faith. This persecution was a limited program promoted by a local political and/or religious official. It focused on Christians refusing to worship the Roman emperor as a god and the goddess Roma as a personification of the empire. The author was a Jewish Christian prophet named John, most likely not the apostle or the evangelist, in exile on the island of Patmos for his witness to Christ (1:9). It is presented as his own visionary experience of the risen Christ on “the Lord’s day” (1:10). Its composition is usually placed late in the emperor Domitian’s reign (95–96 CE ), although it may contain some earlier material from Nero’s time. Its original purpose was to give hope and perspective to Christians who were already suffering or expected to suffer soon for refusing to worship the emperor or the empire as divine. The author insists that the risen Jesus is the only “Lord and God” worthy of their worship.

A wide range of resources is available to facilitate an initial orientation to or a refresher for the book of Revelation. These resources include the Greek text and modern translations of it, annotated study Bibles, short commentaries found in one-volume expositions of the whole Bible, introductions to the New Testament, and books focused on Revelation.

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60+ Best Post Apocalyptic Books to Read in 2024 [All Ranked]

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Whether through the pandemic, nuclear fallout, or environmental collapse, these books invite us into post-apocalyptic landscapes that challenge our understanding of resilience and hope.

In these books, the end of the world is just the beginning. These narratives explore the aftermath of events that have reshaped the planet, offering stories of survival and the human will to prevail.

They make us question our morals and the essence of what it means to be human in the face of overwhelming adversity.

Table of Contents

1. 1984 by George Orwell

• 2. The Maze Runner by James Dashner—The Maze Runner #1

3. The Stand by Stephen King

4. the road by cormac mccarthy, 5. world war z: an oral history of the zombie war by max brooks, 6. station eleven by emily st. john mandel, 7. do androids dream of electric sheep by philip k. dick, 8. the 5th wave by rick yancey, 9. the fifth season by n. k. jemisin — the broken earth #1, 10. hope ignites by eleanor chance, 11. burn by g.e. hathaway, 12. parable of the sower by octavia butler — earthseed #1, 13. blindness by josé saramago.

• 14. Beneath the Ashes by Misty Vixen—Beneath the Ashes #2

15. Oryx and Crake by Margaret Atwood — MaddAddam #1

16. the passage by justin cronin — the passage #1, 17. swan song by robert r. mccammon, 18. wool by hugh howey — wool #1.

• 19. The Girl With All the Gifts by M. R. Carey — The Girl With All the Gifts #1

20. Hunting Daybreak by E.A. Chance — Shattered Sunlight Trilogy #2

21. i am legend by richard matheson, 22. abaddon by stephen a. kennedy — in the valley #3, 23. alas, babylon by pat frank, 24. the zombie survival guide by max brooks, 25. the green priest by ryan law, 26. buried instincts: lost and found by lynn henson, 27. a canticle for leibowitz by walter m. miller, jr. — st. leibowitz #1, 28. seveneves by neal stephenson, 29. a boy and his dog at the end of the world by charlie fletcher, 30. lucifer’s hammer by larry niven, 31. lights out by david crawford, 32. planet of the apes by pierre boulle — planet of the apes #1, 33. the dog stars by peter heller, 34. in watermelon sugar by richard brautigan, 35. within the flame by jordan crestwood — after the fall #1, 36. who fears death by nnedi okorafor — who fears death #1, 37. oasis one by daniel weisbeck — the children of the miracle #2, 38. earth abides by george r. stewart, 39. the walking dead: rise of the governor by robert kirkman, jay r. bonansinga — the walking dead: novels #1, 40. the pit by stephen kennedy — in the valley #2, 41. the postman by david brin, 42. seedling by james axler, laurence james — deathlands #13, 43. empty world by samuel youd, 44. hollow kingdom by kira jane buxton — hollow kingdom #1, 45. metro 2033 by dmitry glukhovsky — metro #1, 46. the windup girl by paolo bacigalupi — the windup universe #1, 47. one second after by william r. forstchen — after #1, 48. riddley walker by russell hoban, 49. moon of the crusted snow by waubgeshig rice — moon of the… #1, 50. the death of grass by john christopher, 51. eternity road by jack mcdevitt, 52. battle crow by kim petersen — the crawling girl #2, 53. cyberstorm by matthew mather — cyberstorm #1, 54. patriots by james wesley rawles — the coming collapse #1, 55. the fetishist by katherine min, 56. 2240: return to planet earth by daniela rincon, 57. iron crow by kim petersen — the crawling girl #1, 58. the book of m by peng shepherd, 59. the slynx by tatyana tolstaya, 60. the last man by mary shelley, 61. new york 2140 by kim stanley robinson, 62. the drowned world by j. g. ballard, final thoughts.

Genres: Classics, Sci-fi, Dystopia, Literature, Politics

In this book, you’ll be transported to Oceania, a totalitarian state where the Party, led by Big Brother, exercises absolute power. Winston Smith, the protagonist, works at the Ministry of Truth, altering historical records to ensure the Party always appears infallible.

Despite the constant surveillance and public mind control, Winston harbors rebellious thoughts. He begins a forbidden love affair with Julia, a fellow Party member, and starts questioning his society.

The novel’s genius lies in its ability to make you question reality. You’ll be gripped by the complexity of this world where Big Brother is always watching. The chilling part? Some aspects of the book are eerily similar to today’s digital surveillance and manipulation.

“1984” is a warning. Its themes of freedom, truth, and resistance resonate deeply in today’s digital age, making Orwell’s masterpiece a crucial read for those who value liberty and question authority.

Who controls the past controls the future. Who controls the present controls the past.

What you might love:

• The story richly portrays emotions through Winston’s experiences and conflicts, engaging readers both intellectually and emotionally.
• The novel foresaw many aspects of modern society, such as surveillance and loss of privacy, which resonate strongly with contemporary readers.
• The book highlights the risks of absolute power, truth distortion, and loss of personal freedom, prompting deep thought about history and current times.

What might not be for everyone:

• Concepts like Newspeak and Doublethink can be complex and confusing for some readers.
• The novel ends pessimistically, which may not appeal to those who like optimistic or clear endings.
• The intense focus on psychological control and thought manipulation may disturb sensitive readers.

2. The Maze Runner by James Dashner —The Maze Runner #1

Genres: Young Adult, Dystopia, Sci-fi, Fantasy, Post Apocalyptic

In “The Maze Runner,” teenagers find themselves in a mysterious maze without memory of the outside world. They must navigate this ever-changing labyrinth, filled with deadly creatures and hidden dangers, to find a way out.

Unlike other post-apocalyptic tales, “The Maze Runner” stands out for its unique setting—a dynamic and terrifying maze. Its blend of mystery, intense action, and psychological depth creates a gripping narrative that keeps you guessing at every turn.

“The Maze Runner” is a story of survival, friendship, and the quest for truth in a post-apocalyptic setting. It’s an essential reading for its adrenaline-fueled narrative and deep exploration of human resilience.

Just follow me and run like your life depends on it. Because it does.

• The story emphasizes friendship and loyalty, adding emotional depth.
• Survival and overcoming challenges are key themes, making the adventure more meaningful to readers.
• The protagonist, Thomas, and the other characters show clear growth and face relatable struggles, making them more engaging.
• The book’s violence and dark themes may not be appropriate or appealing to all, especially younger readers.
• Readers looking for detailed world-building may find the maze and its surrounding world insufficiently developed.
• The story’s concentration on the maze can leave the larger world underexplored, possibly disappointing fans of in-depth world-building.

Genres: Horror, Fiction, Fantasy, Sci-fi, Post Apocalyptic, Thriller, Dystopia

In “The Stand,” humanity is wiped out by a deadly virus. The tale centers around the survivors, divided by their allegiances to two contrasting leaders: the benevolent Mother Abagail, symbolizing good, and the malevolent Randall Flagg, representing evil.

The story unfolds across America, transforming into an epic struggle between these forces. Exploring morality, free will, and the resilience of the human spirit in the face of unspeakable disaster.

What distinguishes “The Stand” is its deep exploration of characters and their moral choices in the face of apocalypse. The portrayal of a fractured world, combined with supernatural elements, creates a thought-provoking and terrifying narrative.

The book’s relevance, riveting storytelling, and rich character development make it an essential read for anyone fascinated by the complexities of survival and ethics in a shattered world.

The place where you made your stand never mattered. Only that you were there…and still on your feet.

• The story explores moral dilemmas and the gray areas of human nature, making for a nuanced and compelling narrative.
• The classic theme of good versus evil is explored in a complex and intriguing manner, keeping readers engaged in the conflict.
• The novel offers commentary on society, humanity, and leadership through its narrative, resonating with readers interested in deeper themes.
• Cultural references from the 1970s and 1990s may seem outdated to modern readers.
• Some parts of the story move slowly, which may test the patience of readers who like a steady pace.
• The book’s focus on moral ambiguity and complex characters might challenge those who enjoy straightforward morality.

Genres: Fiction, Sci-fi, Dystopia, Post Apocalyptic, Horror, Literature

“The Road” takes you on a journey through a desolate, ash-covered America where a father and his young son travel southward, seeking warmth and safety in a world stripped of civilization.

Their journey is dangerous, from scarce resources to encounters with other desperate survivors. It delves deep into the themes of hope, despair, and the enduring power of love amidst utter devastation.

Cormac McCarthy’s “The Road” is an essential read for its raw portrayal of human resilience in the face of despair. It’s a powerful reminder of the strength of the human spirit, making it a standout work in post-apocalyptic literature.

• It deeply explores the father-son bond, providing a touching view of their relationship.
• The book’s focus on surviving tough conditions showcases human resilience, which many readers find inspiring.
• Amidst its dark setting, the novel reveals moments of hope and love, strikingly contrasting the prevailing gloom.
• Some scenes are graphically described, which might be unsettling or too intense for certain readers.
• The ending is open to interpretation, which can be unsatisfying for readers who prefer clear conclusions.
• The novel provides little backstory about the apocalypse, which might disappoint readers who enjoy comprehensive world-building.

Genres: Horror, Fiction, Zombies, Sci-fi, Fantasy, Post Apocalyptic, Dystopia

The story unfolds through interviews conducted by an unnamed narrator, an agent of the United Nations Postwar Commission. You’ll hear from people of varied nationalities, each recounting their experiences during the decade-long battle against the undead.

From the initial outbreaks, often dismissed or misinterpreted, to the world’s gradual realization of the impending doom, the book captures the essence of a society on the brink of collapse.

It delves into how different cultures and governments respond to crises, from denial and corruption to resilience and heroism. It explores the darker aspects of humanity, including the moral and ethical dilemmas that arise in such dire situations.

Instead of focusing on a single protagonist or group of survivors, “World War Z” presents a global perspective. You’re learning about human resilience, the power of unity, and the strength to rebuild in the aftermath of devastation.

The monsters that rose from the dead, they are nothing compared to the ones we carry in our hearts.

• With its varied perspectives, the novel covers all aspects of the crisis, from frontline combat to political strategies.
• It delves into the psychological effects of a zombie apocalypse on people and society, enriching the genre with complexity.
• Brooks realistically portrays the zombie apocalypse, focusing on political, military, and social aspects, giving the story more depth.
• The documentary-like style may not appeal to traditional horror or zombie thriller fans.
• The book’s various, separate stories might feel disconnected, confusing those who prefer a single, clear plot.
• The lack of a central character could make it difficult for some readers to connect emotionally with the story.

Genres: Fiction, Sci-fi, Dystopia, Post Apocalyptic, Adult, Fantasy

“Station Eleven” opens with the death of famous actor Arthur Leander from a heart attack during a “King Lear” production in Toronto.

This event is witnessed by young actress Kirsten Raymonde and paramedic trainee Jeevan Chaudhary, setting the stage for a story about human connections in disaster.

The novel jumps between the past and the present, following characters like Kirsten, who joins the Traveling Symphony, a group of artists traveling through a world devastated by the Georgia Flu. They perform for survivors, facing challenges like a dangerous cult leader.

What makes “Station Eleven” unique is its focus on preserving art and culture amid chaos. It’s more than a survival story; it’s about how art and shared memories connect people, offering hope and meaning in a broken world.

First we only want to be seen, but once we’re seen, that’s not enough anymore. After that, we want to be remembered.

• Despite its post-apocalyptic setting, the novel carries an undercurrent of hope and the endurance of humanity.
• The well-developed and multifaceted characters allow readers to connect deeply with their journeys and transformations.
• The story explores themes of survival and resilience in the face of catastrophe, resonating with readers’ experiences of adversity.
• Frequent jumps between various timelines and characters can confuse or disorient readers used to more linear storytelling.
• The complex connections between characters and timelines demand careful reading, which may not suit fans of simpler stories.
• The book’s focus on characters over detailed world-building might disappoint those who prefer extensive post-apocalyptic settings.

Genres: Sci-fi, Dystopia, Cyberpunk, Fantasy

In this book, Rick Deckard, a bounty hunter in post-apocalyptic San Francisco, hunts advanced Nexus-6 androids that resemble humans. In a world where having a real animal is a luxury, Deckard dreams of replacing his electric sheep with a real one.

Deckard’s mission becomes a moral and empathetic struggle as he meets Rachael Rosen, an android who makes him question reality, and John Isidore, an outcast who befriends the androids.

This book stands out for its profound exploration of what it means to be human. It delves into the essence of identity and consciousness, asking pressing questions about our relationship with technology and reflecting on our struggles with humanity and existence.

Future and past blurred; what he had already experienced and what he would eventually experience blended so that nothing remained but the moment.

• The central idea of androids questioning their existence is innovative and thought-provoking.
• The novel explores gray areas in morality, challenging readers to reconsider what makes us human.
• The book touches on emotions and empathy in humans and androids, adding a poignant layer to the narrative.
• The novel’s futuristic and scientific terms, although atmospheric, might confuse some readers.
• Its deep dive into complex ideas like identity and consciousness can be hard for some readers to connect with.
• The book’s unclear morals and absence of definite heroes or villains might not appeal to fans of traditional stories.

Genres: Young Adult, Sci-fi, Dystopia, Fiction, Fantasy, Aliens, Romance

In “The 5th Wave,” Cassie Sullivan fights to survive in a world devastated by alien invasions. The aliens attack in waves: first, they knock out all power, then create massive natural disasters, and finally unleash a deadly disease.

Cassie sets out to rescue her brother Sammy, taken by the military in a world where aliens are disguised as humans. Along the way, she reunites with her high school crush Ben Parish at Camp Haven, where they uncover a very shocking truth.

The book stands out for its fast-paced, emotional storyline. It’s a powerful tale of survival, trust, and human resilience. This novel isn’t just a thrilling read; it also makes you think deeply about humanity and hope in desperate times.

We’re here, and then we’re gone, and it’s not about the time we’re here, but what we do with the time.

• The story is told from different viewpoints, offering a diverse look at the invasion’s impact.
• There’s a touch of romance that adds an extra layer of interest without overpowering the main story.
• The story delves into the emotional struggles of surviving in a devastated world, adding depth to the action.
• Centering on teenagers, the book might not appeal to older readers seeking more mature content.
• The story’s pace varies, with some middle sections slowing down, potentially interrupting the flow for readers.
• The plot is complex, weaving through various perspectives and timelines, which might confuse readers who like simpler stories.

Genres: Fantasy, Sci-fi, Dystopia, Adult, Post Apocalyptic

“The Fifth Season” follows three interconnected lives of Essun, a middle-aged woman, Damaya, a girl, and Syenite, a young woman, all the same person at different ages. In this world, Orogenes like them who can control earthquakes, face fear and discrimination.

Essun’s journey starts when she finds her son killed for being an orogene. This tragedy leads her on a quest to find her daughter, Nassun. Meanwhile, the story also covers Damaya’s training as an orogene and Syenite’s discoveries about their kind.

As a catastrophic event threatens their world, the lives of Essun, Damaya, and Syenite converge, revealing a society that both relies on and fears them.

The book mixes fantasy and science fiction, offering a complex tale of survival and resistance against oppression. The novel stands out for its unique storytelling and exploration of themes like identity and societal control.

Home is what you take with you, not what you leave behind.

• The story displays a variety of cultures and societies, adding diversity and realism.
• It delves into themes like survival, oppression, and resilience, deeply resonating with readers.
• The book touches on social and political issues subtly, adding depth that encourages reflection.
• The elaborate fantasy magic system may confuse readers new to complex fantasy.
• The book’s subtle social and political themes might not suit readers seeking pure escapism.
• Central themes of oppression, trauma, and survival can be too intense for those wanting a lighter read.

Genres: Fiction, Post Apocalyptic

“Hope Ignites” by E.A. Chance is a post-apocalyptic novel set two years after a Coronal Mass Ejection devastates Earth, killing billions and shattering modern life.

The story follows Dr. Riley Poole, who strives to keep her family and career intact while desperately searching for her missing daughter, Julia. When Riley learns Julia is alive in an internment camp, she abandons her medical unit to rescue her.

Facing old enemies and daunting challenges, Riley fights to save Julia with the help of allies, reigniting hope amidst despair.

“Hope Ignites” is an inspiring tale of a mother’s unyielding love and determination in the face of apocalyptic chaos. This third installment in the series is a must-read for those who love stories of resilience and survival against all odds.

• The book is filled with adventure and survival elements, making it a gripping read for fans of these themes.
• Themes of hope, courage, and perseverance resonate throughout the novel, offering inspiration to readers.
• The story’s focus on family dynamics in a challenging environment adds emotional depth and relatability.
• Some might find the novel’s hopeful tone in a dystopian setting unrealistic or too optimistic.
• The book’s central focus on family dynamics might not appeal to readers who prefer stories about individual survival.
• The realistic depiction of post-apocalyptic challenges could be too distressing or intense for those seeking escapism.

Genres: Fiction, Fantasy, Young Adult, Post Apocalyptic

“Burn” is a post-apocalyptic tale set in Tucson, Arizona. This novel intriguingly blends the struggle for survival in a world stripped of modern conveniences with the awakening of ancient deities.

The story follows survivors Liam, Noah, and Ellie as they navigate a new reality where the Sun God and Rain Goddess reignite their timeless battle, impacting the elements and the world around them.

Its unique blend of post-apocalyptic survival and mythological elements offers a fresh perspective making it a must-read for those who enjoy stories where the lines between technology and nature clash and are in a fragile balance.

• The book blends mythology with modern life, featuring gods and goddesses in the story.
• It addresses survival, technology’s societal impact, and human-environment interactions.
• Hathaway’s writing is influenced by authors like Neil Gaiman and Stephen King, as seen in the book’s themes and style.
• “Burn” starts a series with future books planned, which might deter fans of standalone novels.
• The plot focuses on Tucson, hinting at wider exploration later, which may not attract those who prefer globally set stories.
• The deities in the book represent environmental elements, possibly unappealing to those disinterested in ecological themes.

Genres: Sci-fi, Dystopia, Fantasy, Post Apocalyptic, Speculative Fiction

“Parable of the Sower,” set in a crumbling 2020s America, introduces Lauren Olamina, a teenager with a unique condition: hyperempathy. This makes her feel the pain and pleasure of others.

The story follows Lauren’s journey, marked by her quest to build a community as she faces challenges in a disintegrating society. Environmental collapse and social unrest are daily realities, pushing her to adapt and survive.

The book is a must-read due to its relevant and predictive view of the future. It explores the resilience and adaptability of humanity in profound ways, appealing to anyone interested in the complexities of our society.

• The story is emotionally powerful, exploring loss, hope, and human resilience themes.
• Lauren Olamina, the protagonist, is strong, intelligent, and relatable. Her journey and development are central to the story.
• The novel’s depiction of societal collapse and environmental crises feels prescient, resonating with contemporary concerns.
• Graphic violence and distressing scenes may upset sensitive readers.
• The focus on Lauren Olamina might not suit readers wanting varied perspectives.
• Earthseed’s philosophical and religious content could be complex for some readers.

Genres: Fiction, Dystopia, Sci-fi, Classics, Novels, Literature, Portugal

“Blindness” by José Saramago is a gripping novel set in a city struck by an epidemic of blindness, leading to societal collapse. The story follows a doctor and his wife, who remains sighted, as they are quarantined in a mental hospital.

The doctor’s wife, pretending to be blind, struggles with moral choices, highlighting the novel’s theme of civilization’s thin line between order and savagery. The characters’ varied experiences add depth to this tale of resilience and fragility.

Without quotation marks or names, the author’s style immerses the reader in a disorienting world with its intense plot. It also deep dive into the human psyche, making it a must-read for fans of post-apocalyptic stories.

I don’t think we did go blind, I think we are blind, Blind but seeing, Blind people who can see, but do not see.

• The well-developed characters represent different facets of humanity under extreme conditions.
• The story’s emotional depth, portraying fear, hope, and resilience, resonates strongly with readers.
• The book raises important moral and ethical questions, prompting readers to think deeply about society and personal values.
• Its dark view of human nature during crises may unsettle optimists.
• The book’s bleak tone might not suit readers seeking uplifting stories.
• The story’s allegorical and symbolic approach may confuse those who like direct narratives.

14. Beneath the Ashes by Misty Vixen —Beneath the Ashes #2

Genres: Dystopia, Fantasy, Post Apocalyptic

The protagonist, Ethan, has lived a simple life in a small settlement called Refuge, located within a large cave. However, his world is turned upside down when his home is destroyed and his loved ones are lost.

Forced to flee to a larger settlement, Ethan finds himself in a hostile environment where he must learn to scavenge for resources in the dangerous underground world. Amidst this chaos, he meets Ember, a woman trapped in a dire situation.

What sets “Beneath the Ashes” apart is its blend of post-apocalyptic survival elements with a complex character-driven narrative. Ethan’s story, with his challenges and pressures, is a tale of emotional resilience and the search for hope in a despairing world.

• A constant sense of mystery and intrigue drives the narrative forward.
• The novel explores themes of survival and resilience, resonating with many readers.
• Characters in the novel are well-developed and relatable, making it easy for readers to connect with them.
• The world-building sometimes lacks detail, which could disappoint fans of thoroughly crafted fantasy worlds.
• The dialogue might seem too modern for the book’s setting, potentially jarring for those expecting period-accurate speech.
• “Beneath the Ashes” may start slow as it sets up characters and settings, possibly not appealing to action-seeking readers.

Genres: Sci-fi, Dystopia, Post Apocalyptic, Fantasy, Speculative Fiction

“Oryx and Crake” crafts a post-apocalyptic world devastated by genetic engineering gone awry. Challenging readers to ponder the depths of human innovation and its consequences.

The story unfolds through the eyes of Snowman (formerly Jimmy) as he navigates a world overrun by genetically engineered creatures and grapples with memories of his past life and the events leading to the world’s downfall.

The author’s portrayal of a world distorted by unchecked scientific ambition offers a compelling exploration of the perils of playing God, the ethics of scientific advancement, and the fragility of human society.

He doesn’t know which is worse, a past he can’t regain or a present that will destroy him if he looks at it too clearly. Then there’s the future. Sheer vertigo.

• The story raises deep philosophical questions about humanity, nature, and technology.
• It offers sharp commentary on contemporary social issues, making the novel relevant and thought-provoking.
• It explores provocative themes like genetic engineering, environmental decay, and the ethics of scientific advancement.
• Graphic content and mature themes in the book may not suit all readers.
• Dense philosophy and symbolism could challenge those who like straightforward stories.
• The detailed focus on genetic engineering and science may overwhelm or bore some readers.

Genres: Horror, Sci-fi, Fantasy, Post Apocalyptic, Vampires, Dystopia

In “The Passage,” a devastating virus changes the world. The story connects humanity’s fate with Amy, a girl left alone at six, who becomes key to possibly saving the world.

The narrative stretches from the virus’s early outbreak to a future dominated by mutated creatures. It focuses on survival, the ethics of scientific research, and human resilience.

The author combines horror with touching human stories, creating a realistic and gripping world after an apocalypse. He explores sacrifice, redemption, and human connections, grabbing readers’ attention who love exciting and deep stories.

“The Passage” is a must-read because of its powerful storytelling. It makes readers think about the risks of science without limits and what it means to stay human when the world is falling apart.

What strange places our lives can carry us to, what dark passages.

• The novel explores themes like humanity, survival, and good versus evil, adding thought-provoking depth.
• The book intertwines various storylines from different times and places, merging them effectively and keeping readers engaged.
• Cronin creates a detailed post-apocalyptic world, showing changes in society, technology, and the environment, making the fantasy feel real.
• With multiple storylines and many characters, the plot can be challenging to follow.
• The novel jumps across different timelines, which can be confusing and difficult to keep track of.
• Some plot points are left open-ended or ambiguous, which can be unsatisfying for those who prefer clear resolutions.

Genres: Horror, Fiction, Post Apocalyptic, Fantasy, Sci-fi, Dystopia

Set in a post-nuclear war landscape, “Swan Song” follows the struggle of humanity clinging to survival. At the story’s heart is Swan, a young girl with a unique gift, symbolizing hope in a world overrun by chaos and evil.

The novel puts together the lives of diverse characters, each battling their own demons and the external horrors that have befallen the earth. Themes of resilience, the human spirit’s endurance, and the dichotomy of good versus evil are vividly explored.

The book delves into survival’s psychological and moral challenges, offering a profound look at humanity under extreme pressure and creating a thought-provoking examination of hope and human resilience in dire times.

Even the most worthless thing in the world can be beautiful, it just takes the right touch.

• The well-crafted villains add exciting drama to the story.
• Despite dark themes, the novel provides uplifting messages of hope and redemption.
• The story focuses on the classic good vs. evil fight, engaging readers with the characters’ moral challenges.
• The book’s grim and bleak tone may not appeal to fans of more optimistic stories.
• The story’s many characters and subplots might be too complex for those who like simple stories.
• Keeping track of the many characters can be difficult for those who prefer stories with fewer main characters.

Genres: Sci-fi, Dystopia, Post Apocalyptic, Fantasy, Short Stories

In the dystopian future of “Wool,” humanity survives in a massive, subterranean silo, fearing the toxic world above. Within this confined space, the residents live under rigid rules and a regime that suppresses curiosity.

The narrative centers around their struggle against the constraints imposed on them, exploring the burning desire for knowledge and the lengths people will go to uncover the truth.

The book’s exploration of life within these constraints questions the very nature of freedom and the costs of maintaining societal order. It offers a unique commentary on the dynamics of society and individual freedom, making it a must-read.

Better to go out to see the world one time with his own eyes, than to be burned alive with the plastic curtains.

• The silo’s detailed social structure and rules deeply immerse readers in its unique world.
• As the first book in the Silo series, “Wool” offers more exploration of its world and characters in later books.
• Juliette, the strong and relatable protagonist, and other well-developed characters engage the reader deeply.
• The entire story is set within the confines of the silo; readers who enjoy varied and expansive settings might feel restricted.
• The story develops gradually, especially in the beginning. Those who favor fast-paced narratives might find this slow build-up a bit tedious.
• The book often presents characters with ambiguous morals, which can be unsettling for readers who prefer clear-cut heroes and villains.

19. The Girl With All the Gifts by M. R. Care y — The Girl With All the Gifts #1

Genres: Horror, Sci-fi, Zombies, Dystopia, Post Apocalyptic, Fantasy

In the desolate landscape of “The Girl With All the Gifts,” humanity faces the aftermath of a devastating fungal infection. The story centers on Melanie, a young girl with exceptional abilities who might hold the key to understanding the infection.

Melanie navigates a world filled with dangers and discoveries alongside her beloved teacher, Miss Justineau, and other survivors. The book delves into themes of survival, the essence of human connections, and the blurred lines between predator and prey.

This novel redefines the zombie genre by infusing it with emotional depth and focusing on character development. The portrayal of the infected, particularly through Melanie, challenges traditional horror narratives.

The book’s approach adds a layer of empathy and complexity, inviting readers to see the world through Melanie’s eyes and question their own perceptions of monsters and heroes.

The horror of the unknown is more frightening than any horror you can understand.

• The prose is beautifully written, perfectly balancing descriptive imagery and brisk, engaging dialogue.
• The book delves into deeper philosophical questions about humanity, survival, and morality, providing food for thought.
• The relationship between Melanie and her teacher adds a warm, human touch to the narrative, highlighting themes of love and protection.
• The book’s serious tone, with minimal humor, may not suit all readers.
• Carey’s graphic violence and gore can be unsettling for some readers.
• Despite its unique approach, the focus on zombie themes might not appeal to those uninterested in such stories.

Set in the aftermath of a catastrophic global solar flare, the human population has been decimated, and the world as we know it has changed forever. Amidst this chaos, we meet the tenacious Dr. Riley Poole.

She embarks on a perilous 1,500-mile journey fraught with unknown dangers and relentless challenges. Her mission? To uncover the fate of her two youngest children, lost in the mayhem of a world gone mad.

As you journey alongside Dr. Poole, you’ll be drawn into a landscape where survival demands resilience, hope, and an unwavering spirit. Her story is a testament to the power of a mother’s love and her unyielding determination to reunite with her children.

• The characters are richly crafted, evolving in ways that feel personal and relatable to readers.
• The book stars a strong, resourceful woman, showcasing her inspiring strength and determination.
• It realistically captures survival, engagingly blending physical and emotional struggles as the world is upended.
• Flashbacks are often used in the story, which might confuse readers who prefer a straight timeline.
• The story’s romantic parts may not appeal to everyone, especially those who want only action or survival.
• The book explores deep philosophical and moral questions, possibly not suiting those looking for a story just for entertainment.

Genres: Fantasy, Dystopia, Apocalyptic, Zombies, Vampires, Paranormal, Sci-fi

In “I Am Legend,” a terrifying plague ravages humanity, transforming people into vampire-like beings. The novel follows Robert Neville, the last human survivor in a desolate, post-apocalyptic world.

Neville grapples with loneliness, survival, and the psychological toll of being the last man standing, inviting readers to ponder the depths of human resilience and the nature of hope in the face of utter despair.

“I Am Legend” is a novel that redefines the boundaries of horror and science fiction. This gripping tale captures the essence of human survival against unimaginable odds, making it a must-read for a diverse audience.

The last man in the world was irretrievably stuck with his delusions.

• The book makes you think deeply about what being human means, especially when humanity is at risk.
• The novel surprises you, especially with its ending. People love how original and thought-provoking it is.
• Fans of horror and sci-fi history will like seeing how this book shaped later movies and books in these genres.
• It mainly describes the protagonist and where he is, not much about the wider world or its past.
• The book often explores the main character’s thoughts, which may not interest fans of action-packed stories.
• The book’s thorough look at deep moral questions might be too complex for those who want a simpler story.

Genres: Dystopia, Post Apocalyptic

In this book, a catastrophic pandemic has shattered civilization, leaving survivors to fend off those infected and turn savage. The story centers around Samantha, who is engulfed in a personal vendetta against a group of raiders for corrupting her husband.

As Samantha’s quest unfolds, the narrative delves deep into themes of loss, vengeance, and the quest for redemption in a world devoid of order. Creating a tale about survival and the moral dilemmas faced in a lawless world.

“Abaddon” offers a unique blend of complex characters and a realistic portrayal of a chaotic world with a strong female protagonist exploring human nature under duress, making it an indispensable read.

• Kennedy’s vivid setting in “Abaddon” deeply immerses readers, with detailed descriptions adding realism.
• Realistic and well-crafted dialogue in “Abaddon” pushes the story forward and develops characters, enhancing the narrative’s authenticity.
• The novel tackles themes like good vs. evil, redemption, and human nature, seamlessly blending them into the story and sparking reader discussions.
• The novel’s intense themes, like good vs. evil and human nature, might unsettle readers seeking lighter material.
• The complexity of the well-developed characters in “Abaddon” could be confusing or hard to relate to for some readers.
• “Abaddon’s” detailed descriptions might slow the story, possibly losing the attention of those who favor action-packed tales.

Genres: Sci-fi, Post Apocalyptic, Dystopia, Survival

Set during the Cold War’s peak, the story unfolds in the small Florida town of Fort Repose. Randy Bragg receives a cryptic warning from his brother disguised as the phrase “Alas, Babylon” about an impending nuclear catastrophe setting him to prepare for the worst.

As nuclear war erupts, wiping out major cities and severing communication lines, Fort Repose becomes an isolated haven. You’ll journey with Randy and his makeshift family of relatives and friends as they navigate the harsh realities of a post-nuclear world.

The novel goes beyond the usual tropes of destruction and despair, focusing instead on the potential for human growth and community-building in times of crisis. Its pioneering role in the post-apocalyptic genre sets “Alas, Babylon” a read you shouldn’t miss.

If Man retained faith in God, he might also retain faith in Man.

• Set during the Cold War era, the novel offers insightful historical context that adds depth to the narrative.
• The book explores the dynamics of community rebuilding and cooperation, which is inspiring and relevant.
• “Alas, Babylon” raises moral and ethical questions about society, warfare, and human nature, encouraging deep thinking.
• The book’s technical details on survival and warfare may not interest all readers.
• Since it was written in the 1950s, parts of the book could seem outdated to contemporary readers.
• The story’s focus on one community’s experience might disappoint those seeking a wider view of the catastrophe’s global impact.

Genres: Horror, Zombies, Humor, Sci-fi, Fantasy, Post Apocalyptic

The book takes you through various scenarios, providing detailed strategies for survival, including how to recognize zombie infestations, effective defense tactics, and essential supplies for your survival kit.

What makes this guide truly compelling is its serious tone and thoroughness. The book approaches the subject with a blend of humor and practicality, making you ponder the possibility of a zombie outbreak.

It’s a fun read and stimulates your imagination and problem-solving skills. The book’s guide encourages you to think about survival in extreme situations, making you more aware of your surroundings and teaching you to think on your feet.

Remember: no matter how desperate the situation seems, time spent thinking clearly is never time wasted.

• The guide provides insights into various cultural reactions to a zombie apocalypse.
• It covers everything from weapons to long-term survival strategies in a zombie world.
• The book thoroughly examines zombie behaviors and weaknesses, appealing to genre fans.
• The book’s graphic violence and gore may not suit all readers.
• The guide’s speculation on a fictional zombie world might not interest those looking for factual content.
• Its lack of a traditional story and character development could disappoint those seeking a plot-driven novel.

Genres: Post Apocalyptic

In “The Green Priest,” Halvar, a young hunter, uncovers an ancient artifact that entangles him with the Green Priests, a mysterious order rumored to hold incredible powers and secrets.

His journey, alongside companions Brenna and Cirdan, grappling with a serious wound, takes them through a dangerous and intriguing world, deepening their involvement with the secretive priests.

The book goes beyond a simple tale of survival, exploring deep themes of trust, the lure of power, and human resilience. The writing portrays a rich, dark, post-apocalyptic setting, focusing on the characters’ personal trials and mysteries of the green priest.

• It deeply examines the characters’ emotions and psychology, adding depth to the narrative.
• It explores how societies rebuild and adapt after a disaster through its characters and setting.
• The story raises thought-provoking questions about nature, beliefs, and how civilizations form.
• Extensive world-building details could be too much for those who like simpler, more direct narratives.
• Exploring deep philosophical and societal topics might overwhelm readers looking for light, entertaining stories.
• Mixing survival themes with philosophy and mysticism may disappoint readers who prefer traditional genre stories.

Genres: Post Apocalyptic, Zombies, Dystopia

“Buried Instincts – Lost and Found” continues the journey with Blake and his group after their narrow escape from a military depot. The group seeks refuge in a remote, undisclosed location, hoping to escape the chaos.

However, they soon realize that staying put is not an option. Disturbing revelations about the escalating catastrophe force them to hit the road again, joining forces with others to confront and possibly end the disaster.

This book is compelling for anyone interested in stories of survival, human tenacity, and the complexities of navigating a world in upheaval and offering a fresh perspective on the enduring themes of survival and the human spirit.

• The novel’s setting is so vivid and clear that readers can easily dive into the world Henson has built.
• The book examines the characters’ psychology, giving a deeper insight into their reasons and behaviors.
• Henson explores themes of self-discovery, resilience, and human complexity, encouraging readers to think and discuss.
• Some might find the characters’ survival choices frustrating or unrealistic.
• Graphic zombies and violent scenes might upset readers who dislike such content.

Genres: Sci-fi, Post Apocalyptic, Dystopia, Fantasy

Set in the aftermath of a nuclear war, the novel follows the Albertian Order of Leibowitz monks in their quest to preserve human knowledge. Spanning centuries, the narrative explores the rise and fall of civilizations, focusing on three periods post-disaster.

Each part—”Fiat Homo”, “Fiat Lux”, and “Fiat Voluntas Tua”—deals with the recovery of lost knowledge, the conflict between science and faith, and the moral dilemmas faced by humanity on the brink of repeating its past mistakes.

Unique in its blend of religious and scientific themes, the book offers a profound exploration of human nature and the persistence of knowledge. Its cyclical view of history provides a powerful commentary on the endurance and mistakes of human society.

To minimize suffering and to maximize security were natural and proper ends of society and Caesar.

• Though published in 1960, the novel’s themes are still meaningful today, appealing to readers of all ages.
• The book makes you think about how cultures and morals rise and fall, connecting well with today’s world issues.
• It explores big ideas like history repeating itself, the clash and connection between science and religion, and how we should handle knowledge.
• Characters change throughout the story, which may bother those who like steady character growth.
• The book’s many historical and cultural references may be lost on readers not familiar with them.
• Its strong focus on Catholic ideas and religion might not attract readers wanting a non-religious story.

Genres: Sci-fi, Post Apocalyptic, Fantasy, Space

After an unexplained disaster fractures the Moon into seven pieces, Earth’s atmosphere is threatened by a meteor shower, rendering the planet uninhabitable.

The story chronicles humankind’s desperate effort to survive in space, centering on a massive international initiative to construct a life-sustaining ark in orbit. This ark, built around the International Space Station, becomes humanity’s last hope.

“Seveneves” distinguishes itself with its detailed exploration of space survival logistics and the realistic portrayal of societal and technological challenges in space. It offers an in-depth look at the consequences of humanity’s decisions in the face of extinction.

Fighting isn’t about knowing how. It’s about deciding to.

• Offers detailed insights into space and space colony life, appealing to deep sci-fi fans.
• The book features strong, well-developed female characters, which is refreshing and inspiring.
• It’s a gripping tale of human survival against impossible odds, keeping readers on the edge of their seats.
• The book demands much focus and effort, not ideal for fans of easy reads.
• Less dialogue in the story may let down those who like character conversations.
• The novel often puts technical details before the story, which could lessen the emotional connection.

Genres: Sci-fi, Dystopia, Post Apocalyptic, Young Adult, Fantasy

In a world where humanity has nearly vanished, a young boy named Griz lives on a remote Scottish island with his family and dogs. When a stranger steals Griz’s dog, he embarks on a journey to find it.

Through a desolate landscape, Griz encounters various challenges and characters, including a figure named John Dark. This adventure tests Griz’s resilience and explores the themes of loss, loyalty, and the enduring bond between humans and dogs.

“A Boy and His Dog at the End of the World” is a heart-wrenching exploration of survival and the human-animal bond in the face of adversity. Its unique blend of adventure and emotional depth make it a compelling read.

Dogs were with us from the very beginning. And of all the animals that walked the long centuries beside us, they always walked the closest.

• Despite the bleak setting, the story carries an undercurrent of hope and resilience.
• The book dives into themes of survival, humanity, and companionship in a desolate world.
• The close bond between the boy and his dog is key to the story, appealing to animal lovers.
• The story mainly revolves around a few characters, not ideal for fans of large, varied casts.
• Sparse dialogue in the book may disappoint those who like in-depth character conversations.
• Its bleak and desolate mood may not appeal to those who prefer brighter or more varied stories.

Genres: Sci-fi, Post Apocalyptic, Fantasy, Dystopia, Survival

“Lucifer’s Hammer” chronicles the aftermath of a comet striking Earth. The impact unleashes global calamities, from tsunamis to a new ice age, leading to the collapse of modern civilization.

The story focuses on a diverse group of characters, including scientists, astronauts, and ordinary citizens, as they navigate the chaos of this new world. They face ethical dilemmas, societal breakdowns, and the challenge of rebuilding amidst the ruins.

The novel delves into themes of survival and the resilience of the human spirit. It offers a multi-faceted exploration of how individuals and communities adapt and evolve in the face of unprecedented challenges.

To doubt everything or to believe everything are two equally convenient solutions; both dispense with the necessity of reflection.

• The survival battle in a changed world makes the story tense and captivating.
• The book includes realistic space and comet details, appealing to science fans.
• The book features a variety of detailed characters, each adding their own view to the story.
• Certain characters may seem shallow or clichéd to some readers.
• Complex scientific details might overwhelm those not keen on science.
• Technical and scientific language in the book may deter readers who like simple writing.

Genres: Post Apocalyptic, Fiction, Survival, Sci-fi, Dystopia, Thriller

“Lights Out” by David Crawford is a gripping tale set in a post-apocalyptic world. The narrative unfolds after a massive electromagnetic pulse (EMP) attack, plunging the free world into darkness.

The central character, Mark Turner, also known as “Karate Man,” faces the daunting task of navigating this new, harsh reality. Mark, along with his family and friends, must adapt to a world that tests their survival instincts and moral compass.

The book, having made a significant impact on the mindset of millions, is a survival story and a lesson in preparedness. It explores themes such as teamwork, reliance on modern technology, mechanical skills, and self-defense, making it a thought-provoking read.

• Beyond entertainment, it educates about emergency preparedness and resilience.
• The story provokes deep thinking about our dependence on modern conveniences.
• The protagonist, Mark Turner, and other characters are well-developed, making the story relatable.
• It includes strong language that might not be suitable for all audiences.
• Detailed descriptions of survival tactics and equipment might not appeal to all.
• The focus on survival might overshadow character development for some readers.

Genres: Sci-fi, Classics, France, Fantasy, Dystopia, Adventure

The story begins with a frame narrative where a couple, Jinn and Phyllis, sail through space and find a manuscript in a bottle. This manuscript, written by Ulysse Mérou, a French journalist, recounts his extraordinary interstellar journey.

In the year 2500, Ulysse, along with Professor Antelle and a physician named Arthur Levain, embarks on a space expedition to a planet in the Betelgeuse system, which they name “Soror.”

They find an Earth-like environment but are shocked to discover that, on this planet, humans are primitive, non-speaking beings living in the wild. At the same time, highly intelligent and civilized apes are the dominant species.

What sets “Planet of the Apes” apart is its profound commentary on human society, intelligence, and the consequences of technological and civilizational advancements. It challenges readers to reconsider the nature of humanity and civilization.

I racked my brains to discover some sense in the events I had witnessed.

• Boulle’s book challenges ideas about civilization, evolution, and human nature.
• The novel explores animal rights, human behavior, and the ethics of scientific progress.
• The novel is written in a way accessible to many readers, including younger audiences.
• Missing iconic lines and scenes from the film versions might disappoint some franchise fans.
• The book focuses more on social criticism than typical science fiction, possibly not satisfying all sci-fi fans.
• Its deep themes, like the effect of civilization on human nature, might be too complex for certain readers.

Genres: Post Apocalyptic, Sci-fi, Dystopia, Survival

“The Dog Stars” revolves around Hig, a man who lives in an airplane hangar with his dog, Jasper, and a gruff gunman, Bruce Bangley. The plot is triggered when Hig, while flying his old Cessna, picks up a mysterious radio transmission, sparking a quest to find its source.

The novel is set nine years after a devastating flu epidemic and subsequent blood disease have wiped out much of humanity. Their existence is marked by a constant vigilance against intruders, often resorting to lethal force to protect their sanctuary.

The story takes a turn with the death of Jasper. Driven by the memory of a voice he heard on the radio three years earlier, Hig flies towards Grand Junction, leading to encounters that significantly change his life.

“The Dog Stars” delves deep into themes of displacement, the beauty of nature, the resilience of the human spirit, and the quest for connection and love in a broken world.

Funny how you can live a whole life waiting and not know it.

• The narrative delves into themes of survival and the need for human connection, creating a moving story.
• It’s character-driven, primarily focusing on Hig’s journey and connections, notably with his dog and a tough neighbor.
• The book’s unique style features brief, sharp sentences and flowing paragraphs, breaking from traditional chapter structures for a novel reading experience.
• The book’s calm, reflective style might surprise those expecting a high-action post-apocalyptic tale.
• Some readers may not enjoy the dynamics between the protagonist and his survivalist partner.
• Its emphasis on survival and the protagonist’s solitude may not appeal to those seeking more action-packed post-apocalyptic stories.

Genres: Fiction, Classics, Poetry, Fantasy, Literature

“In Watermelon Sugar” by Richard Brautigan presents a unique post-apocalyptic world in iDEATH, where the sun changes color daily and watermelons are sugar-colored. The story, narrated by an unnamed protagonist, explores life in this unusual yet harmonious place.

The book dives into the lives of iDEATH’s residents, highlighting their peaceful life in natural beauty. Key characters like Margaret, Pauline, and inBOIL add depth to this extraordinary world.

What makes this novel stand out is its dreamlike quality. It blends fantasy with reality and explores themes of existence, meaning, and simplicity. The book is a thought-provoking and delightful journey into life’s deeper aspects, just as intriguing as its title.

Wherever you are, we must do the best we can.

• At its core, the book explores profound themes such as love, life, and death.
• Numerous symbolic elements throughout the story add depth to the narrative.
• The characters, including a nameless narrator and his interactions with others in iDEATH, are enigmatic and intriguing.
• Its themes and messages, being abstract, can be hard to understand.
• Some readers may feel the novel’s short length doesn’t allow enough room to explore its concepts fully.
• The novel’s relevance is heavily tied to its original 1960s context, which may not connect with today’s readers.

Genres: Post Apocalyptic, Dystopia, Survival

“Within the Flame” is a gripping post-apocalyptic tale focusing on James, a martial arts student, and Charlotte, a woman with unique people skills. Both are thrust into chaos after society’s collapse, leading a group of survivors in a world where anarchy prevails.

The book stands out for its exploration of human psychology under extreme conditions. It showcases diverse, well-developed characters facing moral and physical challenges in a lawless world.

This concise, powerful narrative is perfect for post-apocalyptic fiction fans. The story poses deep questions about humanity and morality post civilization collapse. It’s a compelling read about human strength and resilience.

• The novel prompts thought by exploring moral and ethical choices in extreme situations.
• It focuses on survival, emphasizing the physical and psychological challenges in a chaotic world.
• “Within the Flame” realistically depicts society’s collapse and primal instincts, unlike typical post-apocalyptic novels with supernatural elements.
• Readers might get annoyed by the characters’ decisions and mistakes, affecting their enjoyment.
• Character conflicts and tension in the survival group might not suit readers who prefer harmonious interactions.
• The romance between James and Charlotte may not appeal to those seeking more focus on post-apocalyptic survival.

Genres: Fantasy, Sci-fi, Africa, Dystopia, Post Apocalyptic

Onyesonwu, a young woman of mixed heritage, born from violence, discovers she possesses magical powers. She embarks on a journey to confront her powerful sorcerer father and aims to rewrite the Great Book that dictates the oppressive social hierarchy.

Raised in Jwahir where she faces discrimination for being Ewu, Onye’s story is one of self-discovery and rebellion against societal norms. Her path is fraught with challenges, including undergoing a traditional rite and mastering her magical abilities.

The novel stands out for its fusion of African culture, magical realism, and post-apocalyptic themes, tackling complex issues like race, gender, and identity. The novel’s exploration of the struggle for freedom and identity makes it an essential read.

If you don’t recognize yourself, then who is the one who reminds you of who you are?

• Okorafor’s use of African culture and spirituality adds richness and authenticity to the story.
• The novel tackles modern issues like religion, abortion, and interracial children’s roles in society.
• Onyesonwu’s growth from child to woman vividly highlights her increasing strength and understanding.
• The novel’s heavy themes, such as violence, may upset or trigger some readers.
• African culture and spirituality in the book may not resonate or be clear to all readers.

Genres: Sci-fi, Post Apocalyptic

“Oasis One” thrusts you into a post-apocalyptic world devastated by a lethal virus, FossilFlu. Dr. Mercy Perching, carrying the only potential cure, is on the run from the authoritarian Sanctuary of the Americas, seeking refuge in the Sanctuary of Europe.

Tragedy strikes Dr. Perching with the loss of her baby during childbirth, intensifying her mission to rescue her friends who have escaped to the mysterious Sanctuary of Asia. This sanctuary, known for its secret experiments, adds intrigue and depth to the narrative.

“Oasis One” uniquely blends science fiction and dystopian themes, creating a gripping story. It’s a tale of survival, resilience, and the complex impact of scientific advancements on society while balancing high-stakes action and introspection.

• The novel adds depth through its characters’ emotional growth.
• Its innovative concept of human-animal hybrids brings a unique element to the genre.
• The story balances scientific accuracy with creativity, especially in portraying hybrids and AI.
• The story’s pace changes, with fast and slow sections possibly not fitting every reader’s preference.
• The book tackles medical and ethical issues that may be controversial or discomforting for some.
• The novel’s focus on complex scientific topics like hybrids and AI might overwhelm some readers.

“Earth Abides” begins with Isherwood Williams (Ish), a graduate student at Berkeley, recovering from a rattlesnake bite only to find that a pandemic has wiped out much of humanity. Ish returns to the Bay Area, deciding to seek out other survivors.

Together with a few other survivors, they start repopulating and relearning how to live in a world drastically changed by the pandemic. Over the years, the Tribe grows, but Ish is concerned about their lack of preparation for the future.

As the novel progresses, it delves into themes such as the resilience of nature, the effects of a drastically reduced human population, and the reversion of society to a more primitive state.

The book is a profound exploration of human survival and adaptation in the face of global catastrophe, making it a landmark novel in its genre and a direct inspiration for works like Stephen King’s “The Stand”.

The people who live in any generation do much, he realized, either to create or to solve the problems for the people who come in the generations later.

• Ish evolves from a spectator to an active participant, mirroring real human responses to drastic changes.
• The story prompts questions about civilization’s essence, human nature, and the remnants of societal collapse.
• The novel realistically portrays the collapse of civilization and human survival, offering a thought-provoking look at a world with few humans.
• Cultural depictions from the 1940s may seem outdated or insensitive to today’s readers.
• Ish is an ordinary protagonist, not a typical hero, which may not attract readers seeking charismatic characters.
• The story focuses on Ish’s group and their survival, leaving broader global impacts of the apocalypse less explored.

Genres: Horror, Zombies, Fiction, Post Apocalyptic, Fantasy, Dystopia

“The Walking Dead: Rise of the Governor” follows Philip Blake, his daughter Penny, brother Brian, and friends as they navigate the chaos of a zombie apocalypse. Seeking refuge in Atlanta, they encounter a group of survivors led by April Chalmers.

Tensions rise, leading to tragic outcomes and Philip’s moral descent. Eventually, they find Woodbury, a town lacking order. After a series of violent events, Brian adopts Philip’s identity as “The Governor”.

This book stands out for its detailed exploration of character development in extreme circumstances, particularly the transformation from a regular individual to a feared leader in a post-apocalyptic world.

It’s a must-read for fans interested in the complexities of human nature and survival dynamics within the iconic Walking Dead series.

When you’re really, really scared, you don’t shake like in the movies. You grow still, like an animal bristling. It’s only afterward you start shaking.

• The book connects well with the comic and TV series, maintaining familiar themes.
• The novel features a significant plot twist that adds depth and complexity to the story.
• The story is largely told from Brian Blake’s point of view, offering a unique perspective on the events.
• Its story pace, focusing on survival with limited plot development, may not suit all preferences.
• The novel’s exploration of dark human behavior in a post-apocalyptic setting might be disturbing for some readers.

Genres: Horror, Fiction, Post Apocalyptic

“The Pit” the second book in the “In the Valley” trilogy, resumes a year after the pandemic, focusing on Jason and Samantha’s quest to find Samantha’s husband in Los Angeles amidst the chaos of a world overrun by infected people.

The book captivates with its beautifully written narrative and a plot that keeps you engaged, eagerly anticipating the next twist. The tale’s unique charm lies in its blend of suspense and the dynamic between the characters, especially as secrets unfold.

“The Pit” is a compelling exploration of human resilience and adaptability in extreme conditions. Its vivid depiction of a post-apocalyptic world, combined with rich character development, makes it a significant read for fans of sci-fi and survival stories.

• The plot and characters are designed to engage the reader’s mind thoroughly.
• Characters in the novel, especially Samantha, are portrayed with depth and complexity.
• As the second book in a trilogy, it continues the gripping narrative established in the first book.
• Committing to a trilogy might deter some readers who prefer standalone novels.
• Some readers might find the pace either too slow or too fast, or they might prefer more straightforward plot development.

In “The Postman,” you’re taken to a post-apocalyptic America where Gordon Krantz, a lone wanderer, finds an old postal uniform. By wearing it, Gordon becomes a symbol of hope in a shattered world, reviving the United States Postal Service legend.

Gordon’s journey through isolated communities, delivering old letters, starts as a survival strategy but evolves into a mission to reconnect and unify society. The story skillfully mixes survival, symbolism, and the need for human connection.

“The Postman” stands out for its deep dive into the resilience of the human spirit amid societal collapse. It shows how simple acts, like delivering mail, can spark a movement to rebuild civilization. It’s a must-read for its powerful message of hope and connection.

We have earned our peace. It is, by now, more precious than honor, or even pity.

• The postman’s uniform and letters symbolize civilization and communication, adding depth to the story.
• The book actively explores what it means to be human, emphasizing community, responsibility, and connection.
• Beyond the main character, the novel features a range of secondary characters, each with their own unique backstories and motives.
• Some parts of the book might feel slow, possibly deterring fans of fast-paced stories.
• The book’s length and detailed descriptions could overwhelm those who like concise stories.
• Its strong moral and political messages might not suit everyone, especially if they have different views.

Genres: Post Apocalyptic, Sci-fi, Adventure, Fiction, Horror, Action

The story follows Ryan Cawdor and his team, post-holocaust survivors, who, after a Mat-Trans jump, find themselves in a strangely intact chamber leading to a devastated New York City, where they face damaged elevators, hostile gangs, and mutated creatures.

They form a tense alliance with Dred, a young survivor, learning about a truce between the scalies and survivors led by ‘The King of the Underworld.’ This installment is filled with action and suspense, deepening character arcs and revealing crucial plot points.

“Seedling” stands out for its engaging storytelling and detailed character development, set against a dystopian New York backdrop. It’s an essential read for fans, offering a significant expansion to the “Deathlands” universe with new characters and twists.

• A mix of mystery and suspense keeps readers engaged as the plot develops.
• Realistic and complex character relationships add emotional depth to the story.
• The story’s focus on survival in a tough, new world appeals to fans of the adventure and survival genre.
• Some may find the characters shallow or clichéd.
• The complex plot could confuse those who like simple stories.
• New readers may struggle to engage without knowing the series’ background.

Genres: Sci-fi, Young Adult, Post Apocalyptic, Fiction, Dystopia

“Empty World” is focused on Neil Miller, a teenager navigating a pandemic-stricken world. After a car accident kills his parents, Neil faces further tragedy as the Calcutta Plague wipes out adults, forcing him and other children to survive on their own.

Leaving his village after his grandparents fall victim to the plague, Neil ends up in a desolate London. Here, he meets other survivors, including Clive, Lucy, and Billie, creating a group filled with tension and instability.

The novel explores themes of isolation, survival, and complex human interactions in a world without adults. Its realistic portrayal of a child’s fantasy of a world without adults is juxtaposed with the grim realities of such a scenario.

It’s a thought-provoking read for young adults and fans of post-apocalyptic fiction, offering insights into survival and human nature under extreme conditions.

• The book explores deep themes such as loss, loneliness, and the resilience of the human spirit.
• The book challenges readers to think about difficult questions and scenarios, making it a thought-provoking read.
• The novel examines the dynamics of human relationships in extreme situations, adding a layer of complexity to the story.
• The story’s intense emotional depth might overwhelm some readers.
• The themes of loss and loneliness could be too heavy for those wanting lighter reads.
• The strong emphasis on character development may not attract fans of plot-driven stories.

Genres: Fantasy, Sci-fi, Horror, Humor, Dystopia, Animals

“Hollow Kingdom” narrated by a crow named S.T. (Shit Turd), begins when S.T.’s owner, Big Jim, falls victim to a global affliction that turns humans into zombie-like beings. S.T., with his dog friend Dennis, sets out to understand this new, chaotic world.

Seen through S.T.’s eyes, the story humorously captures the fall of humanity and nature’s resurgence. S.T. encounters various animals, forming an unusual alliance for survival amidst the ruins of human civilization.

What makes “Hollow Kingdom” special is its animal narrator and fresh perspective. This book is a witty, adventurous, and heartwarming journey from an animal’s point of view—reminding us of nature’s resilience and the bonds across species.

A creature can be heartbreakingly powerful and loving while also being a destroyer of worlds.

• It prompts reflection on humanity, nature, and our environmental impact.
• The story unfolds through a domesticated crow’s perspective, providing a unique and fresh angle.
• The book highlights environmental issues, appealing to those interested in nature and sustainability.
• The dark humor might not appeal to lighter or more serious stories fans.
• Animal characters with human traits may not suit those who prefer realistic stories.
• Its deep emotions and moral dilemmas could be too intense for those wanting light reads.

Genres: Sci-fi, Horror, Post Apocalyptic, Dystopia, Fantasy, Russia

After a nuclear war has devastated Earth, survivors live in the Moscow Metro, transformed into city-states. The protagonist, Artyom, starts a dangerous quest from his home station VDNKh to Polis station to inform them about a threat called The Dark Ones.

Artyom’s journey through the Metro is perilous, filled with mutated creatures, hostile factions, and complex characters like Khan and Bourbon. The novel combines survival themes, the human condition, and the impact of war.

The novel stands out for its portrayal of a society adapting to extreme conditions, with the Moscow Metro representing a miniature society.

Glukhovsky’s detailed setting and character development make “Metro 2033” a compelling read for fans of dystopian and post-apocalyptic fiction, offering a unique take on survival and human dynamics after a catastrophe.

There are some things that you don’t want to do and you pledge to yourself that you won’t do, you forbid yourself, and then suddenly they happen all by themselves.

• The story includes mysterious and supernatural elements that add an intriguing layer to the plot.
• The author creates a detailed and believable world with its own cultures, politics, and survival tactics.
• The book delves into philosophical questions about humanity, society, and morality, providing food for thought.
• The dark, claustrophobic setting could be too oppressive for fans of lighter stories.
• Social and political commentary might not engage readers not interested in these topics.
• Mixing realistic post-apocalyptic themes with mystery and supernatural elements may not suit everyone.

Genres: Sci-fi, Dystopia, Steampunk, Fantasy, Cyberpunk, Post Apocalyptic

The story follows Anderson Lake, an undercover agent searching for seed banks, and his encounter with Emiko, a bioengineered “windup girl”. Emiko’s transformation from a subjugated being to a central figure in the story highlights key themes of the novel.

The novel explores the chaotic world of Bangkok, delving into political intrigue, betrayal, and survival. It addresses the ethical dilemmas of genetic engineering and environmental collapse. The story is rich with complex characters and factions, all struggling for power.

What makes “The Windup Girl” unique is its vivid portrayal of a future shaped by today’s environmental and ethical challenges. Its blend of speculative fiction with current real-world issues has earned the novel critical acclaim.

Never doubt what small men will do for great power.

• The Thai setting enriches the story with cultural depth and uniqueness.
• It tackles urgent environmental issues, adding to its contemporary relevance.
• The novel offers insight into social hierarchy, power dynamics, and corporate influence.
• The Thai cultural setting may not resonate with or interest all readers.
• Its in-depth look at bioethics and environmental issues could be too complex for some.
• The book’s dark themes, like exploitation and corruption, may deter those looking for lighter reads.

Genres: Sci-fi, Horror, Post Apocalyptic, Thriller

“One Second After” follows John Matherson’s struggle to protect his family after an electromagnetic pulse (EMP) attack destroys all modern technology. The EMP thrusts society back to a pre-industrial state, creating chaos and desperation.

The novel portrays challenges like starvation, disease, and threats from hostile groups. It examines how people cope with the sudden loss of technology and the collapse of society focusing on the fragility of civilization and our overreliance on modern conveniences.

What makes “One Second After” compelling is its realistic depiction of the aftermath of an EMP attack and its examination of survival ethics. It’s a cautionary tale that warns of our vulnerabilities in the face of such disasters.

This book, the first in a trilogy, is essential for dystopian fiction enthusiasts and anyone interested in speculative scenarios highlighting the importance of resilience and preparedness​​.

That had always been the power of media in the hands of a good leader. To get individuals to feel as if the leader was speaking directly to them.

• It provides insightful information about EMPs and their potential impact, adding an educational element.
• The book raises important questions about society, dependency on technology, and human nature in crises.
• The story is emotionally engaging, exploring the struggles and resilience of the characters in a challenging new world.
• The strong emphasis on survival may be too grim for fans of lighter themes.
• Some readers may find the characters underdeveloped or hard to relate to.
• Its detailed focus on military strategy may not interest readers keen on this aspect.

Genres: Sci-fi, Post Apocalyptic, Dystopia, Speculative Fiction, Fantasy

“Riddley Walker” is set in a post-nuclear war England, resembling the Iron Age. The story follows Riddley, on his 12th birthday, who becomes crucial in his community, interpreting government puppet shows depicting their world’s history.

The novel delves into society’s myths and legends, blending remnants of the past with new folklore. As Riddley learns more about the Eusa folk that caused the apocalypse, he uncovers deeper truths about his own existence and the history that shaped it.

“Riddley Walker” stands out for exploring language and mythology, offering a fresh perspective in dystopian literature. The novel’s innovative storytelling and thematic depth make it a significant read in the genre.

The world is full of things waiting to happen.

• Set in a future, post-nuclear world, the setting is intriguing and thought-provoking.
• The book is rich in symbolism and metaphor, offering depth and layers of meaning to explore.
• The novel explores the reconstruction of culture and language post-catastrophe, which is fascinating.
• The deep, philosophical themes might be overwhelming or too abstract for some.
• The heavy use of symbolism and metaphor might be too complex or obscure for some.
• The plot is not straightforward and can be hard to follow, requiring active engagement from the reader.

Genres: Fiction, Horror, Dystopia, Sci-fi, Canada, Post Apocalyptic

In a northern Anishinaabe community, a sudden loss of power and contact with the outside world presents new challenges to Evan Whitesky and his community. They must rely on traditional knowledge and solidarity to survive the harsh winter conditions.

The situation intensifies when outsiders arrive, including two college students and a man named Justin Scott. His news of chaos in the South creates tension and conflict within the community, leading to a struggle for survival and leadership.

This novel stands out for its focus on Indigenous perspectives, exploring themes of resilience, the impact of colonialism, and a return to traditional ways of life amidst societal collapse. Its unique narrative and rich character development make it a must-read.

Yes, apocalypse. We’ve had that over and over. But we always survived. We’re still here.

• The book’s focus on survival and resilience against challenges is inspiring and thought-provoking.
• The story is rooted in Indigenous culture and offers an enlightening and educational look at traditions.
• It highlights the importance of community and cooperation in overcoming obstacles, a theme that connects with many readers.
• The story’s slow pace may not appeal to fans of fast-paced narratives.
• Those who like detailed world-building might find the book lacks extensive descriptions.
• Its understated style may not meet the expectations of readers seeking dramatic storytelling.

Genres: Sci-fi, Post Apocalyptic, Dystopia, Classics, Horror

“The Death of Grass” portrays a world devastated by a virus that destroys grass crops, leading to global famine and societal breakdown. The protagonist, John Custance, navigates this dire landscape with his family and friends, facing the collapse of society.

The group embarks on a dangerous journey across England to reach a supposed safe haven at John’s brother’s farm. Throughout their journey, they confront moral dilemmas and encounter various survivors, illustrating the desperation and chaos of their world.

“The Death of Grass” insightful look at human behavior during a crisis, poses deep questions about morality and survival. It offers a gripping and realistic depiction of a world in turmoil, with compelling characters and thought-provoking themes.

A long time ago, I came to the understanding that all men are friends by convenience and enemies by choice.

• Themes of environmental disaster and its impact on humanity provoke deep reflection.
• The book explores complex moral dilemmas faced by individuals during extreme situations.
• It focuses on the struggle for survival in a rapidly changing world, appealing to fans of survival and adventure genres.
• Scenes of violence and struggle in the novel might disturb sensitive readers.
• The focus on the harsh realities of societal collapse may not suit fans of escapist fiction.
• The characters’ complex moral decisions may unsettle those who like clear heroes and villains.

Genres: Sci-fi, Post Apocalyptic, Dystopia, Fantasy, Adventure

Set 1,000 years after the fall of our current civilization, the story follows a group of adventurers from the Mississippi River town of Illyria who embark on a quest to uncover the secrets of the past.

The protagonist, Chaka Milana, is driven by the mystery of the Roadmakers, the long-gone civilization that once ruled the continent. The quest begins when a clue to the location of Haven, a legendary repository of Roadmaker knowledge, is discovered.

Chaka and her companions, each with their own motivations and backgrounds, navigate through a landscape filled with remnants of the old world and the dangers of the new.

Its rich exploration of a world where the remnants of modern civilization have become myths and legends. It blends elements of adventure and mystery, with a focus on the quest for knowledge and the importance of preserving history.

• It delves into big ideas such as the value of knowledge, what makes a civilization, and human resilience.
• The novel shows a society rebuilding and rediscovering its lost history, adding a fresh angle to post-apocalyptic stories.
• McDevitt creates a varied and complex group of characters, each driving the story with their own goals and histories.
• The mystery’s unconventional resolution may disappoint readers who prefer clear-cut endings.
• Its use of advanced technology and a changed world might not suit those who like realistic stories.
• The novel’s focus on complex themes like civilization and knowledge can feel too philosophical for some.

Genres: Post Apocalyptic, Dystopia

“Battle Crow” follows Rayna, who is imprisoned and plots to overthrow the tyrannical Lord Corvus. Delving into themes of resistance, alliances, and the thirst for freedom, Rayna navigates treacherous challenges to ignite a rebellion.

The book stands out with its compelling female lead and a vivid portrayal of a world struggling against oppression. Its unique blend of action-packed sequences and deep character development offers a fresh perspective.

This novel is an essential read for its portrayal of resilience and the human spirit’s capacity to fight against tyranny. “Battle Crow” is an inspiring tale of hope and courage in a world of darkness.

• Many exciting, well-crafted action scenes make for a fast-paced read.
• Character interactions and relationships are dynamic, enriching the story.
• The novel stars a strong, compelling female lead, appealing to fans of powerful women in fantasy.
• Some readers might find the dynamic and complex relationships between characters difficult to follow.
• The length of the book, combined with its pacing, could be a challenge for those who prefer quick, easy reads.
• The numerous plot twists, while engaging, could be perplexing for those who prefer a more straightforward narrative.

Genres: Sci-fi, Thriller, Post Apocalyptic, Dystopia

The story revolves around Mike Mitchell, who faces the chaos of a massive cyberattack that cripples the city’s communication and power, plunging it into darkness. The situation worsens with a brutal snowstorm, cutting off the city from the rest of the world.

Mike, his family, and his neighbors struggle to survive as resources run out and society collapses. They face not only the harsh elements and scarcity of essentials but also the growing threats from others in this dire situation.

The story is a gripping survival narrative that underscores the vulnerability of our technologically dependent society. The novel brilliantly captures the urgency of contemporary concerns about cybersecurity and disaster preparedness.

If you don’t pay for a product, then you are the product.

• The story’s focus on a realistic cyber-attack scenario makes it thrilling and thought-provoking.
• The themes of survival and human resilience in the face of disaster are both relevant and inspiring.
• The novel provides detailed and believable insights into technology and cyber warfare, appealing to tech enthusiasts.
• Multiple plot lines in the story might confuse fans of simple narratives.
• The book’s dark, serious tone may not suit those who like light or funny reads.
• High tension and suspense throughout could overwhelm readers seeking a relaxed experience.

Genres: Survival, Post Apocalyptic, Dystopia, Politics, Sci-fi

“Patriots” is a gripping novel set in a near-future world facing a full-scale socio-economic collapse. The story follows a group of survivalists who flee the chaos of metropolitan Chicago to a prepared retreat in Idaho.

As they encounter the breakdown of society and infrastructure, the novel vividly portrays their use of survivalist techniques to endure the collapse of American civilization.

“Patriots” is essential reading for its authentic portrayal of survivalism and its insightful examination of societal breakdown. It’s a compelling blend of action and survival expertise, making it a standout in post-apocalyptic literature.

• The realistic portrayal of post-economic collapse America appeals to fans of plausible dystopias.
• The novel raises important moral and ethical questions about society and survival, prompting reflection and discussion.
• Detailed survival techniques in the book are educational and intriguing for self-sufficiency enthusiasts.
• The story’s detailed military content may not interest every reader.
• The book’s specific political views might not match everyone’s beliefs.
• Its educational focus on survival skills can feel too preachy for those wanting entertainment.

Genres: Fiction, Contemporary, Adult, Novels, Asian Literature

“The Fetishist” delves into the complexities of grief, revenge, and the complexities of human relationships. The narrative centers around Kyoko, a young Japanese American punk-rock singer engulfed in rage and sorrow following her mother’s tragic death.

The story unfolds on a cold, rainy night as Kyoko embarks on a mission of vengeance against Daniel, the man she holds responsible for her mother’s demise. The narrative takes unexpected turns as Kyoko’s plan for revenge doesn’t go as she envisioned.

What sets this novel apart is its blend of humor, savagery, and storytelling, combined with an incisive look at the personal and societal challenges faced by its characters while navigating the complexity of human emotions and societal expectations.

Here, I was most alive.

• The story touches on race, complicity, visibility, and femininity, making it socially and culturally relevant.
• The narrative is described as both hilariously savage and poignant, balancing humor with serious themes.
• With characters who are musicians, the book offers interesting insights into the world of music and art.
• The detailed exploration of specific cultures might not interest all readers.
• Characters in morally grey areas may not suit fans of clear heroes and villains.
• The focus on complex issues like race and femininity may be tough for those seeking escapism.

Genres: Post Apocalyptic, Sci-fi

In this novel, a space crew returns to Earth after 25 years, finding it ravaged by invisible radiation and devoid of human life. As they navigate this transformed world, they uncover a mix of conspiracies and face adventures.

The novel stands out for its unique approach to post-apocalyptic fiction, focusing on a technologically advanced future Earth. It skillfully combines current socio-political issues with speculative elements, offering a fresh perspective on post-apocalyptic narratives.

“2240: Return to Planet Earth” blends adventure, conspiracy, and romance set in a future world. Its light yet thought-provoking treatment of complex themes makes it accessible to a wide range of readers, both seasoned and new.

• It presents future technologies and their effects in an intriguing way.
• The novel keeps a hopeful tone about humanity overcoming challenges.
• The story delves into topics like humanity’s future, environmental care, and technology’s impact.
• The focus on future technologies may not appeal to fans of character-driven stories.
• The speculative setting of a future Earth may not attract those who like realistic fiction.
• The characters’ development and emotional journeys might feel shallow to some readers.

“Iron Crow” is set in post-apocalyptic Seattle, ruled by the Crow class led by Lord Corvus, from their stronghold, the Nest. The protagonist, Rayna, part of the Hydrans, scavenges for survival under the oppressive Crow regime.

Rayna’s life takes a dramatic turn when a mysterious boy arrives, burdening her with a secret that forces her to make a difficult choice: stand up for the truth and risk everything, or succumb to a world on the edge of chaos. A choice that could reshape their society.

What sets “Iron Crow” apart is its vivid depiction of a divided society and the resilience of those struggling to survive in the lower echelons. The novel is praised for its complex characters and dynamic action, making it an engaging read.

• It showcases ‘Alpha Female’ characters, offering inspiration and appeal for fans of feminist literature.
• Petersen delivers an adrenaline-packed adventure, attracting readers who love action in their books.
• The book explores survival themes, thrillingly delving into human nature during disasters, appealing to many readers.
• Extensive descriptions in the book might slow the pace or complicate the story for some readers.
• The story’s focus on Seattle’s ruins might not appeal to those unfamiliar or uninterested in such specific settings.
• Being part of a series, the book may have cliffhangers or unanswered questions, frustrating readers who like standalone stories with clear endings.

Genres: Fantasy, Sci-fi, Dystopia, Post Apocalyptic

The story starts when a man in India becomes the first to lose his shadow. This condition, known as the Forgetting, spreads globally, causing widespread panic and societal collapse.

The novel soon follows several main characters, including Orlando “Ory” Zhang and his wife, Max, who have both lost their shadows. Max leaves Ory to protect him from the dangers she might pose as her memories fade.

Ory sets out to find her, meeting various characters along the way. The journey leads them to New Orleans, where a rumored cure might exist.

What makes “The Book of M” stand out is its unique premise of memory loss linked to the loss of one’s shadow, exploring the profound impact of memories on individual identity and reality.

The memory means more, the more it’s worth to you—and to who you are.

• The book’s vivid descriptions create an immersive and captivating setting​​.
• It presents multiple character perspectives, adding depth to the narrative and giving a complete view of its world​​.
• The novel features characters with in-depth backstories and motivations, making them relatable and enhancing the emotional impact​​.
• The story’s intense themes, especially the Forgetting and its impact, could be too heavy for readers seeking lighter material.
• The vague portrayal of supernatural powers resulting from the Forgetting may not appeal to those who enjoy well-defined magic systems.
• The book uses magical realism with little scientific backing, which may challenge those who like clear explanations and conventional world-building.

Genres: Sci-fi, Dystopia, Russian Literature, Post Apocalyptic, Fantasy

“The Slynx” unfolds in a future Russia, centuries after a cataclysmic event. The story follows Benedikt, a scribe living in a society where reading is a rare skill, and the old world’s knowledge is suppressed.

As Benedikt delves into forbidden books, he discovers the power of knowledge and begins to question the tyrannical regime controlling his world.

What sets “The Slynx” apart is its inventive and allegorical exploration of a dystopian society. The author weaves a narrative filled with dark humor, surreal imagery, and profound insights into human nature and societal structures.

This novel is a must-read for its imaginative storytelling and the way it challenges readers to think deeply about knowledge, power, and the essence of humanity.

…a book is a delicate friend, a white bird, an exquisite being, afraid of water…

• It explores human cruelty, societal decline, and the battle to preserve culture and intellect.
• Despite its absurd and humorous elements, the book offers a profound philosophical look at human existence in harsh conditions.
• It focuses on the significance of memory, the impact of literature, and the dynamics of freedom and oppression, encouraging readers to think and discuss.
• Its bizarre and absurd elements could be intriguing to some but off-putting to others.
• The dark themes, set in a post-nuclear world, may be too intense for certain readers.
• The novel’s complex plot and narrative style might make it difficult for some readers to follow and engage with the story.

Genres: Classics, Sci-fi, Horror, Post Apocalyptic, Dystopia, Gothic

It sets its narrative in the late 21st century, depicting a world ravaged by a devastating plague that gradually leads to the near-extinction of humanity. The story is narrated by Lionel Verney, who eventually becomes the sole survivor of this global catastrophe.

Lionel, harboring resentment against the royal family for neglecting his family, becomes civilized under the influence of Adrian, the Earl of Windsor. The plot evolves with complex relationships, political aspirations, and personal tragedies in a crumbling society.

What distinguishes “The Last Man” is its ahead-of-its-time exploration of apocalyptic themes and its insightful commentary on society and human nature. It’s a tale of survival and a profound reflection on loss, love, and the enduring human spirit.

This novel is a must-read for its historical significance in literature and its enduring relevance in today’s world, resonating with contemporary themes of pandemics and societal collapse.

What is there in our nature that is for ever urging us on towards pain and misery?

• It explores deep themes such as the human condition, love, loss, and societal collapse.
• The novel delves into philosophical questions about the end of civilization and human existence.
• The novel’s influence on later science fiction and dystopian literature is significant, marking it as a precursor to many modern genres.
• The novel’s focus on complex political dynamics and power struggles may not engage all readers.
• The story’s heavy emphasis on the destructive quest for power may not attract those seeking a variety of themes​​​​.
• Some readers could see the absence of significant technological advancements in its future setting as a shortcoming.

Genres: Sci-fi, Dystopia, Post Apocalyptic, Climate Change, Fantasy

“New York 2140” depicts a future New York City transformed by climate change and rising sea levels. The city, now resembling Venice with its waterways and adapted skyscrapers, becomes the setting for a diverse group of characters living in the Met Life Tower.

The novel puts together the lives of its characters, including finance professionals, a police officer, and a trader. Their stories explore the effects of climate change, the resilience required to adapt to a new world, and critiques of the financial system.

The book stands out for its imaginative portrayal of a future New York and its exploration of significant environmental and socio-economic themes. “New York 2140” is a must-read for its innovative approach to climate fiction and worldbuilding.

We’ve been paying a fraction of what things really cost to make, but meanwhile the planet, and the workers who made the stuff, take the unpaid costs right in the teeth.

• Through characters in the Met Building, the novel presents varied views on the future.
• It critically examines capitalism’s role and effectiveness in addressing climate change challenges.
• Robinson builds a world where rising sea levels and the intertidal region raise important questions about ownership and living in a flooded city.
• The novel prioritizes world-building over plot, which might not satisfy those who prefer story-driven books.
• The varied narrative styles and tones could be less appealing to readers who like a more uniform storytelling approach.
• Its heavy emphasis on ecological and political themes may not attract readers seeking escapism or different science fiction themes.

Genres: Sci-fi, Post Apocalyptic, Dystopia, Classics, Fantasy

The story unfolds in a drastically altered London, submerged underwater due to climate change-induced flooding. The narrative follows Dr. Robert Kerans, a biologist leading a scientific team to explore this new world.

As the team studies the environment’s regression to a prehistoric state, they face unsettling and mysterious dreams, reflecting the psychological impact of the drastic environmental changes.

Kerans, Beatrice Dahl, and Dr. Bodkin decide to remain in the London swamplands as society collapses around them. Their isolation is disrupted by Strangman, a neo-pirate who drains the swamp, revealing the submerged city of London.

This novel is a must-read for its visionary portrayal of a world transformed by climate change and its profound exploration of the psychological effects of environmental disasters on the human psyche.

The trouble with you people is that you’ve been here for thirty million years and your perspectives are all wrong. You miss so much of the transitory beauty of life.

• It explores the psychological effects of environmental disasters on people.
• The book presents a unique post-apocalyptic world, unlike usual dystopian stories.
• It examines how humanity adapts to severe environmental changes, providing deep insights.
• Characters’ irrational actions and dreams may confuse or alienate some readers.
• Its emphasis on abstract ideas like a prehistoric world may be too complex for all to enjoy.
• The novel’s use of psychoanalytic theories to explain actions might seem unrealistic to some.

Reflecting on the best post-apocalyptic books, it’s clear that these stories offer much more than a glimpse into a ravaged world. They are a celebration of the unyielding human spirit.

In these books, we find characters who face unimaginable challenges, yet their journey is underlined by an unspoken message of hope and resilience. These stories make us ponder, dream, and sometimes even prepare.

They instill in us a sense of gratitude for the present and a curiosity for the future. And maybe, just maybe, they prepare us a little for the unexpected turns in our own lives.

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Erika Maniquiz

Erika Maniquiz is a certified teacher and librarian with a Library and Information Science degree. She cherishes the calm moments reading books as much as the dynamic discussions she has in her classroom. Beyond her career, she is a fan of Kdrama and loves Kpop's lively beats.

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Quick links, suggested searches, imagining the apocalypse: art and the end times.

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DOI: 10.33999/2022.83

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Apocalypse goes mainstream: The end of the world is becoming normal conversation

Article written by erik bleich , middlebury college , and christopher star , middlebury college.

The exponential growth of artificial intelligence over the past year has sparked discussions about whether the era of human domination of our planet is drawing to a close. The most dire predictions claim that the machines will take over within five to 10 years .

Fears of AI are not the only things driving public concern about the end of the world. Climate change and pandemic diseases are also well-known threats. Reporting on these challenges and dubbing them a potential “apocalypse” has become common in the media – so common, in fact, that it might go unnoticed or may simply be written off as hyperbole.

Is the use of the word “apocalypse” in the media significant? Our common interest in how the American public understands apocalyptic threats brought us together to answer this question. One of us is a scholar of the apocalypse in the ancient world , and the other studies press coverage of contemporary concerns .

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By tracing what events the media describe as “apocalyptic,” we can gain insight into our changing fears about potential catastrophes. We have found that discussions of the apocalypse unite the ancient and modern, the religious and secular, and the revelatory and the rational. They show how a term with roots in classical Greece and early Christianity helps us articulate our deepest anxieties today.

What is an apocalypse?

Humans have been fascinated by the demise of the world since ancient times. However, the word apocalypse was not intended to convey this preoccupation. In Greek, the verb “apokalyptein” originally meant simply to uncover or to reveal.

In his dialogue “ Protagoras ,” Plato used this term to describe how a doctor may ask a patient to uncover his body for a medical exam. He also used it metaphorically when he asked an interlocutor to reveal his thoughts.

New Testament authors used the noun “apokalypsis” to refer to the “revelation” of God’s divine plan for the world . In the original Koine Greek version, “apokalypsis” is the first word of the Book of Revelation, which describes not only the impending arrival of a painful inferno for sinners but also a second coming of Christ that will bring eternal salvation for the faithful.

The apocalypse in the contemporary world

Many American Christians today feel that the day of God’s judgment is just around the corner. In a December 2022 Pew Research Center Survey , 39% of those polled believed they were “living in the end times,” while 10% said that Jesus will “definitely” or “probably” return in their lifetime.

Yet, for some believers, the Christian apocalypse is not viewed entirely negatively. Rather, it is a moment that will elevate the righteous and cleanse the world of sinners.

Secular understandings of the word, by contrast, rarely include this redeeming element. An apocalypse is more commonly understood as a cataclysmic, catastrophic event that will irreparably alter our world for the worse. It is something to avoid, not something to await.

What we fear most, decade by decade

Political communications scholars Christopher Wlezien and Stuart Soroka demonstrate in their research that the media are likely to reflect public opinion even more than they direct it or alter it. While their study focused largely on Americans’ views of important policy decisions, their findings, they argue, apply beyond those domains.

If they are correct, we can use discussions of the apocalypse in the media over the past few decades as a barometer of prevailing public concerns.

Following this logic, we collected all articles mentioning the words “apocalypse” or “apocalyptic” from The New York Times, The Wall Street Journal, and The Washington Post between Jan. 1, 1980, and Dec. 31, 2023. After filtering out articles centered on religion and entertainment, there were 9,380 articles that mentioned one or more of four prominent apocalyptic concerns: nuclear war, disease, climate change, and AI.

Through the end of the Cold War, fears of nuclear apocalypse predominated not only in the newspaper data we assembled but also in visual media such as the 1983 post-apocalyptic film “The Day After,” which was watched by as many as 100 million Americans .

By the 1990s, however, articles linking the word apocalypse to climate and disease – in roughly equal measure – had surpassed those focused on nuclear war. By the 2000s, and even more so during the 2010s, newspaper attention had turned squarely in the direction of environmental concerns.

The 2020s disrupted this pattern. COVID-19 caused a spike in articles mentioning the pandemic. There were almost three times as many stories linking disease to the apocalypse in the first four years of this decade compared to the entire 2010s.

In addition, while AI was practically absent from media coverage through 2015, recent technological breakthroughs generated more apocalypse articles touching on AI than on nuclear concerns in 2023 for the first time ever.

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A Modern Mom Finds an Ancient Outlet for Feminist Rage

In Alexis Landau’s ambitious new novel, “The Mother of All Things,” the frustrations of modern parenting echo through the ages.

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By Eliza Minot

Eliza Minot is the author of the novels “The Tiny One,” “The Brambles” and, most recently, “In the Orchard.”

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THE MOTHER OF ALL THINGS, by Alexis Landau

What is the source of maternal rage? The answer is as infinite as it is ancient. In 1965, the poet and essayist Adrienne Rich, with small children underfoot, captured a possible explanation for this abyss in her journal when she described it as “a sense of insufficiency to the moment and to eternity.”

But where — for moms, for women — does this nagging feeling of insufficiency come from? From the misogyny that we grow up with? From the helpless outrage we bear as our messy, gorgeous, individual maternal experiences are flattened by society into a weirdly infantilized stereotype that’s placed, like a paper doll, into a two-dimensional dollhouse called “Motherhood”? Or does it come from the profound feeling of helplessness that accompanies the ability to give life to a human being, but be unable to ensure that life’s safety?

Ava Zaretsky, the diligent heroine of Alexis Landau’s ambitious and engaging new novel, “The Mother of All Things” (her third after “Those Who Are Saved” and “The Emperor of the Senses”), simmers with a steady rage that never fully erupts toward her kids (Sam, 10, and Margot, 13, who’s at the edge of “adolescence’s dark tunnel”) or her husband, Kasper, a preoccupied Los Angeles film producer. Rather, Ava’s rage burns beneath the surface, “so white and hot it blurred the contours of her body.” She is angry that, in a marriage of supposed equals circa 2019, Kasper can relocate to Sofia, Bulgaria, for a six-month film shoot without a second thought, while her own work as an adjunct art history professor is smudged out by the needs of her family. Her fury is also embedded, we later learn, in the powerlessness that comes with profound loss.

When the family joins Kasper in Sofia for the summer, the kids enroll in a day camp, allowing Ava to wander this mysterious city. Her curiosity and creativity bubble to the surface. She begins writing about an ancient Greek woman whose life parallels and dovetails with her own, and whose narrative is interspersed throughout the pages of the novel. By coincidence, Ava also reconnects in Sofia with an intimidating former professor named Lydia Nikitas and becomes involved in a group of women who participate in re-enactments of ancient rites and rituals, most notably the Eleusinian Mysteries.

Despite some moments that feel forced and overly earnest, particularly in the ancient narrative and the Nikitas story line, Landau’s writing is accessible, specific, lush and transporting. Her research is rigorous and full of elegant effort. The great success of this novel is the author’s sustained exploration of a woman in early midlife who, seething quietly on the inside but operating gracefully on the outside, bravely re-evaluates how her life has unfolded in order to progress as a mother to herself. Renderings of Ava’s childhood — a heartbreaking recollection of a favorite red belt, memories of a father’s girlfriend entering her life and then leaving it — are especially astute and rich.

At times, the novel’s disparate parts compete with rather than complement one another; some characters seem predictable, and certain ideas redundant. When things are meant to get weird, as in the rituals, it can feel more Scooby-Doo than genuinely haunting. For this reason, more than once, I felt like shaking the book like a snow globe, as if its fascinating contents, suspended, might set free more of its wildness.

Landau’s prose can also lift off the page, as it does in a prolonged memory of Ava’s first childbirth and its aftermath. Here, Landau’s writing is intimate, tender and full of terror. The sentences breathe with the softness of shared human experience across time — absolutely sufficient to the moment, and to eternity, too.

THE MOTHER OF ALL THINGS | By Alexis Landau | Pantheon | 336 pp. | $29

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Students present research results in numerous fields 

• 06 May 2024

Research in the fields of business, communication, health, psychology, science at Pittsburg State is contributing not only to society’s field of knowledge and helping to pave the way for decision-making, planning, and funding, but also arming students with valuable skills for future careers. 

That research was on display recently at the annual Research Colloquium, showcasing the work of almost 120 students who presented poster displays and oral presentations that summarized their work.   

Among them:  

Anjeli Gupta, who as a freshman has been conducting research alongside scientists – including her father, Professor Ram Gupta -- in the National Institute for Materials Advancement at Pitt State, presented their findings related to green energy.  

“Hydrogen is considered one of the most effective and clean energies we can use,” she said. “My research focused on water splitting: splitting up oxygen and hydrogen, which creates energy that can be used to replace fossil fuels.”  

“It would be another renewable resource, like solar energy, with no byproducts like carbon dioxide, no greenhouse gases,” she said. “The byproduct would be water.”  

Nursing student Zackary Goswick focused his research, conducted with Professor Barb McClaskey, on the overuse of antibiotics.  

“Over time, overuse causes them to be ineffective, and my research looks at what has been done to curb that, as well as what should be done,” he said. “There are clearly gaps in health education, and intervention is needed.”  

“I’m really interested in pharmakinetics -- there are so many different classes of antibiotics and so many ways they work,” he said. “I plan to pursue my doctorate in nursing and I’m considering making that subject my focus.”  

Field Biology

A team of Field Biology students researched with Associate Professors Christine Brodsky and Andrew George the impact of fire on natural resource management.  

Their work was done at nearby Prairie State Park for three weeks over winter break, and while it cut into their time off, it gave them valuable real-world experience.  

“We learned a lot, and we knew when we applied for positions, this would give us an advantage over the competition,” said Khloe Stringer, who graduates this weekend.  

Stringer will be heading to Idaho this summer to work for a state agency researching Chinook and Steelhead trout as a field technician.  

Gabe Jones will be starting a job as a game warden in Atchinson.  

“This broadened the tools I have,” he said.  

Health, Human Performance, and Recreation

Allie Johnson worked with Assistant Professor Shelby Hutchens to research the impact of an outdoor adventure camp on emotional regulation in low-income youth.  

Her quantitative and qualitative research was conducted at Wildwood Outdoor Education Center near LaCygne, where she has worked as an assistant camp director and camp director.  

“Many of the youth we serve come from inner Kansas City and are from foster homes. We found that when they came in on Monday, they were scared and uncomfortable,” she said. “By the time they left on Friday, they were much more comfortable and personable.”  

“Within five days, the results were significant. An outdoor camp provides them a safe space for them to be themselves, and to connect with nature and others,” she said. “What we need is for this type of activity to be done throughout the schools.”

View descriptions of all the entries and the winners, including 1st, 2nd, and 3rd place and honorable mentions in each category, here .

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You are here, announcing 2024-2025 graduate labor research grant recipients.

Each year, the Harry Bridges Center for Labor Studies awards thousands of dollars in research funding to University of Washington graduate students and faculty. Since 1992, the Center has awarded over one hundred grants, producing dozens of reports, books, articles, and more. We are pleased to announce the recipients of Labor Studies graduate student research funding for the 2024-2025 academic year.

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