From the Sumerian epic of Gilgamesh to Norse prophecies of Ragnarök to the Revelations of Saint John to Cormac McCarthy’s the line, any variety of fictional zombie Armageddons, and the dystopic global of The starvation video games, now we have consistently puzzled what is going to ensue after the realm as we all know it ends. it doesn't matter what the doomsday scenario—cataclysmic weather swap, political chaos, societal cave in, nuclear conflict, pestilence, or such a lot of different dreaded variations—we unavoidably think that even supposing the area perishes, a few component of humankind will live to tell the tale. Such tales contain dying and catastrophe, yet also they are stories of rebirth and survival. Grim or effective, those extraordinary post-apocalyptic tales chosen from chosen from the easiest of these released within the tumultuous final decade let us ponder what existence should be like after the tip.
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Extra resources for After the End: Recent Apocalypses
The hook and the squirming worm sank. Before it came to rest, he felt a nibble. He sucked in his breath exultantly and snapped the hook deep into the fish’s mouth. Sometimes, he thought philosophically, they just won’t take artificial bait. He reeled in slowly. ” It was sagging dangerously. He looked at it unhappily and raised his ante to five dollars; even at that price it looked impossible. He dipped his rod into the water, parallel with the line, to remove the strain. He was glad no one could see him do it.
Later still, in the early 1990s, horror itself would begin to split, with a variety sometimes called “Dark Suspense” beginning to be differentiated from the more traditional supernatural horror; closer to the “true crime/suspense novel” subgenre of mystery than to the work of earlier horror writers such as Lovecraft, the rapidly growing “Dark Suspense” subcategory is mostly concerned with a seemingly endless parade of serial killers, murderous rapists, and child molesters—horror in the Hitchcockian sense rather than in the supernatural sense—and, since it usually contains no fantastic element, passes quickly beyond our purview here.
Lately, a new subcategory called “Hard Fantasy” has been proposed, an as-yet only vaguely denned hybrid between Tolkienesque fantasy, technologically oriented “hard” science fiction, and steampunk, with perhaps a jigger of Outlaw Fantasy thrown in; the best examples of this nascent form to date are to be found in Michael Swanwick’s The Iron Dragon’s Daughter, Walter Jon Williams’s Metropolitan, and in some of the short work—such as “The Giving Mouth”—of Ian R. MacLeod, although I suspect that Geoff Ryman’s “The Unconquered Country” is also ancestral in some way.
After the End: Recent Apocalypses