Issue 5: Apocalypse Now

Roslyn Weaver : "The Four Horsemen of the Greenhouse Apocalypse": Apocalypse in the Science Fiction Novels of George Turner

... the realities of overpopulation, ineradicable pollution, rampant nationalism, and plain entrepreneurial greed - the four horsemen of the greenhouse apocalypse - closed around the planet.
- George Turner, Down There in Darkness 13


D. Bruno Starrs : Filmic Eco-warnings and Television: Rolf de Heer's Epsilon (1995) and Dr. Plonk (2007)

While a culture of celebrity candidacy threatens to turn the election race for the office of the leader of the free world, the US presidency, into performance (low) art; while the travesties of religious fundamental extremists promote more internecine hatred; and while wars are fought over control of the Earth's finite fossil fuel resources, contemporary cinema audiences, like the rest of the community, are offered few reasons to be optimistic. Movie makers seem to frequently delight in depicting our irredeemable present and apparently bleak future.

Daniel F. Spoth : The Critical Mass of Language: Post-Trinity Representation

If the radiance of a thousand suns
were to burst into the sky,
that would be like
the splendor of the Mighty One?
I am become Death, the shatterer of worlds.

- Bhagavad-Gita

It lighted every peak, crevasse and ridge of the nearby mountain range with a clarity and beauty that cannot be described but must be seen to be imagined. It was that beauty the great poets dream about but describe most poorly and inadequately. 
- Brig. Gen. Thomas J. Farrell, Trinity test eyewitness account

Michael Mikulak : This is the End: Earth First! and Apocalyptic Utopianism

"The ice may be coming soon to wipe our nasty little case of acne off the broad smile of Ma Gaia… And good riddance too" (Lee Earth First! 89).


Randy Laist : Apocalyptic Nostalgia in the Prologue of Don DeLillo's Underworld

Throughout his career, one of Don DeLillo’s most prevalent themes has been the nature of post-apocalyptic awareness. In White Noise (1985), the most unsettling aspect of the Airborne Toxic Event that menaces the Gladney family is not its physical existence as a billowing cloud of deadly chemicals, but the manner in which, once the cloud is gone, the deadliness persists - invisibly, genetically, virally.

Angela Jones : Musical Apocalypse: Tom Waits' Bone Machine

Apocalypse derives from the Greek apocalypsis, meaning the act of uncovering, unveiling, or revelation (Frye 135, Derrida 64). It has been suggested that originally apocalypse did not embody the concepts of violence and destruction, which we now come to associate with it;[1] however, at least since its inception as a distinctive genre, it has also come to entail an "end-of-history scenario" which involves not only revelation but catastrophe, destruction, and disaster (Boyarin 42).

Ryan Barnett : Behind the Veil: Gender and Apocalypse in George Eliot's The Lifted Veil (1859) and Wilkie Collins's The Two Destinies (1876)[1]

Behind the Veil

"What is this, behind this veil," the narrator of Sylvia Plath's poem "A Birthday Present" asks: "is it ugly, is it beautiful?" (48) Throughout the poem the birthday present which may be ugly or beautiful, ugly and beautiful, is never revealed: it remains a secret; only ever a deferred promise of an unveiling 'to come.' In this sense, Plath's poem can be said to be 'apocalyptic.' Etymologically, the word 'apocalypse' signifies an 'unveiling' or 'disclosure' and is synonymic with the term 'revelation.' And, as Jacques Derrida has p


I want to start with two passages from H. G. Wells. The first is from The Invisible Man (1897). Here is Griffin, the Invisible Man himself, explaining the benefits of invisibility to his former classmate Kemp:

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Since the beginning the end has always been with us.