It is the not-too-distant future, and the rapture has occurred. Every born-again Christian on the planet has, without prior warning, been snatched from the earth to meet Christ in the heavens, while all those without the requisite faith have been left behind to suffer the wrath of the Antichrist as the earth enters into its final days. This is the premise that animates the enormously popular cultural phenomenon that is the Left Behind series of prophecy novels, co-written by Tim LaHaye and Jerry Jenkins and published between 1995 and 2007. But these books are more than fiction: it is the sincere belief of many evangelicals that these events actually will occur--soon. Plotting Apocalypse delves into the world of rapture, prophecy, and tribulation in order to account for the extraordinary cultural salience of these books and the impact of the world they project. Through penetrating readings of the novels, Chapman shows how the series offers a new model of evangelical agency for its readership. The novels teach that although believers are incapable of changing the course of a future that has been preordained by God, they can become empowered by learning to read the prophetic books of the Bible--and the signs of the times--correctly. Reading and interpretation become key indices of agency in the world that Left Behind limns. Plotting Apocalypse reveals the significant cultural work that Left Behind performs in developing a counter-narrative to the passivity and fatalism that can characterize evangelical prophecy belief. Chapman's arguments may bear profound implications for the future of American evangelicalism and its interactions with culture, society, and politics.

There he was in his sailboat in the middle of the Atlantic, all alone and loving it. Well, there was a US Navy carrier group on his southern horizon, but he was a Navy guy himself, so he didn't mind. Then came the UFOs, hurtling in from the Outer Black to overfly the carriers at Mach 17. Their impossible aerobatics were bad enough¾but then they started shooting at each other. And at the Navy. With nukes. Little ones at first, but winding up with a 500 megatonner at 90 miles that fried every piece of electronics within line-of-sight. Richard Ashton thought he was just a ringside observer to these now over-the-horizon events. Until the crippled alien lifeboat came drifting down and homed in on his sailboat; suddenly he has his hands full of an unconscious, critically wounded and impossibly human alien warrior who also happens to be a gorgeous female. That's when things got interesting. At the publisher's request, this title is sold without DRM (Digital Rights Management). "... a particular delight, offering nonstop action that's both well executed and emotionally satisfying." ¾Publishers Weekly "It's a rollicking fun tale that's impossible to put down." ¾Philadelphia Weekly Press "... the best work (Weber] has done ... the rewards are ample ... recommended...." ¾Starlog

Through an examination of nineteenth- and twentieth-century theoretical work and novels, Della Coletta presents an authoritatively original recasting of the notion of the historical novel. Della Coletta's analysis of these novels suggests that genres are ideological units molded by culture and history, and that current ideologies shape the literary representation of the historical past. This innovative case study thus illuminates not just the twentieth-century Italian historical novel but also the function of literary genres as a whole.

This is a comparative literary study of apocalyptic themes and narrative techniques in the contemporary North and Latin American novel. Zamora explores the history of the myth of apocalypse, from the Bible to medieval and later interpretations, and relates this to the development of American apocalyptic attitudes. She demonstrates that the symbolic tensions inherent in the apocalytic myth have special meaning for postmodern writers. Zamora focuses her examination on the relationship between the temporal ends and the narrative endings in the works of six major novelists: Gabriel Garcia Marquez, Thomas Pynchon, Julio Cortazar, John Barth, Walker Percy, and Carlos Fuentes. Distinguished by its unique, cross-cultural perspective, this book addresses the question of the apocalypse as a matter of intellectual and literary history. Zamora's analysis will enlighten both scholars of North and Latin American literature and readers of contemporary fiction.

When Sam agrees to take his little sister, Lexie, to see the world's most popular boy band, Apocalips, he expects it to be bad. But he doesn't expect to get locked in a cupboard, to overhear the band plotting to destroy the world and to witness them disintegrate one of their own members. When no one believes him but his best friend, Milo, Sam is left with no option but to take part in a contest to join the band to try and save the world from Armageddon. To do this Sam will have to become someone he's never been before. With help from Milo and Lexi, he'll have to overcome the Four Horsewomen of the Apocalypse, pop Svengali Nigel Cruul, a dodgy haircut, and his complete inability to sing or dance. Still, it's not the end of the world. Not yet anyway.

Traditional apocalyptic texts concern the advent of a better world at the end of history that will make sense of everything that happened before. But what is at stake in the contemporary shift to apocalyptic narratives in which the utopian end of time is removed? The Contemporary Post-Apocalyptic Novel offers an innovative critical model for our cultural obsession with 'the end' by focussing on the significance of time in the 21st-century post-apocalyptic novel and challenging traditional apocalyptic logic. Once confined to the genre of science fiction, the increasing popularity of end-of-the-world narratives has caused apocalyptic writing to feature in the work of some of contemporary literature's most well-known fiction writers. Considering novels by Will Self, Cormac McCarthy, David Mitchell, Emily St. John Mandel, Jeanette Winterson and others, Diletta De Cristofaro frames the contemporary apocalyptic imagination as a critique of modernity's apocalyptic conception of time and history. Interdisciplinary in scope, the book historicises apocalyptic beliefs by exploring how relentlessly they have shaped the modern world.

Visions of post-apocalyptic worlds have proved to be irresistible for many 21st-century writers, from literary novelists to fantasy and young adult writers. Exploring a wide range of texts, from the works of Margaret Atwood, Cormac McCarthy, Tom Perrotta and Emily St. John Mandel to young adult novels such as Suzanne Collins's The Hunger Games series, this is the first critical introduction to contemporary apocalyptic fiction. Exploring the cultural and political contexts of these writings and their echoes in popular media, Apocalyptic Fiction also examines how contemporary apocalyptic texts looks back to earlier writings by the likes of Mary Shelley, H.G. Wells and J.G. Ballard. Apocalyptic Fiction includes an annotated guide to secondary readings, making this an essential guide for students of contemporary fiction at all levels.

A mordantly funny, all-too-real novel in the vein of Tom Perotta and Emma Straub about a suburban American family who have to figure out how to survive themselves and their neighbors in the wake of a global calamity that upends all of modern life. It’s Tuesday morning in Lincolnwood, New Jersey, and all four members of the Altman family are busy ignoring each other en route to work and school. Dan, a lawyer turned screenwriter, is preoccupied with satisfying his imperious TV producer boss’s creative demands. Seventeen-year-old daughter Chloe obsesses over her college application essay and the state tennis semifinals. Her vape-addicted little brother, Max, silently plots revenge against a thuggish freshman classmate. And their MBA-educated mom Jen, who gave up a successful business career to raise the kids, is counting the minutes until the others vacate the kitchen and she can pour her first vodka of the day. Then, as the kids begin their school day and Dan rides a commuter train into Manhattan, the world comes to a sudden, inexplicable stop. Lights, phones, laptops, cars, trains…the entire technological infrastructure of 21st-century society quits working. Normal life, as the Altmans and everyone else knew it, is over. Or is it? Over four transformative, chaotic days, this privileged but clueless American family will struggle to hold it together in the face of water shortages, paramilitary neighbors, and the well-mannered looting of the local Whole Foods as they try to figure out just what the hell is going on.

Lucy Corin's "eye popping, enlightening read" (Publishers Weekly), now in paperback. At the heart of Lucy Corin’s dazzling collection are one hundred apocalypses: visions of loss and destruction, vexation and crisis, revelation and revolution, sometimes only a few lines long. In these haunting and wickedly funny stories, an apocalypse might come in the form of the end of a relationship or the end of the world, but they all expose the tricky landscape of our longing for a clean slate. In three longer stories, contemporary American life is playfully, if disturbingly, distorted: the rite of passage for adolescent girls involves choosing the madman who will accompany them into adulthood; California burns to the ground while, on the east coast, life carries on; and a soldier returns home broke from war to encounter a witch who extends a dangerous offer. At once mournful and explosively energetic, One Hundred Apocalypses and Other Apocalypses is "deeply rooted in the politics and upheaval of our times" (Lambda Literary).

The twentieth century saw an unprecedented spike in the study of altered states of consciousness. New ASCs, such as those associated with LSD and psilocybin mushrooms, were cultivated and studied, while older ASCs were given new classifications: out-of-body experiences, near-death experiences, psychokinesis, extrasensory perception. Altered Consciousness in the Twentieth Century analyses these different approaches and methodologies, and includes exciting new research into neglected areas. This volume investigates the representation of ASCs in the culture of the twentieth century and examines the theoretical models that attempt to explain them. The international contributors critically examine a variety of ASCs, including precognition, near-death experiences, telepathy, New Age ‘channelling’, contact with aliens and UFOs, the use of alcohol and entheogens, analysing both the impact of ASCs on the culture and how cultural and technological changes influenced ASCs. The contributors are drawn from the fields of English and American literature, religious studies, Western esotericism, film studies, sociology and history of art, and bring to bear on ASCs their own disciplinary and conceptual perspectives, as well as a broader interdisciplinary knowledge of the subject. The collection represents a vital contribution to the growing body of work on both ASCs and the wider academic engagement with millennialism, entheogens, occulture and the paranormal.