Vegans, Zombies, and Eco-Apocalypse: McCarthy's<i>The Road</i>and Atwood's<i>Year of the Flood</i>

Wright, Laura

doi:10.1093/isle/isu096

Cited by 6 publications

(1 citation statement)

References 8 publications

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“…For some recent examples, see Gaard et al . (2013), McSweeney (2013), Murphy (2018), Soles (2014) and Wright (2015).…”

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confidence: 99%

‘Shrieking soldiers … wiping clean the earth’: hearing apocalyptic environmentalism in the music of Botanist

Lucas¹

2019

Pop. Mus.

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This article presents a case study of ecocritical black metal, delving into the apocalypticism of the California-based black metal band Botanist, who conjures a world in which plants have violently destroyed human civilisation. It first contextualises Botanist amidst the broader current of environmentalism in extreme metal as well as within wider cultural explorations of plants as subjective beings capable of violence. The article then examines how Botanist taps into the logic of apocalyptic environmentalism, as the music presents the essential narrative of apocalyptic bioterrorism: humanity, with wanton hubris, has sown the seeds of its own destruction, and earned whatever horrors befall it on the way to elimination. With its bleak outlook and strident sound world, Botanist's music threatens to destabilise listeners’ assumptions about their place in the world and offers an example of what apocalyptic ecological urgency in music could sound like.

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“…For some recent examples, see Gaard et al . (2013), McSweeney (2013), Murphy (2018), Soles (2014) and Wright (2015).…”

mentioning

confidence: 99%

‘Shrieking soldiers … wiping clean the earth’: hearing apocalyptic environmentalism in the music of Botanist

Lucas¹

2019

Pop. Mus.

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Doomsday Dreaming

Joyce¹

2018

Transmedia Storytelling and the Apocalypse

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Strangers in Strange Worlds: Margaret Atwood’sMaddAddamTrilogy

Northover

2017

Journal of Literary Studies

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Strangeness, based on the ambivalence of the uncanny, characterises both the preand post-apocalyptic worlds of Margaret Atwood's MaddAddam trilogy. Whereas Spiegel (2010) makes a convincing case for the neomedievalism of the corporationdominated pre-apocalyptic world in Oryx and Crake, Atwood's post-apocalyptic world can perhaps more aptly be described as Palaeolithic or Neolithic in the special sense of a return to the Stone Age. However, both these worlds are fictional constructs, set in the near future, allowing Atwood to critique trends in the contemporary world. Both worlds make disturbing and alienating reading, despiteor pehaps because ofthe dark sense of humour that Atwood exhibits and the strange familiarity of her imagined worlds. Besides the more general concepts of the sinister and the eerie, Russian Formalism's defamiliarisation and Freud's unheimlich (uncanny) are employed to understand different aspects the alienating effects that Atwood achieves. The animal gaze and the unmasking of the absent referent are also considered, particularly as experienced through Jimmy and Toby, Atwood's main narrative focalisers.

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Vegans, Zombies, and Eco-Apocalypse: McCarthy'sThe Roadand Atwood'sYear of the Flood

Cited by 6 publications

References 8 publications

‘Shrieking soldiers … wiping clean the earth’: hearing apocalyptic environmentalism in the music of Botanist

‘Shrieking soldiers … wiping clean the earth’: hearing apocalyptic environmentalism in the music of Botanist

Doomsday Dreaming

Strangers in Strange Worlds: Margaret Atwood’sMaddAddamTrilogy

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