Full text issues
If the problem persists, please try again in a little while. Read preview. Read preview Overview. Johnson; Clara Tuite Wiley-Blackwell, Our Landlady By L. Common types of primary sources include works of literature, historical documents, original philosophical writings, and religious texts.
Within time, no place in the world is safe.
Wasteland: America's Demise, Book 1 (Unabridged) on Apple Books
Something insidious has arrived - right in the heartland of our nation. Lauren Hale, a new hospital resident, is nearly killed by a raving mad emergency room patient, in a senseless, unprovoked attack. Officer David Olson, veteran cop and former Marine, returns from a father-son camping trip to discover that his ex-wife has vanished under bizarre circumstances and his police department is on the verge of collapse. Jack and Emma Harper, a young, upwardly mobile couple, find their hip city neighborhood rapidly descending into madness. Judd Bryant, a survivor who does not succumb to the horrendous death, is a talented man with a zest for living.
He faces his darkest hour until he finds a purpose in the form of Dawson, an eight-year-old boy with an unusual gift. The unlikely pair set out to find others, only to realize that each passing day is increasingly more dangerous than the one before.
Their road becomes an obstacle course filled with unimaginable disasters. In the midst of a bitter family feud, the much divided Rolland family is thrown together when news of their father's untimely passing places them on a red-eye flight from Seattle to Washington D. Although, they are physically close in the tight space of the aircraft, Rege, Mark, and Kit are at their farthest distance apart emotionally. Until the unthinkable happens. Two hours into the flight, missiles streak across the star-filled sky, the detonation of a nuclear warhead causes the plane to make a forced landing.
As a prepper, Grayson Rowan was prepared for almost anything While he sat back and watched the US rattle swords with Korea, play chicken with Russia, and strong-arm China, he felt sure if the lights went out that he and his family would be ready and safe. What he wasn't prepared for was his family not being home if it ever happened.
Graysie Rowan, a freshman at university, just wants to go home. The boy took the can. Go ahead. He looked at his father and then tilted the can and drank. He sat there thinking about it. In strict adherence to his survivor state of mind, the boy does not ask for more, a typical response among children, but rather acknowledges the experience as unique, a relic of the demolished American consumer culture:.
You have some, Papa. I want you to drink it. You have some. He took the can and sipped it and handed it back. You drink it, he said. Okay, the boy said. Parallax Yet, the father cannot utterly abandon the consumer consciousness he was raised on.
Therefore, the Coca-Cola incident represents a brief moment of surplus, an almost noble attempt, in capitalistic terms, to endow his son with the desire to desire. The one thing that everybody knows about America, the one thing above cowboys and Indians, above everything else that you can think of, is Coca-Cola. Well, how good would they be if there were 2, of them?
Your audiobook is waiting…
But that's the future looking back at us. Just the sheer number of things will devalue them. But whether mummified by the cold or eaten by other survivors, the dead seem to be more animated then the living survivors; it is as if in death they have regained some of their lost humanity. Dead bodies no longer embody the duality that the father is struggling with as they are nothing but empty shells, while the human beings he encounters illustrate the very impossibility he attempts to escape by surrendering to the metaphorical body of the darkness.
Once again, the encounter with the notion of tabula rasa , a blank slide, leads us back to the theme of absence. The most obvious example is on the level of plot, which displays absence through recurring pictorial imagery of a barren ashen land, lacking in both natural and technological recourses. In addition, the narratological level lacks a clear authorial voice as there are generally no clear distinctions between the third person narrator and the focalizations of the father.
The stylistic level can also be characterized through the overarching theme of absence; the lack of quotation marks blurs the distinction between the third-person narration and the two protagonists. However, it seems that at least for the father, redemption is achieved through physical absence and the separation of the corporeal from the spiritual. This thematic and structural absence certainly facilitates the emergence of the metaphorical body of the darkness. In the dream sequence presented at the beginning of the plot, the father can see the internal organs of an ambiguous creature, which emerges from a lake set inside a cave that the father and the son wander into.
However, since the unrepresentable cannot be stretched beyond insinuations, the theme of absence takes its place throughout the novel.
- A Wasteland of Contradictions: The California Dreams of Nathanael West.
- Ashes and Ice (Fire and Ice Ashes and Ice Book 2).
- Trash: African Cinema from Below.
- A Few Words About the Devil: And Other Biographical Sketches and Essays.
- Said the Fly (The Epiphany Jerome Forensic Mystery Series Book 1);
Beyond the sense of existential homelessness, another thematic link can be drawn between Falling Man and The Road in relation to the metaphorical body—both novels portray male protagonists who survive an apocalypse but lose touch with their masculinity or any other level of identification with their physical body. DeLillo poses the Twin Towers as provocation stemming from cultural hubris and McCarthy satirizes the shopping cart and the Coca-Cola enterprise, but both commentaries are secondary in importance to the ontological crisis of the individual, who can no longer distill a sense of meaning and wholeness from his corporeal image.
In the absence of any referential value, it is clear why the novel conveys the sensation of frozen time, or alternatively, of a temporal dimension caught in an endless loop. Thus, in the absence of a temporal correlation to either the lunar calendar of the natural world and the Jewish calendar or the Christian calendar of crucifixion and resurrection, the novel resorts back to the primordial time of pre-human history.
But more importantly, this non-verbal sound is indicative of the supremacy of the soul over the body. If one considers the father as an allegorical representative of the human race, his death eliminates the innate dichotomy of mind versus matter. Bakhtin, M.
Solzhenitsyn and Truth’s Wasteland
Brian Richardson. Columbus: Ohio State UP, Bigsby, Christopher. Crome Publishing, Kindle Edition. Cohen, Maurie J. London: Bloomsbury Publishing, Deleuze, Gilles. Difference and Repetition.