Status
Call number
Series
Collection
Publication
Description
Fiction. Science Fiction. Short Stories. HTML:The new post-apocalyptic collection by master anthologist John Joseph Adams, featuring never-before-published stories and curated reprints by some of the genre's most popular and critically-acclaimed authors. In WASTELANDS: THE NEW APOCALYPSE, veteran anthology editor John Joseph Adams is once again our guide through the wastelands using his genre and editorial expertise to curate his finest collection of post-apocalyptic short fiction yet. Whether the end comes via nuclear war, pandemic, climate change, or cosmological disaster, these stories explore the extraordinary trials and tribulations of those who survive. Featuring never-before-published tales by: Veronica Roth, Hugh Howey, Jonathan Maberry, Seanan McGuire, Tananarive Due, Richard Kadrey, Scott Sigler, Elizabeth Bear, Tobias S. Buckell, Meg Elison, Greg van Eekhout, Wendy N. Wagner, Jeremiah Tolbert, and Violet Allen�??plus, recent reprints by: Carmen Maria Machado, Carrie Vaughn, Ken Liu, Paolo Bacigalupi, Kami Garcia, Charlie Jane Anders, Catherynne M. Valente, Jack Skillingstead, Sofia Samatar, Maureen F. McHugh, Nisi Shawl, Adam-Troy Castro, Dale Bailey, Susan Jane Bigelow, Corinne Duyvis, Shaenon K. Garrity, Nicole Kornher-Stace, Darcie Little Badger, Timothy Mudie, and Emma Osborne. Continuing in the tradition of WASTELANDS: STORIES OF THE APOCALYPSE, these 34 stories ask: What would life be like after the end of the world as we know… (more)
User reviews
I don't think this one was quite as good: some of the stories here are definitely better written than others, and there are, I think, fewer real standouts. (Mind you, it probably didn't help, either, that some of the best stories in this volume were ones I'd already encountered before elsewhere, even if I could probably read Tananarive Due's "Patient Zero" any number of times and still get the same emotional impact from it.)
And yet, taken as a whole, there's a feeling to it all that really worked for me, even if I find it difficult to describe exactly. Something, perhaps, about how low-key so much of it is, despite the subject matter. There's a strong focus on ordinary people, and a general foregrounding of human emotions, particularly regret, over violence and spectacle. And there are surprisingly few cliches to be found here, given how riddled this particular subgenre is with them.