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Completed Items. Sold Items. Authorized Seller. The friction of these two modes of time — the eschatological telos of apocalyptic time and the temporality of perpetual war — is especially evident in the section "The World Doesn't End," which recasts apocalyptic time to demand that we frame each bombing, small or large, as "world ending" in its own way.

Through the characters in "The World Doesn't End," Tanweer asks us to consider how apocalyptic time can be used to cope with the "after" of a bomb's aftermath. The characters and the city alike confront the bombing's aftermath and the ways it changes their perceptions of the past, present, and future. For example, faced with endlessly repetitive violence, the writer in the city explains that here, grieving is impossible, because "[g]rieving is only possible when you know you have come to an end, when there is nothing more to follow.

This urge is particularly striking in texts that concern terrorist acts and bombings, which already exhibit a desire to bring about the end of one's world through destruction. But against these other kinds of "terrorist texts," I want to carefully delineate the apocalyptic impulse in Tanweer's novel, which I read as oriented differently toward a future world. Here, as I develop below, the characters take refuge in the desire to end the world because it interrupts the static temporality of perpetual, unending war, and produces a temporality of self-preservation, rather than self-destruction.

In other words, my reading of the novel suggests that if war and violence are experienced as "perpetual," or unending, then we might read the apocalyptic impulse as a desire to bring an end to otherwise unceasing violence. This view of the political possibilities of apocalyptic time draws but also departs from other scholars' understandings of apocalyptic time and fiction. For David Scott, apocalyptic time emerges from the temporality of "aftermaths," of "immobility and pain and ruin," a "stalled present" that may encourage a turn to apocalyptic, or messianic temporalities.

Critical Temporalities: Station Eleven and the Contemporary Post-Apocalyptic Novel

In "The World Doesn't End," Tanweer links ruins, wreckage, and apocalyptic time to dramatize the temporality of the aftermath. The story is focalized through the brother of Akbar, an ambulance driver. Akbar responded to the Cantt train station bombing, and, in his mother's words, returns home without his soul in him. He was an angel I tell you. An angel. Like I said in the title, listen to the sample before you buy.

Alan is an acquired taste. I truly wanted to like this book but it had so many things going against it. I hope Steven Knight other books is nothing like this one because if so it says a lot about his character and how he sees the world. Stopped 2 hours in and returned the book. The narration was painful to listen to and in the end I gave up. The story was drawn out with far too many characters and side stories going on.

With no pause between jumping scenes and characters the story is just one big muddle. Such a shame as I have enjoyed Stephen Knights precious zombie books immensely. The narrator's voice, which starts out deep and gravely, became irritating pretty quickly. For one thing, the gravel began to sound like phlegm, like he needs to clear his throat. And he made no adjustments for age, gender or background - all the characters sound alike.

The story jump in side my mind and wouldn't let go what a fully thought out story line. I want more and more please. Get a free audiobook. Written by: Stephen Knight.

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Narrated by: Lee Alan. Length: 24 hrs and 22 mins. What members say Average Customer Ratings Overall. Reviews - Please select the tabs below to change the source of reviews.