A CLOSER LOOK AT THE SUBVERSION OF RELIGIOUS, HISTORICAL AND CULTURAL TROPES UNDER THE POST-APOCALYPTIC PARADIGM IN STATION ELEVEN AND THE BOOK OF JOAN
The article endeavors to showhowin post-apocalyptic fiction the traditional religious,historical and cultural tropes can prove to be powerful enough to capture and embody the enormously complex and extremely ambiguous worldview of the narrative. Despitemost such ideas of the past gettinggradually bracketed, effaced and relegated to the background the traditional cultural religious and literary tropes often continue to exert significant influence on even a post-apocalyptic world thus refusing to function as mere storehouse of simulacra or images, devoid of any meaningful referent. The main idea that I have adopted for the purpose of present analysis is Fredric Jameson’s ‘pastiche’ or blank parody as mentioned in his Postmodernism, or, the Cultural Logic of Late Capitalism (1991). The two novels undertaken for the study are Station Eleven (2014) by Emily St. John Mandel and The Book of Joan (2017) by Lidia Yuknavitch. The open, undecided and indeterminate future in a post-apocalyptic world demands the construction of a post-binaristic, post-dualistic, ambiguous and amorphous framework where the referents and historico-cultural tropes of the past would no longer provide an adequate support to the overwhelming complexity of the newly emerging world.