After Doomsday

After Doomsday is a science fiction novel by American writer Poul Anderson. It was published as a complete novel in 1962, having been serialized as The Day after Doomsday in the magazine Galaxy, between December 1961 and February 1962.

Plot introduction

The novel explores events after the destruction of Earth, from the point of view of two returning starship crews, one entirely made up of men, the other consisting entirely of women.

The story is set in the early 21st century. Even as the Cold War dragged on Earth has been suddenly contacted by the Monwaingi space-faring culture. The technology of interstellar travel is spreading across the galaxy, disrupting one culture after another. Monwaing itself was contacted only a few centuries previously. Another culture, the Vorlak, underwent a transition from a stable planetary society to a warlord culture similar to the Japanese Shogunate. The nomadic Kandemirian culture became a hegemonistic one similar to the Mongol Empire. Earth found itself on the fringes of a conflict between Kandemir and a coalition led by Vorlak, with Monwaing on the sidelines, actively supporting the anti-Kandemir forces.

The Morning After

The Morning After may refer to:

Film

Literature

Music

The Morning After (book)

The Morning After: Sex, Fear and Feminism on Campus is a 1993 book about date rape by author and journalist Katie Roiphe. Her first book, it was reprinted with a new introduction in 1994. Part of the book had previously been published as an essay, "The Rape Crisis, or 'Is Dating Dangerous?'" in the New York Times Magazine.

Reception

Christopher Lehmann-Haupt, writing for The New York Times, called The Morning After a "Book of the Times" and said "it is courageous of Ms. Roiphe to speak out against the herd ideas that campus life typically encourages." In 1993, a negative review by Katha Pollitt titled 'Not Just Bad Sex' was published in The New Yorker. Pollitt's review was in turn criticized by Christina Hoff Sommers in Who Stole Feminism? (1994).The Morning After received a positive response from Camille Paglia, who called it "an eloquent, thoughtful, finely argued book that was savaged from coast to coast by shallow, dishonest feminist book reviewers".

See also

The Morning After (Deborah Cox album)

The Morning After is the third album from Canadian singer-songwriter Deborah Cox, and the follow up to the Platinum-selling One Wish. It was released in the United States by J Records on November 5, 2002, and became her highest-charting album on the Billboard 200, debuting and peaking at #38. It was also the first album that Cox executive produced, sharing executive producer duties with long-term mentor, Clive Davis.

Overview

Following the release of One Wish, Cox achieved major crossover commercial and charting success, producing hits on the Pop, R&B and Dance Charts. In 2000, Whitney Houston invited her to sing a duet for Houston's greatest hits compilation, Whitney: The Greatest Hits. The song - "Same Script, Different Cast" - was met with positive critical acclaim.

Cox was keen to build on this success, and enlisted the help of renowned producers such as Jimmy Jam and Terry Lewis, Jermaine Dupri, and Rodney "Darkchild" Jerkins as well as up-and-coming producers Warryn Campbell, Johntá Austin & Alex "Godson" Richbourg of The Trackmasters, among others. Anthony "Shep" Crawford, who wrote and produced the two biggest songs of her career - "Nobody's Supposed To Be Here" and "We Can't Be Friends" - also returned as producer. The album contains a blend of urban R&B and adult contemporary songs with additional dance/house tracks being included; By this stage, Deborah Cox was also considered a leading dance music diva, achieving six #1s on the Billboard Hot Dance Club Songs chart. Her most recent #1 was the Hex Hector remix of "Absolutely Not" which she recorded in 2001 for the Dr. Dolittle 2 soundtrack. The remix was included on the album.