Cape Fear | ScienceGate

Florence made landfall on the southeastern coast of North Carolina (NC) generating torrential rainfall and severe flooding that led to 53 fatalities in three states (NC, SC, and VA) and $16–$40 billion in damage. Seventy-seven percent (77%) of the fatalities occurred in the rural flood plains of NC with Duplin county reporting a high of eight deaths. Approximately 50% of the total number of hurricane-related fatalities across the three states were vehicle-related. The predominant demographic at risk were males over the age of 50 years. The type of property damage was in line with other major hurricanes and predominantly affected residential structures (93% of the total number of damaged buildings). Florence is among the top 10 costliest hurricanes in U.S. history with approximately 50% of the damage projected as uninsured losses due to residential flooding. The cumulative 5-day rainfall resulted in major flooding along the Cape Fear, Lumberton, and Neuse rivers where many industrial waste sites (hog manure lagoons and coal ash pits) are located. Several of these waste sites located in the flood plain were breached and have likely cross-contaminated the waterways and water treatment operations. The observed extent of the flooding, environmental contamination, and impact to public health caused by Florence will add to the long-term disaster related mortality and morbidity rates and suggests an expansion of the 100-yr flood hazard zone to communicate the expanded risk to the public.

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Storytelling in Apocalyptic Times: Anne Washburn’s Mr. Burns, a Post-Electric Play

Journal of Contemporary Drama in English ◽

10.1515/jcde-2020-0023 ◽

2020 ◽

Vol 8 (2) ◽

pp. 282-294

Author(s):

Laura Snyder

Keyword(s):

Source Material ◽

Theater Arts ◽

Thematic Content ◽

The Simpsons ◽

Cape Fear ◽

Low Culture

AbstractThis article analyzes Anne Washburn’s wildly popular, and often controversial, Mr. Burns, a Post-Electric Play (2012) by focusing on the principal retellings that shape Mr. Burns and delineating how Washburn’s adaptations produce the thematic content of the play. Washburn deftly interweaves a variety of high and low culture source material within the plot. Pandemic and apocalyptic tropes provide the ecofictional narrative base to adaptations of Stephen King’s The Stand (1978), Euripides’s Orestes, Martin Scorsese’s Cape Fear (1991), and a variety of episodes of The Simpsons (1989–). Through these retellings, Mr. Burns metatheatrically chronicles how stories shape listeners and their cultures. When the stories told simply pander to the materialism, greed, and commodification that permeate contemporary global capitalist culture, then society proliferates those solipsistic values. Washburn ultimately argues that, in what may seem like apocalyptic times, storytelling as embodied in the theater arts must instead advocate humanitarian collectivist values.

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