The noxious orange smoke that descended over New York this month jogged my memory of a parlor sport I used to play with my husband: Would we now have what it takes to outlive the apocalypse? We abruptly stopped having fun with this thought experiment in March 2020 and once I had a toddler the following yr, I grew to become even much less tolerant of blithely contemplating the top of the world. But now, immediately, variations of our sport are in all places, in a brand new and near-unavoidable style: tales that revisit our pandemic trauma by way of even worse — however believable! — situations. Making these works doubly poignant, a lot of them have kids at their middle.

There’s “Station Eleven,” the 2014 novel by Emily St. John Mandel in regards to the aftermath of a swine flu, which was changed into a much-discussed 2021 HBO Max sequence, during which an 8-year-old lady manages to outlive with the assistance of a stranger turned surrogate dad or mum. “The Last of Us,” HBO’s online game adaptation, which debuted in January, encompasses a zombie-fungus pandemic; a seemingly immune teenage lady is humanity’s one hope. “Leave the World Behind,” Rumaan Alam’s 2020 novel — quickly to be a film — a couple of bourgeois household trip gone very unhealthy, encompasses a obscure however menacing risk of apocalypse. Also loosely belonging to this class are the reveals “Yellowjackets” (2021-present) — a women’ soccer staff turns to cannibalism after a aircraft crash — and “Class of ’07” (2023) — a faculty reunion coincides with a local weather apocalypse — and the new-to-Netflix 2019 Icelandic film “Woman at War” (a renegade activist tries to cease the destruction of the setting and undertake a toddler).

These tales are, in numerous methods, about how and whether or not our kids can survive the mess that we’ve left them — and what it’s going to value them to take action. In “Station Eleven,” post-pans (kids who have been born after the pandemic) are each beacons of optimism and conscripted killers deployed by a self-styled prophet who hopes to erase anybody who holds on to the trauma of the previous. And in “The Last of Us,” Ellie, the younger lady with potential immunity (performed by the actor Bella Ramsey), is pressured to kill to outlive, and to grapple with whether or not it’s price sacrificing her personal life within the seek for a treatment.

The anxieties that these works discover — about planetary destruction and what we did to allow it — are, proof suggests, affecting the will of some to have kids in any respect, both due to worry for his or her future or a perception that not procreating will assist stave off the worst. But following the kids in these fictions, who didn’t create the circumstances of their struggling, isn’t only a devastating guilt journey. Almost all these tales additionally body kids as our greatest hope, as we so usually do in actual life. Children, we have to consider, are resilient and ingenious in ways in which adults aren’t. In these tales, when the telephones cease working and Amazon stops delivering, it’s kids, much less set of their methods, who can rebuild and picture one thing completely different. They’re our victims but in addition our saviors.

Nowhere is that this extra specific than in Lydia Millet’s 2020 novel, “A Children’s Bible,” during which a gaggle of middle-aged faculty pals hire an outdated mansion for a summer season reunion. When a superstorm units off a sequence of occasions that erodes society, the mother and father drink and take ecstasy however the youngsters — teenagers — stay clearheaded. They take care of a child, develop meals and plan for an unrecognizable future. This fantasy of a youth-led answer is each hopeful, Millet implies, and a deplorable shirking of duty. (It remembers considerably Greta Thunberg’s rebuke of grown-ups: “I don’t want you to be hopeful. I want you to panic.”) Its worth, these works counsel, is a childhood robbed of innocence. In the uncommon moments when youngsters are allowed to be youngsters in these narratives, there’s all the time a way of foreboding; for each romp by means of an deserted shopping center, there’s a zombie mendacity in wait in a Halloween retailer. “Is this really all they had to worry about?” Ellie asks Joel, her companion in “The Last of Us” (performed by Pedro Pascal), in regards to the teenage women who lived earlier than the fungus hit. “Boys. Movies. Deciding which shirt goes with which skirt.”

This present crop of postapocalyptic tales isn’t the primary to function kids prominently. Cormac McCarthy’s novel “The Road,” revealed in 2006, early within the so-called struggle on terror, adopted a father and son after civilization had been leveled by an unnamed flash from the sky. (“Are we still the good guys?” the son asks the daddy as they ignore others’ ache of their wrestle to outlive.) The film “Children of Men,” launched the identical yr, imagines a world so destroyed that the majority people have misplaced the flexibility to breed — and hope lies with the one pregnant girl. Of course, one cause these fictions foreground kids is {that a} world with out them is essentially the most doomed world of all. It’s no accident that among the earliest near-apocalypse tales — the biblical flood, the one within the historic Mesopotamian poem “The Epic of Gilgamesh” — imagined that the world was saved by bringing the “seed of all living creatures,” because the latter work places it, onto a ship.

But possibly greater than any explicit worry of a civilization-ending calamity, these fictions are most helpful for serving to us work by means of an unavoidable, terrifying fact on a person degree. That the world, in no matter state it descends to or stays in, will go on with out us after our loss of life, and until tragedy strikes, our kids will dwell in it with out us. It’s not comforting to think about, however it may be illuminating. They will navigate issues we will’t think about, however — simply possibly — they’ll do higher than we did, even with out our assist.