Following the events of September 11, 2001, there has been a notable surge in literary works portraying catastrophes and disasters as the backbone of narrative texts. Scholars have posited that the aftermath of 9/11 has given rise to a renewed interest in literature that sets calamities within apocalyptic and dystopian landscapes, a new trend of American narratives often referred to as “post-apocalyptic fiction.” Colson Whitehead’s novel Zone One (2011), written a decade after the 9/11 tragedy, exemplifies the post-apocalyptic narrative, with Whitehead utilizing the apocalyptic imagery as a consequence of September 11 as a foundational source for the narrative texture of the story. Notably, Whitehead’s portrayal of New York City depict the metropolis as a captivating yet exceedingly vulnerable postmodern city. Based on this symbolic representation of the urban setting, critics have observed that Whitehead’s New York is often a symbolic space, “A cauldron of perpetual change that serves as a powerful reflection of the postmodern self, a provisional ego that is always in the process of doing a relentless transformation and always on the edge of extinction” (Butler 72).25