The present dissertation explores a selection of Canadian post-apocalyptic novels, within the context of the country's societal dynamics, multiculturalism, and identity. Emily St. John Mandel's Station Eleven (2014), Cherie Dimaline's The Marrow Thieves (2017), Larissa Lai's The Tiger Flu (2018), Catherine Hernandez's Crosshairs (2020), and Doreen Vanderstoop's Watershed (2020) are examined within the overarching theme of societal instability, offering insights into the representation of the Canadian collective unconscious and the anxieties it reflects. In terms of theoretical perspectives of Fredric Jameson, with emphasis on the political unconscious, and also Carl Gustav Jung's concept of the collective unconscious, this study delves into the motives behind the recurrent themes of post-apocalypse and the potential collapse of Canadian society in these novels. Jameson's influential work The Political Unconscious: Narrative as a Socially Symbolic Act (1981) is a pivotal reference in this investigation, challenging the notion of literary creation isolated from the political context. In fact, his belief that any work of art can be analyzed within its socio-economic determinants informs the foundation of this study. By examining the interplay between the novels' narratives and the Canadian collective unconscious, this study sheds light on the authors' motivations for writing post-apocalyptic narratives. Post-apocalyptic fiction serves as a rich subgenre for the exploration of societal collapse and human survival. Through the detailed analysis of the chosen novels, this thesis investigates the diverse dystopian traditions represented, including ecological collapse, pandemic, technological upheaval, and oppressive regimes. Each novel contributes to the discussion by offering unique perspectives on the potential future of Canadian society. Canada's vast geographical expanse, the survival of indigenous cultures, and its open immigration policy contribute to its multicultural identity. The bicultural nature of the country, often celebrated as a mosaic of identities, is examined within the narrative context of these novels. However, this research challenges the prevailing narrative by asserting that cultural differences and policies have influenced the Canadian collective unconscious, fostering insecurity and an imagined dystopian future. In conclusion, synthesizing literary analysis with Jameson's theoretical perspectives and Jung's notion of the collective unconscious provides a robust framework to interpret the multifaceted layers of Canadian post-apocalyptic literature. The exploration of societal instability, fears, and the anticipation of dystopia in these novels contributes to a deeper understanding of contemporary Canadian identity, fostering critical discussions on the impact of policies, cultural dynamics, and the collective psyche of a nation undergoing a profound transformation. Keywords: Fredric Jameson, the political unconscious, Carl Gustav Jung, the collective unconscious, Station Eleven (2014), The Marrow Thieves (2017), The Tiger Flu (2018), Crosshairs (2020), Watershed (2020), the Canadian collective unconscious, anxiety, social insecurity multiculturalism.
