Utopian and dystopian fiction

The utopia and its offshoot, the dystopia, are genres of literature that explore social and political structures. Utopian fiction portrays a setting that agrees with the author's ethos and is portrayed as having various attributes that readers often find to be characteristic of that which they would like to implement in reality, or utopia, as the setting for a novel. Dystopian fiction (sometimes combined with, but distinct from apocalyptic literature) is the opposite: the portrayal of a setting that completely disagrees with the author's ethos and is portrayed as having various attributes that readers often find to be characteristic of that which they would like to avoid in reality, or dystopia.[1] Many novels combine both, often as a metaphor for the different directions humanity can take in its choices, ending up with one of two possible futures. Both utopias and dystopias are commonly found in science fiction and other speculative fiction genres, and arguably are by definition a type of speculative fiction.

More than 400 utopian works were published prior to the year 1900 in the English language alone, with more than a thousand others during the twentieth century.[2]

Subgenres

Utopian fiction

Main article: Utopia

The word utopia was first used in direct context by Sir Thomas More in his 1516 work Utopia. The word utopia resembles both the Greek words "no place", "outopos", and "good place", "eutopos". In his book, which was written in Latin, More sets out a vision of an ideal society. As the title suggests, the work presents an ambiguous and ironic projection of the ideal state. The whimsical nature of the text can be confirmed by the narrator of Utopia's second book, Raphael Hythloday. The Greek root of Hythloday suggests an 'expert in nonsense'. An earlier example of a Utopian work from classical antiquity is Plato's The Republic, in which he outlines what he sees as the ideal society and its political system. Later examples can be seen in Samuel Johnson's The History of Rasselas, Prince of Abissinia and Samuel Butler's Erewhon, which uses an anagram of "nowhere" as its title. This, like much of the utopian literature, can be seen as utopian satire which is most notable in the inversion of illness and crime which Butler portrays, with punishment for the former and treatment for the latter.

Dystopian fiction

Main article: Dystopia

Dystopia is defined as an alternate society characterized by a focus on that which is contrary to the author's ethos, portraying it as mass poverty, public mistrust and suspicion, police state, and/or oppression.[1] Most authors of dystopian fiction explore at least one reason why things are that way, often as an analogy for similar issues in the real world. In the words of Keith M. Booker, dystopian literature is used to "provide fresh perspectives on problematic social and political practices that might otherwise be taken for granted or considered natural and inevitable".[3]

Dystopias usually extrapolate elements of contemporary society and are read by many as political warnings. Many dystopias claim to be utopias. Samuel Butler's Erewhon can be seen as a dystopia because of the way sick people are punished as criminals while thieves are cured in hospitals, which the inhabitants of Erewhon see as natural and right, i.e. utopian (as mocked in Voltaire's Candide). The 1921 novel We by Yevgeny Zamyatin predicts a post-apocalyptic future in which society is entirely based on logic and modeled after mechanical systems; also, George Orwell cited it as an influence on his Nineteen Eighty-Four. Aldous Huxley's novel Brave New World started as a parody of utopian fiction, and projected into the year 2540 industrial and social changes he perceived in 1931, leading to industrial success by a coercively persuaded population divided into five castes, three of which are artificially, systematically and deliberately mentally challenged from birth to match their intellects to various menial careers, which is rewarded with all their material needs being met and with hedonism. The World State kills everyone 60 years old or older. Orwell's Nineteen Eighty-Four is a novel about Oceania, that also offers its people a recreational substance, but the substance is an alcoholic beverage that to put it mildly is unpleasant. Oceania conditions its population through propaganda that Oceania requires to be proficient and to not contain anything that would contradict anything else contained in the propaganda at that particular time and in this sense as convincing as possible, but to contradict what it says at different times so heavy-handedly that anyone can easily see that it is inauthentic if and only if they do not have total amnesia. Oceania carefully deters its population from any contrary thought, but it has hate sessions in which they are trained to take offense at dissent. These tactics make it as difficult as possible to avoid thinking contrarily, and it is suggested that this difficulty is intended by the Inner Party. Anthony Burgess' 1962 novel A Clockwork Orange is set in a future England that has a subculture of extreme youth violence, and details the protagonist's experiences with the state intent on changing his character at their whim. Margaret Atwood's The Handmaid's Tale describes a future North America governed by strict religious rules that all and only the privileged defy. Examples of young adult dystopian fiction include The Hunger Games by Suzanne Collins, The House of the Scorpion by Nancy Farmer, Divergent, Insurgent by Veronica Roth, The Maze Runner by James Dashner, and Delirium by Lauren Oliver. Video games often include dystopias as well; notable examples include the Fallout series, BioShock, and the later games of the Half-Life series.

Combinations

Jonathan Swift's Gulliver's Travels is sometimes linked with utopian (and dystopian) literature, because it shares the general preoccupation with ideas of the good (and bad) society. Of the countries Lemuel Gulliver visits, Brobdingnag and Country of the Houyhnhnms approach a utopia; the others have significant dystopian aspects.

Many works combine elements of both utopias and dystopias. Typically, an observer from our world will journey to another place or time and see one society the author considers ideal, and another representing the worst possible outcome. The point is usually that the choices we make now may lead to a better or worse potential future world. Ursula K. Le Guin's Always Coming Home fulfils this model, as does Marge Piercy's Woman on the Edge of Time. In Starhawk's The Fifth Sacred Thing there is no time-travelling observer, but her ideal society is invaded by a neighbouring power embodying evil repression. In Aldous Huxley's Island, in many ways a counterpoint to his better-known Brave New World, the fusion of the best parts of Buddhist philosophy and Western technology is threatened by the "invasion" of oil companies. As another example, in the "Unwanteds" series by Lisa McMann, a paradox occurs where the outcasts from a complete dystopia are treated to absolute utopia, and therefore believe that those who were privileged in said dystopia were actually the unlucky ones.

In another literary model, the imagined society journeys between elements of utopia and dystopia over the course of the novel or film. At the beginning of The Giver by Lois Lowry, the world is described as a utopia, but as the book progresses, the world's dystopian aspects are revealed.

Ecotopian fiction

A subgenre of this is ecotopian fiction, where the author posits either a utopian or dystopian world revolving around environmental conservation or destruction. Danny Bloom coined the term "cli fi" in 2006, with a Twitter boost from Margaret Atwood in 2011, to cover climate change-related fiction,[4] but the theme has existed for decades. Novels dealing with overpopulation, such as Harry Harrison's Make Room! Make Room! (made into movie Soylent Green), were popular in the 1970s, reflecting the popular concern with the effects of overpopulation on the environment. The novel Nature's End by Whitley Strieber and James Kunetka (1986) posits a future in which overpopulation, pollution, climate change, and resulting superstorms, have led to a popular mass-suicide political movement. Some other examples of ecological dystopias are depictions of Earth in the films Wall-E and Avatar.

While eco-dystopias are more common, a small number of works depicting what might be called eco-utopia, or eco-utopian trends, have also been influential. These include Ernest Callenbach's Ecotopia, an important 20th century example of this genre. Kim Stanley Robinson has written a number of books dealing with environmental themes, including the Mars trilogy. Most notably, however, his Three Californias Trilogy contrasted an eco-dystopia with an eco-utopia, and a sort of middling-future. Robinson has also edited an anthology of short ecotopian fiction, called Future Primitive: The New Ecotopias.

There are a few dystopias that have an "anti-ecological" theme. These are often characterized by a government that is overprotective of nature or a society that has lost most modern technology and struggles for survival. A good example of this is the novel Riddley Walker.

Feminist utopias

Another subgenre is feminist utopias and the overlapping category of feminist science fiction. Writer Sally Miller Gearhart calls this sort of fiction political: it contrasts the present world with an idealized society, criticizes contemporary values and conditions, sees men or masculine systems as the major cause of social and political problems (e.g. war), and presents women as equal to or superior to men, having ownership over their reproductive functions. A common solution to gender oppression or social ills in feminist utopian fiction is to remove men, either showing isolated all-female societies as in Charlotte Perkins Gilman's Herland, or societies where men have died out or been replaced, as in Joanna Russ's A Few Things I Know About Whileaway, where "the poisonous binary gender" has died off. Marge Piercy's novel Woman on the Edge of Time keeps human biology, but removes pregnancy and childbirth from the gender equation by resorting to artificial wombs, while allowing both women and men the nurturing experience of breastfeeding.

Utopias have explored the ramification of gender being either a societal construct or a hard-wired imperative.[5] In Mary Gentle's Golden Witchbreed, gender is not chosen until maturity, and gender has no bearing on social roles. In contrast, Doris Lessing's The Marriages Between Zones Three, Four and Five (1980) suggests that men's and women's values are inherent to the sexes and cannot be changed, making a compromise between them essential. In My Own Utopia (1961) by Elizabeth Mann Borghese, gender exists but is dependent upon age rather than sex — genderless children mature into women, some of whom eventually become men.[5]

Utopic single-gender worlds or single-sex societies have long been one of the primary ways to explore implications of gender and gender-differences.[6] In speculative fiction, female-only worlds have been imagined to come about by the action of disease that wipes out men, along with the development of technological or mystical method that allow female parthenogenic reproduction. The resulting society is often shown to be utopian by feminist writers. Many influential feminist utopias of this sort were written in the 1970s;[6][7][8] the most often studied examples include Joanna Russ's The Female Man, Suzy McKee Charnas's Walk to the End of the World and Motherlines, and Marge Piercy's Woman on the Edge of Time.[8] Utopias imagined by male authors have generally included equality between sexes, rather than separation.[9] Such worlds have been portrayed most often by lesbian or feminist authors; their use of female-only worlds allows the exploration of female independence and freedom from patriarchy. The societies may not necessarily be lesbian, or sexual at all — Herland (1915) by Charlotte Perkins Gilman is a famous early example of a sexless society.[7] Charlene Ball writes in Women's Studies Encyclopedia that use of speculative fiction to explore gender roles has been more common in the United States than in Europe and elsewhere.[5]

Feminist dystopians have become prevalent in Young Adult, or YA, literature in recent years, focusing on the relationship between gender identity and the teenager. For instance, the Birthmarked trilogy by Caragh O'Brien[10] focuses on a teenage midwife in a future post-apocalyptic world while the second novel in the series places the teenage heroine Gaia in a matriarchal society.

Cultural impact

Étienne Cabet's work Travels in Icaria caused a group of followers to leave France in 1848 and travel to the United States to found a series of utopian settlements in Texas, Illinois, Iowa, California, and elsewhere. These groups lived in communal settings and lasted until 1898.

See also

Notes

  1. 1 2 "Apocalyptic Literature". Bloomsbury Publishing Ltd. 1993.
  2. ↑ Sargent, Lyman Tower (November 1976). "Themes in Utopian Fiction in English Before Wells". Science Fiction Studies 3 (3): 275–82; see p. 275–6. Retrieved January 2014.
  3. ↑ Booker, Keith M. (1994). The Dystopian Impulse in Modern Literature. Westport, CT: Greenwood Press. ISBN 9780313290923.
  4. ↑ "Margaret Atwood - Twitter
  5. 1 2 3 Tierney, Helen (1999). Women's studies encyclopedia. Greenwood Publishing Group. p. 1442. ISBN 978-0-313-31073-7.
  6. 1 2 Attebery, p. 13.
  7. 1 2 Gaétan Brulotte & John Phillips, Encyclopedia of Erotic Literature, "Science Fiction and Fantasy", p.1189, CRC Press, 2006, ISBN 1-57958-441-1
  8. 1 2 Martha A. Bartter, The Utopian Fantastic, "Momutes", Robin Anne Reid, p.101 ISBN 0-313-31635-X
  9. ↑ Martha A. Bartter, The Utopian Fantastic, "Momutes", Robin Anne Reid, p.102 ISBN
  10. ↑ Caragh O'Brien

References

External links

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