Tag Archives: Dystopia

Creeping Fascism

The Creeping Fascism of American Literature (Adi Robertson; The Verge): Good piece comparing the American fascism subgenre of dystopian literature with present day politics.


Feminist Dystopias

I posted this survey of feminist dystopias on my blog Sci Femme.


Dystopian Fiction: Essential Reading

A dystopia — a oppressive, totalitarian, or otherwise undesirable society — represents an end as well, an end to the type of society we have envisioned and tried to create in the so-called real world. In that sense, dystopias represent a type of apocalypse, an end of the world as we know it. (Here’s a longer analysis of the differences among the sub-genres.)

I will be listing individual books with notes, but to get started, here are the most essential dystopian reads. It represents a cross-section of types of dystopias aimed at children, teens, and adult readers. If you’ve never tried this genre, this a good place to start.

  1. 1984 by George Orwell
  2. Brave New World by Aldous Huxley
  3. Fahrenheit 451 by Ray Bradbury
  4. The Handmaid’s Tale by Margaret Atwood
  5. The Hunger Games by Suzanne Collins
  6. The Giver by Lois Lowry
  7. Animal Farm by George Orwell
  8. We by Yevgeny Zamyatin
  9. Do Androids Dream of Electric Sheep? by Philip K. Dick
  10. A Clockwork Orange by Anthony Burgess
  11. Never Let Me Go by Kazuo Ishiguro
  12. Ready Player One by Ernest Cline
  13. Oryx and Crake by Margaret Atwood
  14. Lord of the Flies by William Golding
  15. The Children of Men by P.D. James

Apocalypse vs. Dystopia: Some Definitions

Cover of "The Children Of Men"

Cover of The Children Of Men

In doing research for this blog, I have noticed that two sub-genres frequently get confused: the dystopian story and the post-apocalyptic story. While these two areas of future storytelling may overlap, they don’t mean the same thing at all. So let’s define some terms, shall we?

We’ll begin with apocalypse. An apocalyptic story is one that depicts the end of modern human civilization as we know it, usually due to some cataclysmic event. A nuclear war, a meteor impacting the Earth, a zombie uprising, a 99 percent fatal epidemic — all of these things can usher in the apocalypse. A post-apocalyptic story concerns itself with what happens after that apocalyptic event, whether immediately following it or far, far in the future.

Often what happens is the rise of new societies. These societies may sometimes be dystopias. A dystopia is the opposite of a utopian society. Utopias are pretty much perfect, providing for the needs of all of their citizens. Dystopias, on the other hand, are usually oppressive, totalitarian and violent.

Utopian and dystopian societies do not have to arise out of an apocalyptic event, however. 1984 and Brave New World are both classics of the dystopian sub-genre that do not depict an apocalypse. Or take, for example, The Handmaid’s Tale by Margaret Atwood, which is often mis-classified as post-apocalyptic. In that novel, a fundamentalist Christian group overthrows the current government and establishes a totalitarian society that enslaves women. Although environmental degradation has caused widespread infertility, no true apocalypse takes place. In fact, the primary point of view of the novel is of a future society looking back on this time in history.

Compare that with The Children of Men by P.D. James (or the movie based on it). In that case, although the apocalypse has not yet occurred, it is anticipated, because every person has lost the ability to reproduce and no children have been born in a generation. The novel could even be classified as pre-apocalyptic in that sense (see my previous post). This situation has directly created a dystopian government, which took power to enforce order on the growing chaos and anarchy occurring ahead of the apocalypse. So The Children of Men is an apocalyptic novel, whereas The Handmaid’s Tale is not, even though the subject matter is similar.

Sometimes the dystopian society is the cause of the apocalyptic event. This is the case in Margaret Atwood’s companion novels Oryx and Crake and The Year of the Flood. The futuristic society she depicts is overwhelmingly consumerist, with a huge gap between rich and poor. One character takes it upon himself to engineer a virus to wipe out humankind and start all over again from scratch.

While I enjoy dystopian novels of all kinds, I am most interested in those dystopias that directly arise from an apocalyptic event. There are numerous examples of these, which may be why the two terms are so often confused. One I recently finished reading was The Gate to Women’s Country by Sheri S. Tepper. After a devastating war, a society of walled cities based on ancient Greece arose. The cities are governed by women, while the men are forced to live outside the city walls as soldiers. Another good example is Where Late the Sweet Birds Sang by Kate Wilhelm, where the human survivors rely on cloning to reproduce. The cloned generations gradually change, losing their individuality and other essential human qualities, and oppressing anyone who differs from the norm.

Or if it’s a post-apocalyptic utopia you’re looking for, you might try Always Coming Home by Ursula K. Le Guin. Set in the far future California, it depicts an agrarian, idyllic society. Although they have access to technology — computer networks that survived the pre-apocalyptic civilization record their stories and occasionally provide information — they maintain an pre-Industrial Age way of life. Such an idealized lifestyle certainly seems unattainable without an apocalypse to first wipe the slate clean and allow us to start all over — and do it right this time.