The link below is to an article that takes a look at writing Dystopian novels during Dystopian times.
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The link below is to an article that takes a look at writing Dystopian novels during Dystopian times.
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The link below is to a list of Iranian fiction works regarded as essential in the article.
The link below is to an article reporting on the winners of the 2020 James Tait Black Prizes for Fiction and Biography.
The link below is to an article reporting on the shortlists for this year’s Ngaio Marsh Award for New Zealand crime fiction.
COVID-19 is changing the way we live. Panic buying, goods shortages, lockdown – these are new experiences for most of us. But it’s standard fare for the protagonists of young adult (YA) post-disaster novels.
In Davina Bell’s latest book, The End of the World Is Bigger than Love (2020), a global pandemic, cyberterrorism and climate change are interrelated disasters that have destroyed the world as we know it.
Like most post-disaster novels, the book is more concerned with how we survive rather than understanding the causes of disaster. As such, we can read it to explore our fears, human responses to disaster and our capacity to adapt.
Kelly Devos’s Day Zero (2019), and the soon to be released Day One (2020), use cyberterrorism as the disaster. Like Bell’s novel, Day Zero focuses more on how the protagonist, Jinx, maintains her humanity when she must harm or kill others in order to keep herself and her siblings alive.
A form of speculative fiction, YA post-disaster writing imaginatively explores causes and responses to apocalyptic disasters. (Some readers categorise YA juggernaut The Hunger Games – and the recently released prequel – as dystopian rather than post-disaster – others think it’s both.)
Many YA novels in this genre explore issues of survival and humanity following a catastrophe. In YA post-disaster novels, teenage protagonists must learn to exist in a fractured world with little support from elders.
When they are explained, the fictional causes of catastrophe can illustrate social concerns of times they were written in. Because of this, YA post-disaster books allow us to reflect on our current beliefs, attitudes and fears.
Davos’s Day Zero can be read as commenting on contemporary concerns about cyberterrorism and political corruption. Bell’s The End of the World Is Bigger than Love expresses similar anxieties, but is also prescient given the current pandemic.
War is the cause of disaster in Glenda Millard’s A Small Free Kiss in the Dark (2009) and John Marsden’s Tomorrow series. While Millard’s novel raises questions about homelessness, Marsden’s series expresses an anxiety about invasion from Asia. The author has expressed regret about this aspect of the books since their publication.
A latent xenophobia is also present in Claire Zorn’s, The Sky So Heavy (2013), in part because the nuclear disasters are attributed to “regions in the north of Asia”. Passive ideologies of racism that pervade some YA post-disaster novels are problematic, as are other underlying ideals that promote any form of discrimination.
Literary texts that reinforce fear about Asia, particularly China, are especially problematic in the context of coronavirus, which reportedly saw an increase in racist attacks.
Panic buying and the stockpiling of goods during the early stages of the COVID-19 outbreak established an “us against them” dichotomy in our “struggle to survive”, reminiscent of YA post-disaster fiction.
Not everyone hoarded food and items for themselves though. Others showed compassion, donating toilet paper and food to those in need. Because of this, we were confronted with questions about how we want to survive.
YA post-disaster novels allow us to explore similar questions of humanity. In these fictional worlds, teenage characters are faced with moral dilemmas about who to help and who to harm. How does someone look out for themselves while still expressing empathy and consideration for others? How can characters maintain their humanity if their survival means another’s suffering or death?
Tied up with the question about how we survive, then, is who survives. The protagonist, Jinx, in Day Zero is continually faced with this dilemma. As she flees the corrupt government, Jinx must decide who to help, and how.
While Jinx readily uses violence to overcome her aggressors, she eventually must shoot to kill to save her stepsister. Doing so, Jinx loses a part of herself and becomes “something else”; she must now reconcile her actions with her sense of self.
It’s not so far from the choices medical professionals in Italy, the United States and elsewhere have had to make about who to treat due to limited ventilators and a rapid influx of patients.
No matter the cause of catastrophe, the literary exploration of questions of survival provides opportunities for teenagers, parents and teachers to discuss a range of contemporary issues, including humane responses to disaster.
Given the current crisis we are in, perhaps it is time to critically read more YA post-disaster novels. If they hold up a mirror to our current attitudes and behaviours, they can help us reflect on our humanity, and on what and who we think matters.
Crime and detective fiction continues to top bestseller lists across the world, spawning TV series and films. In the hands of African writers, though, the genre offers a particularly textured world view.
That Ever-blurry Line Between Us and the Criminals: Re-Visioning Justice in African Noir is a colloquium paper by Sam Naidu. It focuses on African crime and detective fiction as a complex and disruptive variety of classic, Western crime and detective fiction.
In probing the transatlantic relationship between Africa and the West, Naidu presents a useful critique of seminal Black Atlantic studies like Paul Gilroy’s
1993 The Black Atlantic: Modernity and Double Consciousness. Aretha Phiri interviewed the author.
Aretha Phiri: Your paper addresses classic noir and African noir, sub-genres of crime and detective fiction?
Sam Naidu: African crime fiction builds on and extends classic crime fiction to explore philosophical questions about identity, knowledge and power. Referencing the same dark aesthetic of classic noir – characterised by themes of alienation, pessimism, moral ambivalence and disorientation – African crime fiction amplifies political awareness. And, occasionally, it destabilises the conventions of classic crime fiction, which arose during the aftermath of the two world wars when the world was in the grip of the Cold War.
Aretha Phiri: What is the ‘political’ relationship between classic and African crime fiction?
Sam Naidu: African crime fiction builds on and extends classic crime fiction’s exploration of philosophical questions about identity, knowledge and power in the modern world.
Politically, there is a deliberate shift to consider fundamental questions about Africa and its specific requirements. The novels I have read demonstrate a preoccupation with the ambiguity of justice. They express a poignant, Afro-pessimistic lament for a continent and its injustices.
They provide this focus in terms of colonialism and the power differentials of neo-colonialism in Africa. So, you find that economic exploitation and inequalities, race, war, genocide, corruption and state capture are common subject matter.
Aretha Phiri: You read Mũkoma wa Ngũgĩ’s novel Black Star Nairobi (2013) as a valuable way of demonstrating the disruption of the classical by the African? What’s it about?
Sam Naidu: It’s set mainly in Nairobi, Kenya, in 2007. It’s the eve of Barack Obama’s election as the first black US president and presidential elections in Kenya. O (short for Odihambo), a Kenyan former policeman who still works part-time for the police, has teamed up with Ishmael from the US, a former cop. Together they’ve formed a detective agency, Black Star, which is given a lucky break when O’s former boss hires them to investigate the murder of an unidentified person whose corpse is found gruesomely disfigured in the Ngong Forest outside Nairobi.
Aretha Phiri: You conclude in your paper that the predominant effect of African crime fiction is not so much a ‘dark’ sensibility as it is one of obscurity and poignant Afro-pessimism?
Sam Naidu: I reach this conclusion based on the literary texts. This is not my opinion of the state of the continent. The novels are very dark. They overwhelm the reader, with the mess, tragedy, garbage, cruelty, indignity and inhumanity that Africans face in reality. Due, of course, to historical and ongoing systemic oppression and corruption. For characters – and for readers – this can lead to muddledness and despair.
But the novels also offer a counterpoint – in the form of fearless detectives on the quest for justice. In the midst of the disquiet there is a faint flicker … It is this murkiness, taken to new depths, which makes African crime fiction particularly effective and significant. For example, the novel closes with a highly lyrical and metaphorical scene of African musicians in a market. Ishmael describes the competing rhythms of African music – a metaphor for the strife and power struggles of the continent. Despite the discord he detects a harmony –- “a tense harmony”.
Aretha Phiri: How does Black Star Nairobi manage to disrupt classic crime fiction?
Sam Naidu: For example, through its innovative use of setting, characterisation, pace and conclusion to comment on ontological, existential and ethical themes to do with justice, it’s an exemplary African noir text. It explicitly extends classic noir into the realms of neo-noir.
Its blend of previous influences, use of setting, and its specific thematic concern with Afro-pessimism prompt the observation that African crime fiction extends classic noir into new literary, geo-political, and moral territories.
Murkiness, so characteristic of classic noir sensibility, mutates, at times, in African crime texts such as Black Star Nairobi and Leye Adenle’s When Trouble Sleeps, to a deliberate generic nebulousness. And thematically, to a moral blurriness so obscure as to disorient the reader and dismantle the basic binaries on which classic detective and crime fiction were predicated.
In classic noir or classic crime fiction there are clear detective heroes set up against indisputable villains (think of Sherlock Holmes) but in African crime fiction the heroes and villains often exchange roles or are complicit in some way.
Aretha Phiri: You describe this evolving genre as occupying a kind of borderland. How does this connect to your research in migration and diaspora?
Sam Naidu: In my work on literature of migration and diaspora I am mainly concerned with the experience of migrants. I am, however, also interested in how literary genres migrate. What processes of cross-pollination occur as a result of diaspora?
Aretha Phiri: What do you see African crime fiction contributing to Black Atlantic scholarship?
Sam Naidu: As a form of postcolonial, transnational writing, African crime fiction points to the relations between Africa and America. Gilroy’s Black Atlantic puts forward that race is fluid and ever-changing, rather than static. That it is transnational and intercultural, rather than national. I am arguing that African crime fiction represents race as a transnational or diasporic phenomenon while at the same time engaging with the notion that race is closely bound up with both nationality and ethnicity.
So, look at the detective hero figure Ishmael. He is an African-American who returns to Africa, gesturing, of course, to transatlantic slavery and colonialism. He’s neither African nor American – he is both. The novel explores his hybridity. At the same time, the novel presents Kenya as nation marred by ethnic clashes and wide-scale civil unrest.
African crime fiction, being the second most popular literary genre on the continent after romance, is worthy of study because of its accessibility, wide-spread, diverse readership and also its capacity for socio-political analysis. It is the ideal vehicle for such pertinent ‘detection’.
This article is part of a series called Decolonising the Black Atlantic in which black and queer women literary academics rethink and disrupt traditional Black Atlantic studies. The series is based on papers delivered at the Revising the Black Atlantic: African Diaspora Perspectives colloquium at the Stellenbosch Institute for Advanced Study.
The link below is to an article that considers what makes a book a thriller or science fiction?
The French true crime writer Stéphane Bourgoin’s trained at the FBI’s profiling school in Virginia and had interviewed 77 murderers, including Charles Manson and Ted Bundy. He had advised the FBI and Scotland Yard on difficult cases and his own wife had been murdered by a serial killer. He even had a short stint as a professional footballer for the Parisian team Red Star. His life seemed as interesting as one of his 40 books. Except none of it was true.
Following an investigation by the anonymous collective 4ème Oeil (Fourth Eye) Corporation in February on YouTube, Bourgoin was forced to admit he had fabricated much of his life story and CV.
This is not the first time a French author has fabricated a wild and interesting life. Some have done it to make a book more attractive to readers and awards committees. Others have done it to distance themselves from lowly roots and a back catalogue of pulpy fiction.
Bourgoin has since admitted that the fictitious wife was based on a woman he met “five or six times” and “liked”. He did briefly meet Charles Manson, but only walked past him and never got to speak to his. And, instead of 77 murderers, he had only spoken to around 30.
In a series of interviews with French newspapers, Bourgoin now says he should have let his real knowledge stand for itself – that his books were good enough to sell without such a fantastical back story.
Writers have long used false histories and fabricated public personas to their own ends, especially if that’s what it takes to get a publishing deal or public recognition.
One of the most notorious incidences involves the Prix Goncourt, France’s most prestigious literary prize, which is awarded to “the best and most imaginative prose work of the year”. Previous winners include Marcel Proust and Simone de Beauvoir.
It can only be won once. But the prolific writer Romain Gary managed to win it twice through a feat of deception, first in 1956 for Les racines du ciel (The Roots of Heaven), and then as the supposedly Algerian writer Émile Ajar in 1975 for Gros-Câlin.
His deception was only confirmed posthumously in the publication of a confession Vie et mort d’Émile Ajar (The Life and Death of Émile Ajar). Throughout his lifetime, Gary wrote under several names, including Fosco Sinibali, Shatan Bogat and Roman Kacew (his birth name).
Even one of France’s most revered writers, Honoré de Balzac, was not immune to a certain propensity for exaggerating the truth when crafting his public and private image.
Balzac is perhaps best known as one of the founders of literary realism. However, he started his career churning out potboilers under pseudonyms (one of which was Lord R’Hoone, an anagram of Honoré, and Horace de Saint-Aubin).
Later, to disassociate himself from these early publications, he had his assistant write a preface to his novel La Dernière Fée (The Last Fairy, 1823) in which Horace de Saint-Aubin meets the new, successful Balzac and, upon reading a few pages of the latter’s writing, is so depressed that he sets his own novels on fire.
To complete the transformation, he added an aristocratic-sounding particle to become “de” to Balzac. The surname itself was a creation, changed by his father from the more common-sounding Balssa in an attempt to move the family on from its peasant roots, and hinting at an illusory connection with the illustrious Balzac d’Entragues family.
It also so happens that it was a French writer, Serge Doubrovsky, who in the 1970s coined the term “autofiction” (fiction of the self) to describe his 1977 novel Fils (Son). The protagonist of Fils shares the author’s name and certain key characteristics, yet exists in an essentially fictional space. Doubrovsky described autofiction as “fiction, made up of events and facts that are strictly real”.
The term creates a problem from the not-so-straightforward relationship between autobiography and truth. In the words of the academic Alex Hughes, autofiction allows the author to transmit biographical facts “in a narrative format whose novelistic tenor permits him not to assume responsibility” for the truthfulness of his statements. Were he claiming to write within this genre, Bourgoin might have a leg to stand on. As things are, his books are on the wrong shelf.
What is perhaps most interesting about Bourgoin’s story is the keenness with which his fabrications were seized on. His exaggerations enhanced his credibility and opened doors for him. It’s as if Bourgoin sensed that by exaggerating certain specific details, and thereby producing a particular kind of narrative, he was giving the public what he knew they really wanted to hear all along.
As the critic Pierre Bourdieu pointed out in 1986, one problem with autobiography is that we all have been so exposed to the narrative conventions of fiction that we will almost inevitably reproduce them in the life story we write – even though this is likely to lead to misrepresenting the historical reality.
In writing himself into his books as the bereaved hero, Bourgoin was tapping into powerful patterns of storytelling that his readers were already attuned to. In The Science of Storytelling, the writer Will Storr suggests that the brain is primed to react with interest to stories of “moral outrage”, which Storr calls “the ancient lifeblood of storytelling”. When we see heroes squaring up to face baddies, our tribal instinct for justice kicks in and we root for Bourgoin’s fictitious alter-ego.
With Bourgoin’s confession, his narrative now unfolds anew. “When you’ve broken a character you can begin to build their story,” writes Storr. We want to see the bad guys punished, or at least remorseful. Bourgoin, and the organisation that exposed his fabricated claims, have unwittingly provided just that to our story-hungry brains. We readers have been had. And, to borrow Storr’s expression, “we’re fucking outraged.”
Everybody knows the concept of “desert island books”, the novels you might pack if you were going to be marooned on a desert island. Thanks to the pandemic, many of us are indeed now marooned, except that instead of lazing on palm-fringed beaches, we’re in lockdown – in urban apartment blocks, suburban terraced houses or village homes.
A good book can help us forget about the world around us and also substitute our longing for pastures greener. It can take us from our sofa to the beaches of Thailand (as in Alex Garland’s The Beach) or to the streets of New York (as in Paul Auster’s City of Glass).
So, as someone who researches and teaches literature, I’ve chosen five novels that allow me to be elsewhere in my mind, whether that’s a glorious English countryside setting, the streets of a European metropolis, or the urban sprawl of an unnamed Indian city.
The Remains of the Day tells the story of Stevens, the aged butler of Darlington Hall, and his ill-judged life choices that saw him being involved, albeit only on the fringes, with British fascism in the interwar years.
This allusion to British fascism in particular is something that makes this novel stand out: it is a subject matter not often discussed or even taught.
But at the moment, I can particularly take solace in Ishiguro’s beautiful descriptions of the countryside that Stevens – unused to the freedom of travel – encounters during his journey across south-west England:
What I saw was principally field upon field rolling off into the far distance. The land rose and fell gently, and the fields were bordered by hedges and trees … It was a fine feeling indeed to be standing up there like that, with the sound of summer all around one and a light breeze on one’s face.
As the lockdown drags on, this is a feeling I am longing for.
This collection of four novellas is predominantly set in England and Germany but also offers glimpses of the US, Egypt, Belgium and Switzerland. Focusing on a different protagonist in each novella, Sebald portrays how the long shadows of the second world war have affected individuals – but also how Germany has engaged with its troubled past.
His descriptions of the town of Kissingen’s illuminated spa gardens, with “Chinese lanterns strung across the avenues, shedding colourful magical light” and “the fountains in front of the Regent’s building” jetting “silver and gold alternately” conjure up images of times gone by and a town as yet untroubled by the scourge of antisemitism.
Sebald’s narrative is a collage of fiction, biography, autobiography, travel writing and philosophy. His prose is so full of quiet beauty and eloquence that it always helps me forget my surroundings and enter a quiet and contemplative “Sebaldian” space.
The Search Warrant pieces together the real-life story of Dora Bruder, a young Jewish girl who went missing in Paris in December 1941.
Modiano attempts to retrace Dora’s movements across Paris and his book is full of evocative descriptions of quiet squares and bustling streets where she might have spent some time.
In comparison with the Avenue de Saint-Mandé, the Avenue Picpus, on the right, is cold and desolate. Treeless, as I remember. Ah, the loneliness of returning on those Sunday evenings.
From the first page it is clear that the city of Paris assumes the status of a character – and as readers we can follow the narrator’s (and Dora’s) movements on a map.
If we are familiar with Paris, we can picture where they are. By tracing Dora’s possible steps, Modiano evocatively recreates the twilight atmosphere of Paris under occupation.
A Fine Balance is a sprawling narrative that takes the reader all the way to the Indian subcontinent.
Set initially in 1975 during the emergency government period and then during the chaotic times of the 1984 anti-Sikh riots, Mistry’s novel focuses on the lives of four central characters whose lives are on a downward spiral, from poverty to outright destitution and, ultimately, death.
Mistry does not whitewash the reality of urban poverty in India. His narrative does not hide away from disease or overcrowded slums with “rough shacks” standing “beyond the railroad fence, alongside a ditch running with raw sewage”. His are not places where we might want to be. But as readers, we become utterly engrossed in his characters’ lives – we hope with them, we fear for them and, at the end, we cry for them.
Elena Ferrante’s novels take me straight to my favourite city of Napoli. Starting with My Brilliant Friend, the four novels chart the intensive relationship between two girls, Elena “Lenù” Greco and Raffaella “Lila” Cerullo, who grow up in a poor neighbourhood in the 1950s.
Reading Ferrante’s sprawling narrative conjures up images of Napoli and makes me feel like I am standing in the Piazza del Plebiscito or having an espresso in the historic Caffè Gambrinus. Together with Lenù, I can see Vesuvio across the Bay of Naples, the:
delicate pastel-colored shape, at whose base the whitish stones of the city were piled up, with the earth-coloured slice of the Castel dell’Ovo, and the sea.
I can feel, hear and smell Napoli around me. Reading about the city might not be as good as being there in person; but, at the moment, it is a close second.
Of course, books can’t stop a global pandemic. But, for a short while, they can let us forget the world around us and, instead, transport us to different places, allowing us to at least travel in spirit.
Dystopian fiction seems so alluring during the coronavirus pandemic. As we eagerly await a return to normalcy, many say we can aspire to do better — whether we are talking about wealth distribution or global warming. What dystopian fiction does especially well is to show how we can do more than simply repeat.
Steven Spielberg’s Ready Player One (2018), an adaptation of Ernest Cline’s bestselling novel of the same title (2011), is a case in point. Set in 2045 in the city of Columbus, Ohio, it speaks of a world that has weathered corn syrup droughts and bandit riots.
People have now resorted to outliving rather than fixing the world’s problems. Accordingly, a virtual reality game known as the OASIS has become a refuge for many, including the central protagonist Wade Watts (Tye Sheridan).
Small wonder that the OASIS is so appealing. Within its walls, Spielberg pays homage to many aspects of popular culture. The video game Minecraft (2009) is a possible setting, and throughout the film, viewers watch Chucky, the Iron Giant and Mechagodzilla in battle.
Entire plot sequences incorporate existing popular characters, music and stories. In a nod to Superman, Watts dons Clark Kent glasses to conceal his identity. And in a sequence worthy of the film’s 2019 Academy Award nomination for Achievement in Visual Effects, Watts and his romantic interest Samantha Cook (Olivia Cooke) dance to the Bee Gees’ “Stayin’ Alive” (1977).
The central conflict in Ready Player One arises when James Halliday (Mark Rylance), one of the OASIS’s creators, dies and leaves behind a seemingly impossible quest. The prize is his extensive fortune and total control over the OASIS. Watts’ competitors include the Innovative Online Industries (IOI), a loyalty centre that seeks to take over the OASIS.
The IOI is shown to be exploitative. Samantha’s father, we learn, borrowed gaming gear, built up debt and moved into the IOI in hopes to repay it, only to fall ill and die. Samantha stands to follow his example and her debt has already exceeded 23,000 credits.
What distinguishes the film — and its source material — is its exploration of how we negotiate with a social order rife with inequalities. This theme is particularly timely: COVID-19 has made apparent, for instance, the links between inequality and public health.
In the novel, the IOI’s corporate police arrest Wade, and he is marshalled out of his apartment complex and into a transport truck. As the vehicle moves, he peers out of its window and absorbs the changes that have befallen the world:
“A thick film of neglect still covered everything in sight …. The number of homeless people seemed to have increased drastically. Tents and cardboard shelters lined the streets, and the public parks I saw seemed to have been converted into refugee camps.”
The key term here is neglect. Wade is not alone in having forsaken the world. The virtual universe of the OASIS may have provided a convenient refuge. But choosing to escape the world’s realities has contributed to a dramatic rise in social and economic inequalities.
Both Cline’s novel and Spielberg’s film trace Watts’ growth into a better global citizen and his reconnection to the real world, so that his triumph can entail more than the regeneration of a flawed system. Spielberg expands on the novel by exploring what Watts does with his new-found wealth and power.
Watts shares his gains with his friends and together they take constructive steps towards improving both the OASIS and the wider world: they employ Halliday’s friend Ogden (Simon Pegg) as a non-exclusive consultant. They also ban loyalty centres from accessing the OASIS and switch off the virtual world on Tuesdays and Thursdays to encourage people to spend more time in the real world.
All of these actions seem commendable and they reveal how different Watts and his friends are to Halliday. Yet the film also exposes paradoxes inherent in fixing a broken system with its very tools.
In a recent article on the novel that I wrote with James Munday, a mathematics and statistics undergraduate student, we argue that any major change Wade makes to the OASIS, such as closing it for extended periods, demands that he and his fellow shareholders take on a substantial loss: their power is contingent upon the OASIS after all. But Wade seeks a more selfless and heroic win: creating a system that answers the needs of the many.
What Spielberg does especially well is to show the importance of imagining the world in new ways — and the temptation and problems with rebuilding a broken one in its own image.
In this, Spielberg harks back to a long genealogy of dystopian fiction, a genre invested in world building. The problems that Watts faces are anticipated, for instance, in George Orwell’s Animal Farm (1945), where we find an exploitative social system replaced by one even more so because it is more efficient.
Recently, Gregory Claeys provided us with an interdisciplinary map of the genre in his illuminating study Dystopia: A Natural History. In a short essay, he draws connections between the fears that we feel in these times of uncertainty to the genre’s central concerns.
As we collectively meditate on the world’s problems, why not imagine better worlds?