Book Club Options: Dystopian Fiction
We: Yevgeny Zamyatin (1923)221 p. School Copy Available
Yevgeny Zamyatinhad an enormous influence on George Orwell's seminal dystopian novel "1984." "We," written in 1924 as the turmoil of the Bolshevik revolution was in its final stages, definitely shares several similarities with Orwell's bleak novel. Most notable is the relationship between Zamyatin's protagonist, D-503, with a corrupting woman, a relationship that mirrors Orwell's Winston and Julia. But where Orwell was British, Zamyatin was Russian and writing in a time and place where dystopian visions were quickly becoming a reality. The author of "We" eventually left Russia forever (he actually wrote to Uncle Joe Stalin requesting permission to leave! What a brave soul!) and "We" did not appear in print in the Soviet Union until 1988. It is not difficult to see why: "We" is deeply subversive to totalitarian forms of government.
Zamyatin's novel takes place in the twenty-sixth century in a geographical place unknown to the reader. The narrator of the story, the previously mentioned D-503, is writing down his experiences as part of a grand scheme to launch a rocket ship into outer space. D-503 is the chief mathematician of this project, named INTEGRAL, and the goal of the mission is to find life on other planets in order to bring them "elevation" through totalitarian government. The narrator's journal will accompany the rocket ship along with poems, letters, and other propaganda singing the praises of "OneState," which is the moniker of the ruling apparatus in D-503's world. OneState, with the mysterious "Benefactor" at the helm, rules with an iron fist through an intricate web of time management principles based on Frederick Winslow Taylor's contributions to the industrial revolution.
Slaughterhouse Five: Vonnegut (1968) 275 p. School Copy Available
Slaughterhouse-Five (1969) is the now-famous parable of Billy Pilgrim, a World War II veteran and POW, who has in the later stage of his life become "unstuck in time" and who experiences at will (or unwillingly) all known events of his chronology out of order and sometimes simultaneously.
Traumatized by the bombing of Dresden at the time he had been imprisoned, Pilgrim drifts through all events and history, sometimes deeply implicated, sometimes a witness. He is surrounded by Vonnegut's usual large cast of continuing characters (notably here the hack science fiction writer Kilgore Trout and the alien Tralmafadorians who oversee his life and remind him constantly that there is no causation, no order, no motive to existence). Struggling to find some purpose, order or meaning to his existence and humanity's, Pilgrim meets the beauteous and mysterious Montana Wildhack (certainly the author's best character name), has a child with her and drifts on some supernal plane, finally, in which Kilgore Trout, the Tralmafadorians, Montana Wildhack and the ruins of Dresden do not merge but rather disperse through all planes of existence.
The Road: Cormack McCarthy (2007) 306 p.
McCarthy's latest novel, a frightening apocalyptic vision, is narrated by a nameless man, one of the few survivors of an unspecified civilization-ending catastrophe. He and his young son are trekking along a treacherous highway, starving and freezing, trying to avoid roving cannibal armies. The tale, and their lives, are saved from teetering over the edge of bleakness thanks to the man's fierce belief that they are "the good guys" who are preserving the light of humanity.McCarthy's darkly poetic prose comes alive in a way that will transfix readers.
Fahrenheit 451: Bradbury (1953) 249 p.
In Fahrenheit 451, Ray Bradbury's classic, frightening vision of the future, firemen don't put out fires--they start them in order to burn books. Bradbury's vividly painted society holds up the appearance of happiness as the highest goal--a place where trivial information is good, and knowledge and ideas are bad. Fire Captain Beatty explains it this way, "Give the people contests they win by remembering the words to more popular songs.... Don't give them slippery stuff like philosophy or sociology to tie things up with. That way lies melancholy."
Guy Montag is a book-burning fireman undergoing a crisis of faith. His wife spends all day with her television "family," imploring Montag to work harder so that they can afford a fourth TV wall. Their dull, empty life sharply contrasts with that of his next-door neighbor Clarisse, a young girl thrilled by the ideas in books, and more interested in what she can see in the world around her than in the mindless chatter of the tube. When Clarisse disappears mysteriously, Montag is moved to make some changes, and starts hiding books in his home. Eventually, his wife turns him in, and he must answer the call to burn his secret cache of books. After fleeing to avoid arrest, Montag winds up joining an outlaw band of scholars who keep the contents of books in their heads, waiting for the time society will once again need the wisdom of literature.
The Circle: Eggers (2014) 497 p.
Most of us imagine totalitarianism as something imposed upon us—but what if we’re complicit in our own oppression? That’s the scenario in Eggers’ ambitious, terrifying, and eerily plausible new novel. Eggers tackles a modern problem that doesn't always seem like one: our near constant hunger for communication. When Mae Holland takes a job at the Circle, a tech giant with a utopian culture and cultlike following (Eggers didn't call it Schmoogle, but may as well have), she quickly loses sight of her friends, family, and sense of self in favor of professional success and social acceptance. As her Circle star rises, Mae succumbs to the corporate code of full disclosure, eventually agreeing to "go transparent" and let the public watch--and comment on--her every move. "Privacy is theft," decrees the company motto; "Secrets are lies." It's not subtle, but neither were "Harrison Bergeron" and1984, and in its best momentsThe Circleis equally terrifying.
This isn’t a perfect book—the good guys lecture true-believer Mae, and a key metaphor is laboriously explained—but it’s brave and important and will draw comparisons to Brave New World and 1984. Eggers brilliantly depicts the Internet binges, torrents of information, and endless loops of feedback that increasingly characterize modern life. But perhaps most chilling of all is his notion that our ultimate undoing could be something so petty as our desperate desire for affirmation.