The Power of the Dystopia
What do nanotechnology, young adult dystopias, and zombies learning to love again have in common? As the old meme says, the answer may surprise you. By nanotechnology I mean Michael Grant’s BZRK trilogy, by young adult dystopias I will focus mostly on The Hunger Games by Suzanne Collins, and by zombies learning to love again I am referencing Isaac Marion’s Warm Bodies. Each of these books will be discussed in great depth in how they relate to the common theme of power in the following collection of literary criticisms. Power surfaces in BZRK through the obsessive lengths the characters go to to maintain it with superior technology and firepower. The Hunger Games refrains from the subject of actively maintaining power, but its story accurately depicts a society where power is exploited to keep its poorer citizens in line. The zombies in Warm Bodies regain power in a world that exists to destroy them by relearning language. Again, each of those topics will be explained at the introduction’s conclusion in their individual essays, but I will add a bit more clarity later on in these opening remarks.
This issue, which puts power front and center in the spotlight, tackles problems pertinent to the world we live in today by using a wide variety of popular books to reach the widest reader base possible. All of them can be considered young adult fiction, but each series pushes the boundaries of the genre. The Hunger Games specifically doubles as political commentary, BZRK is hardcore science fiction written for the eyes of teenagers, and Warm Bodies is technically a zombie romance.
As previously stated, The Hunger Games is political commentary, which only gets all the sweeter the more the political scene in the United States and around the world goes south. The main character Katniss lives in District 12, the poorest of the twelve districts, and is forced to hunt illegally to keep her mother and sister fed. District 1, the wealthiest district home to people so rich they take medicine to force themselves to throw up at parties so they can continue eating the fanciest, most expensive food, holds the Hunger Games every year to keep all the other districts in line. All three books in the series have the same background: the rich exist to stay rich, and the rich have all the power, so when District 13 starts the rebellion it sends them into a panic. The entirety of Mockingjay, the third book of the trilogy, is about that very topic. Money plus power equals bad guy, especially in this series. In regards to the essay on The Hunger Games, not only is there a common theme of power in all three books and all four movies, there are also real-life connotations for both the people spending money on the series and the young adult genre in general. While the essay specifically talks about the genre and what political books do for readers of young adult fiction, The Hunger Games just so happens to be the most popular representation.
BZRK also deals with money and power and rich people trying to control the universe, but this time it is set in contemporary New York, rather than the fictional Panem. In this universe nanotechnology, which was originally developed to cure cancer, is instead weaponized and is used by both the good and the bad guys. The bad guys, the Armstrong twins and their lackeys Nexus Humanus, want to use nanotech to brainwash the planet into their cult through “sustainable happiness.” The good guys, BZRK, want to protect free will by using their own nanotechnology, biots individually linked to one user, to manipulate others. The whole concept is built on shady deals and backwards justification on both ends of the stick. Both sides think they are in the right, think they are the ones with access to the most power, both already have access to the money and resources that will get them that power. The Armstrong twins spend the series doing everything they possibly can to become rulers of the world, while their second in command Bernofsky goes mad with power and wants to destroy the world with nanobots that feed on carbon. Most of BZRK New York’s plotlines are about playing catch up to Nexus Humanus and holding on to what little power they have. By the trilogy’s conclusion the proper balance that everyone was fighting over has been restored, eliminating the need for technology-based power.
A book about zombies learning to love again seems like a stretch. How could power possibly be involved? Half the main characters are dead. And judging by the movie, there is no possible way for the former dead to regain the power they lost upon getting into their current predicament by reteaching themselves how to speak and act human again. But there it is. The movie is a better illustration of it, but the novel still details R, an incredibly articulate zombie, struggling through a language barrier to communicate with his human captive turned friend turned girlfriend Julie. At the beginning the most R can get out are a few grunts to the zombie he deems his best friend, M. When Julie finds herself the survivor of a zombie attack but the only member of her group still alive and unable to make it back home, she ends up at the airport R lives in. The two of them form a relationship different from the usual zombie eats human, even though R ate Julie’s boyfriend during the attack where they met. Julie teaches R English, pop culture, and how to be human again. The zombies must fight to prove they can become what they once were again, first and foremost by Julie demonstrating R is physically able to love her. As they become living again they go through their own revolution.
These essay’s order in this collection is due to their subject matter and relativity to the real world. The Hunger Games takes place in a fictional country similar enough to our own to make accurate political commentary. BZRK takes place in real life New York, and its plot is one that might happen with how quickly nanotechnology is developing. Warm Bodies’ setting is never specified, but the aftermath of the apocalypse is clear, and for all we know it could be right next door to where we grew up. They move from the clearly fake to the it might just be real, from this could never happen to me to holy crap, this might be happening right now. Please see the meanings these novels preach, what lurks between the lines. Right now this kind of commentary is more important than ever. With people being censored and completely silenced right and left, these books are clearly about power and its consequences, both by exploiting it and by regaining it.
"If Peeta and I were both to die, or they thought we were....My fingers fumble with the pouch on my belt, freeing it. Peeta sees it and his hand clamps on my wrist. ‘No, I won't let you.’ ‘Trust me,’ I whisper. He holds my gaze for a long moment then lets go. I loosen the top of the pouch and pour a few spoonfuls of berries into his palm. Then I fill my own. ‘On the count of three?’ Peeta leans down and kisses me once, very gently. ‘The count of three,’ he says. We stand, our backs pressed together, our empty hands locked tight. ‘Hold them out. I want everyone to see,’ he says. I spread out my fingers, and the dark berries glisten in the sun. I give Peeta's hand one last squeeze as a signal, as a good-bye, and we begin counting. ‘One.’ Maybe I'm wrong. ‘Two.’ Maybe they don't care if we both die. ‘Three!’ It's too late to change my mind. I lift my hand to my mouth taking one last look at the world. The berries have just passed my lips when the trumpets begin to blare. The frantic voice of Claudius Templesmith shouts above them. ‘Stop! Stop! Ladies and gentlemen, I am pleased to present the victors of the 74th Hunger Games, Katniss Everdeen and Peeta Mellark! I give you - the tributes of District 12!’” (The Hunger Games, Suzanne Collins).
Young Adult dystopias have been an important part of American culture for so long it feels like they have always been there. As children we had The Hunger Games, which later spawned Divergent, The Maze Runner, Uglies, and countless others. In school we read 1984, Brave New World, Fahrenheit 451, A Clockwork Orange, and the list goes on and on. Their movie and television show adaptations are everywhere. Everyone has a favorite example. So when Moretti's data suggests the genre bubble will burst in the coming years, it is kind of hard to believe. The genre is still going strong, and for good reason. Young Adult dystopias have something the classics neglect: diversity. Katniss Everdeen is a physically and mentally disabled woman of color surrounded by other females, people of color, people with disabilities, people from every walk of life. When The Hunger Games shot up the best sellers list Katniss inspired Tris Pryor in Divergent, Teresa in The Maze Runner, and Tally Youngblood in Uglies. The sheer volume of books and characters guarantees there is something for everyone. Everyone turned out to be mostly adult women and teenage girls. It is the reading power of the latter that presents my point: so long as we live in the world we do, with the current political climate active, and with a steady stream of strong female characters willing to stand up to oppressors, there will be a need for the genre. Multiple people see that need and write books based upon what they think needs to be said. This bubble, much like the superhero movie one, will stay untouched until the world proves it has no need for that kind of fiction anymore. Therefore, I think the genre is here to stay for years to come.
Seeing yourself in a character on the big screen or on the page is so incredibly important. Some little girl with hearing issues read about Katniss' ear trauma and saw herself; if for whatever reason she was unable to get it fixed, related to Katniss refusing surgery to restore her hearing. Or someone living under an oppressive government learning first that they should fight back and then it is okay to do so. Or that people bullying you for something outside your control deserve to be called out on their behavior. Or any number of things prevalent in what makes it big in the genre these days. The books that make it big pave the way for even greater diversity to truly reach the entire reader base. Those might carry on as something no one has ever heard of, but reach the right audience and lives can be changed. I feel like the genre will be around for quite a while. Not just because it is one of my favorites to both read and write for, but also because it is important. We are faced with the possibility of the complete destruction of life as we know it. Someone must recognize what is going on and do something about it. At this point they might as well be fictional, but that is the only way to get the ball rolling.
“Tell me something, Noah. Which is more important: freedom or happiness?' What was this, a game? But Nijinsky wasn't smiling. 'You can't be happy unless you’re free,' Noah said" (BZRK, Michael Grant).
Michael Grant's BZRK trilogy depends upon nanotechnology to further its plot, give motivation for characters and their development, provide multiple bad guys, and generally make BZRK what they are. One of the main character's father invented biots, part human machines smaller than the head of a needle, capable of acting on the controller's behalf within a body. The good guys, BZRK, use biots reluctantly to fight the bad guys, Armstrong Fancy Gifts Corporation. AFGC is a cover for the cult Nexus Humanus which wants to take away free will to guarantee eternal happiness. This war is mostly fought at the nano level. Even during "macro" fights, with guns and fists, the focus is always on protecting the nano. Emphases placed on the nano and neglecting the macro, which is only protected by BZRK's enforcer Caligula, exists because of only looking at the available technology and how to improve it. When the original tech, designed to cure cancer, fails and is proven archaic, BZRK only wants to move forward with more advanced biots. Benjamin argues for only looking to the future, for using tech to get and maintain power. The Armstrong twins (founders of AFGC) only maintain their power through superior firepower and lots of unethical manipulation. Under the guise of innocent gift shops across the globe they plot to control world leaders and, therefore, everyone on the planet. That is an extension of Benjamin's philosophy. AFGC has money and manpower, giving them the ability to accomplish their goals. BZRK only has the money, but its members are determined to prevent doomsday. Their conflict over who's in control spans three novels.
There is a connection here with how the world is going today. We even touched upon it in class. For the longest time everyone was obsessed with the technology of tomorrow made today. Classic standbys like books or physical music or playing outside fell by the wayside as electronics fell in the hands of the youth. Why use what cavemen did when you can use what Marty McFly did? For the longest time my younger sister and I were the only kids on our street playing outside. We made fun of our neighbors three doors down for having a pool and never going in it. My parents still can't drag me out of ours. At restaurants we read books, my sister drew and I wrote or, heaven forbid, actually talked to each other. Then, out of nowhere, that changed. The many, many little kids living in the cul-de-sac behind us were outside screaming at all hours of the day. One time we saw our neighbors in their pool. Tables around us when we went out to eat started implementing a no phones rule. The shift was real and, according to the Internet, commonplace. Retro was becoming hip again. We aren't the only people who feel that way, but we're the ones making it happen.
"In my mind I am eloquent; I can climb intricate scaffolds of words to reach the highest cathedral ceilings and paint my thoughts. But when I open my mouth, everything collapses” (Warm Bodies, Isaac Marion).
Whoever controls language controls culture. Whoever controls the culture has all the power. Whoever has all the power writes all the rules, determines humanity's fate, and generally determines the ongoing nature of life. While a lot of stories tackle that concept, Warm Bodies by Isaac Marion handles it without beating around the bush. It's about the aftermath of the zombie apocalypse, sure, but it is told through the point of view of a very articulate zombie. The narrative hints rather heavily at the main character, R, being the only zombie outside of the Boneys capable of higher thought. It is only with the help of a human that he learns basic speech. The surviving humans are the only ones capable of speech, of making sure human culture does not die out. Them being able to talk makes them superior to zombies, even after zombies become human again at the novel's conclusion. The settlement the novel focuses on is run based on that fact. It is only poetic that the leader, Colonel Grigio, is the father of the woman R is in love with and the one who sparks the change from zombie to human. Colonel Grigio controls the whole narrative, both the book's and the city he runs. Zombies are to be shot on sight, anything dead must stay out of the walled city, and the language he uses to spread that information reflects how deeply rooted his control extends. On the other hand, R is the first zombie capable of replicating full human speech. By the end the other zombies learn speech as well. Them relearning speech perfectly coincides with them wrenching power from the Boneys in their twisted society and, a bit later, wrenching power from the humans when they rejoin the society they used to know. Language lets them write their own culture again, this time as rediscovered human beings.
I feel like not a lot of zombie books take advantage of exploring the concept of retaking a culture through language. It is a topic that is easily applicable to the genre. World War Z comes close, but that is the best example I can think of. What is happening right now with millennials and gen z is the closest real-life example. I tried tackling the concept in my own zombie novel Flowers Die specifically because I am unable to find anything quite like Warm Bodies or even World War Z on bookshelves. The main character comes back from the dead, but because she reanimated through the original radiation and not a classic bite, she is still fully mentally articulate and, later, verbally as well. As the apocalypse spreads zombies like her become increasingly rarer. She joins the military and fights to take back the culture she once knew by force. Her and her friends are superior by nature. Her husband, who eventually dies to prove the point, used to be a lawyer, defending traditional culture with evolving language. Later on, she meets a young woman trapped by isolation in the woods bound by her lack of language and loss of the culture that raised her. Reintroduction to what she used to know helps bring her back. This is all a work in progress, but as the old saying goes, if you want something specific you have to write it yourself.
