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"Conformity Fiction."
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Animals in the outhouse
A new forest ranger, eager to prove himself, installs an outhouse for animals so that the forest will be tidier but although the animals enter, one after another, and claim success, none can figure out a way to actually make use of the unnatural device.
Book
Babbitt
Babbitt is the middle-class, average-American protagonist of this novel. Though he conforms to society and attempts to scale the social ladder, Babbit gradually becomes dissatisfied with the American Dream. He branches out to test other, more rebellious ways of life. He returns to where he began, disillusioned with the equally rigid standards he has found among the non-conformists, though still holding an openness to individuality in his heart.
eBook
Defining Conditional Belonging
This article offers a rigorous conceptualisation of an undeveloped sociological concept: conditional belonging. It implements and develops conditional belonging in the setting of everyday life by examining female fans of science fiction. Based on 30 in-depth interviews with female fans of Doctor Who and Star Wars, this study defines conditional belonging as a liminal state in which new members are constructed as a threatening ‘other’ and required to demonstrate conformity to the community. Having to align with values established by veteran members disrupts the ability of those who conditionally belong to perceive their identities as authentic. Conditional belonging is explored in offline and online settings, exposing the tactics used online by female fans to ensure their belonging. Through demonstrating the ways in which conditional belonging is cultivated and enforced, this article contributes to a nuanced understanding of belonging, not as a binary condition, but a multi-layered, complex one.
Journal Article
Against the fall of night
In the year ten billion A.D., Diaspar is the last city on Earth. Ageless and unchanging, the inhabitants see no reason to be curious about the outside world. But one child, Alvin only seventeen and the last person to be born in Diaspar finds that he is increasingly drawn to what lies outside the city walls. Even though he knows the Invaders, who devastated the world, may still be out there.
BOOK
\I'm Writing This All Down So I Don't Forget\: The Indigenous Futurist Short Story and Survivant Kinship as Two-Spirit and Indigiqueer Resistance
While Speculative fiction often entertains a future free of Capitalism and invites speculation, Native American Post-Apocalyptic short speculative fiction is not purely speculative. Native American and First Nations Two-Spirit, Transgender and Indigiqueer authors write alternative futures and re-imagine new spaces of belonging. Although indigenous futurist literature, under the umbrella of speculative fiction, offers alternative imaginings to the dystopian capitalistic present, it is not guaranteed that settler colonialism has been expunged in these alternatively reimagined Indigenous futures. Love After the End, an anthology of Indigenous futurist short stories authored by Two-Spirit writers, approaches the dystopian-now and erasure of trans-lives in a nuanced way that complicates contemporary Western and postcolonial trans-imaginings of the future. Although Kai Minosh Pyle’s “How to Survive Apocalypse for Native Girls” and Jaye Simpson “The Ark of the Turtle’s Back” depict reimagined societies, Indigiqueer peoples are still situated on the margins. While Pyle’s short story depicts a society free from capitalism, Indigenous youth still face ongoing persecution for challenging and resisting the colonial gender binary, Jaye Simpson’s “Ark of the Turtle’s Back” imagines a future where Native trans-indigenous have limited access to life-saving gender affirming care and their rights are revoked. Thus, in my paper I argue Pyle, and Simpson unsettle, upset, derange and perplex the colonial binary, and persistently challenges erasures of said belonging.
Journal Article
Crazy house
In a future world where teenagers are taken, imprisoned, and forced to fight for their survival, well-behaved Cassie will do whatever it takes to save her rebellious twin sister from Death Row.
Book
Something old, something blue: bereavement and institutional ageism in The Gigantic Beard That Was Evil
The dystopian fiction genre within Western media has historically highlighted the flaws associated with societal attempts to achieve an unattainable ideal – or utopia. Through storytelling, these texts highlight the present issues in society, and among them, readers find deeply concerning messages about dehumanisation and oppression. The Gigantic Beard That Was Evil by Stephen Collins is uniquely placed within this larger genre due to the exceptional use of negative space; that is, the text communicates multiple meanings through what Collins includes and does not include. The following article engages in a deep reading of The Gigantic Beard That Was Evil through textual analysis to interpret and describe the message Collins communicates highlighting institutional ageism and bereavement. Consideration for the use of both negative and positive space within narrative construction reveals a story that encourages societal and social change to better care for the mentally ill, geriatric population.
Journal Article
Extras
After rebel Tally Youngblood brings down the uglies/pretties/specials regime, fame, instead of beauty, becomes the new world order, and fifteen-year-old Aya Fuse embarks on a dangerous plan to boost her popularity ranking.
Book
Foucault’s Madmen and Poets: Don Quixote and Daniel Quinn’s Quest for a Unitary Sign
DANIEL QUINN AS \"HERO OF THE SAME\" Peter Stillman Sr.'s theory of prelapsarian language has several points of contact with Foucault's understanding of the chivalric milieu that Don Quixote believes to \"give form to Law\" (n8). Seeking to enact a world in which \"nature and books alike [are] parts of a single text,\" Don Quixote instead confronts a world in which language and things have \"dissolved their former alliance\" and \"[words] are no longer the mark of things\" (119). Given the dissolution of a conformity between words and things, between the chivalric tale he takes as Law and the contemporary world in which he moves, Don Quixote's role as knight errant demands both that he is true to the words and actions of the knights whose adventures he reads and that he prove the truth of these precursor texts: \"If he is to resemble the texts of which he is the witness, the representation, the real analogue, Don Quixote must also furnish proof and provide the indubitable sign that they are telling the truth, that they really are the language of the world\" (118). The narrator explains about Quinn's pleasure as a reader of detective fiction: \"The world of the book comes to life, seething with possibilities, with secrets and contradictions. Since everything seen or said, even the slightest, most trivial thing, can bear a connection to the outcome of the story, nothing must be overlooked.
Journal Article