Abstractabstract:The lullaby “The Meadow Song” in Suzanne Collins’s The Hunger Games trilogy provides a narrative fulcrum and plays a vital role in reinforcing these novels’ thematic concern. However, extant criticism has not given due attention to its utopian function. Drawing upon Ernest Bloch’s philosophy of music and other critics’ theories on green utopia, this article intends to argue that the lullaby fulfills the utopian function of fueling Katniss’s and other rebels’ utopian imagination to fight for a better world of justice, (...) equality, and freedom. It also posits that the green utopian community inspired by the lullaby in the last book of the trilogy functions not as an escapist pursuit, but as a micropolitical alternative in an era of global capitalism. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Flowers of Time: On Postapocalyptic Fiction by Mark PayneAihua ChenFlowers of Time: On Postapocalyptic Fiction, by Mark Payne; 192 pp. Princeton: Princeton University Press, 2020.Mark Payne's Flowers of Time: On Postapocalyptic Fiction contributes significantly to the nascent scholarship on the ever-increasing corpus of postapocalyptic fiction by reading this genre philosophically and interrogating how it imagines new forms of life beyond the confines of a particular kind of world (...) and outside the polis walls. Payne's claim is that postapocalyptic fiction is "political theory in fiction form" and "shows what it would be like to live that life" (p. 2). Moreover, he posits that postapocalyptic fiction "imagines forms of human freedom, sociality, and capability outside the discourse of normative theory" (pp. 2–3). This monograph, framed by the great thinkers such as Aristotle, Jean-Jacques Rousseau, Claude Lévi-Strauss, Carl Schmitt, Ernst Jünger, and many others, provides a cogent and incisive analysis of the themes of occupation, ontology, and the anthropological horizon in postapocalyptic fiction. It offers a comprehensive study of the genre, ranging in the context of philosophical and political ideas from Mary Shelley's The Last Man to Margaret Atwood's MaddAddam trilogy. The readings include a well-developed introduction, three analytical chapters, and a conclusion.In his extensive introduction, Payne provides a rich background for his study of postapocalyptic fiction and perspicuously outlines his theoretical framework and research scope. Payne first traces the literary lineage of postapocalyptic fiction to the biblical tale of Noah, and Hesiod's Works and Days. He offers a helpful delineation of the salient differences between apocalyptic fiction and postapocalyptic fiction, and thus narrows his research scope to postapocalyptic fictions that commit themselves to "staging human beings living on after the catastrophe, and to showing why catastrophe is necessary for the new forms of human sociality they envision" (p. 18), which accounts for his omission of some famous postapocalyptic novels, such as Will Self's The Book of Dave and Emily St. John Mandel's Station Eleven.After acknowledging his indebtedness to earlier research, Payne argues that although some critical readings of postapocalyptic fiction "have rightly identified its commitment to starting over, they have generally mischaracterized it by beginning at the macrosocial level, with the social contract and other large-scale forms of social organization, rather than the single human being and their body." He further suggests that "postapocalyptic fiction advances a strand of political thought that is as ancient as Aristotle's student Dicaearchus, who argued, against his teacher, that the polis is not the best form of life for the realization of human potential" (p. 21).Therefore, his research addresses this gap by focusing on individualism, small-scale sociality, and forms of freedom and regeneration outside the polis wall. Payne points out that "the form of freedom staged in postapocalyptic fiction is [End Page 499] marronage" (p. 26). Especially noteworthy is that Payne gives a detailed explication of the theory of marronage, the relationship between occupation and mentation to which he frequently refers in subsequent chapters to expound how survivors after the apocalyptic event can adapt themselves to the altered world and have new forms of mental life through their new occupations.The first chapter, "The Apocalyptic Cosmos," examines how cosmic forces transform human beings' physical existence and forms of life in the works of Hesiod, Shelley, and Olaf Stapledon, and how these writers engage with the immediacy of relationship between occupation and mentation. Payne first engages in illuminating exploration of how Shelley draws on Works and Days for her vision of postapocalyptic fiction. He argues that The Last Man looks to Works and Days "for its vision of human victimization at the hands of a whimsical cosmos" (p. 37). For Shelley, primitive agriculture is the ideal form of life, in which "the relationship between occupation and mentation is the most satisfying to human beings because it affords them the idea that personal, small-scale, local divinities care about human beings in the same way that human beings care for them" (p. 44). In the latter part of the chapter, Payne illustrates how Stapledon's Last and First Men and Star Maker reveal... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Literature: Why It Matters by Robert EaglestoneAihua ChenEaglestone, Robert. Literature: Why It Matters. Polity Press, 2019. 123pp.Is literature a worthy topic of study in an era fixated on science, technology, and information? This has become a subject of debate in recent years, especially as enrollment in college literature courses has declined. J. Hillis Miller has noted that “all who love literature are collectively anxious today about whether literature (...) matters” (13), insisting that it does since it has “three essential human functions: social critique, the pleasure of the text, and allowing a materialization of the imaginary or an endless approach to the unapproachable imaginary” (31). Other literary scholars concur with Miller, though from differing perspectives, including Dennis J. Sumara in Why Reading Literature in School Still Matters (2002) and Mark William Roche in Why Literature Matters in the 21st Century (2004). In his recent monograph, Literature: Why It Matters, Robert Eaglestone joins this discussion, offering a timely and judiciously formulated manifesto in defense of literary studies that is groundbreaking in the way it treats literature as a living object whose study can inspire ongoing conversation. Eaglestone presents his argument in four segments: “What is Literature?” “Studying Literature,” “Why Does Literature Matter?” and “What Does Literature Teach?”In his first chapter, Eaglestone reveals the limitations of traditional approaches to defining literature as fiction and narrative, that is, as something “made up.” He argues instead that literature is undefinable and exists as a kind of “living conversation” (6). For Eaglestone, literature, like a conversation, is a form of communication among many parties. In this case, the conversation engages the text, the reader, and the author in discussions of nearly everything. Learning about literature involves understanding the form of that discussion in the same way one comes to understand how speakers create meaning in dialogue with one another. And like conversation, readers’ creative response to a literary text fully engages their minds, their hearts, their feelings about the past, and their hopes for the future. In Eaglestone’s view, literature is “not timeless but time-full.” It involves “a past, visible in various ways, including the historical context of a work and the ‘family trees’ of influence and genre; a person (it’s always read now); and a future (that would be you, joining [End Page 118] the conversation)” (20). As in actual conversation, questions of equality and freedom matter a great deal since “literature is a crucial part of our constant dialogue about humanity’s ever-changing self-understanding — not about what we are but about who we are” (22).In the second chapter, Eaglestone asks questions concerning how we go about “Studying Literature.” Here, he extends the metaphor introduced in the preceding chapter of literature constituting a living conversation. He puts forward four ways of pursuing literary studies: as dialogue and dissensus, as a different model of education, as a kind of “knowledge-in-action,” and as craft and activity. For Eaglestone, literary study is an ongoing dialogue whose “aim is to help develop a continuing dissensus about the texts we study in order to root, explore and develop our own selves and distinctiveness” (29–30). He cites critics as diverse in outlook as F. R. Leavis, Q. D. Leavis, John Crowe Ransom, Mikhail Bakhtin, and Arthur Applebee in support of his claims. He further invokes Brazilian educationalist and activist Paulo Freire’s notions of critical pedagogy in forming the view that literary studies offer a different model of education. Rather than following the “banking” model of accruing knowledge and then dispensing it to students, Freire “insists that teaching must be a dialogue” (32). Eaglestone argues that literary study conforms to the image at the center of Freire’s vision of a different form of education because “in a discussion of literature, each person, teacher or student, brings themselves, their own ideas, creativity and understanding, to the discussion and, through dialogue, they invent new knowledge” (33). As for literary studies as a kind of “knowledge-in-action,” Eaglestone invokes American educational theorist Arthur Applebee’s study, Curriculum as Conversation (1996), further underscoring the importance of metaphor spotting and close reading in carrying out this sort of critical... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Flowers of Time: On Postapocalyptic Fiction by Mark PayneAihua ChenFlowers of Time: On Postapocalyptic Fiction, by Mark Payne; 192 pp. Princeton: Princeton University Press, 2020.Mark Payne's Flowers of Time: On Postapocalyptic Fiction contributes significantly to the nascent scholarship on the ever-increasing corpus of postapocalyptic fiction by reading this genre philosophically and interrogating how it imagines new forms of life beyond the confines of a particular kind of world (...) and outside the polis walls. Payne's claim is that postapocalyptic fiction is "political theory in fiction form" and "shows what it would be like to live that life" (p. 2). Moreover, he posits that postapocalyptic fiction "imagines forms of human freedom, sociality, and capability outside the discourse of normative theory" (pp. 2–3). This monograph, framed by the great thinkers such as Aristotle, Jean-Jacques Rousseau, Claude Lévi-Strauss, Carl Schmitt, Ernst Jünger, and many others, provides a cogent and incisive analysis of the themes of occupation, ontology, and the anthropological horizon in postapocalyptic fiction. It offers a comprehensive study of the genre, ranging in the context of philosophical and political ideas from Mary Shelley's The Last Man to Margaret Atwood's MaddAddam trilogy. The readings include a well-developed introduction, three analytical chapters, and a conclusion.In his extensive introduction, Payne provides a rich background for his study of postapocalyptic fiction and perspicuously outlines his theoretical framework and research scope. Payne first traces the literary lineage of postapocalyptic fiction to the biblical tale of Noah, and Hesiod's Works and Days. He offers a helpful delineation of the salient differences between apocalyptic fiction and postapocalyptic fiction, and thus narrows his research scope to postapocalyptic fictions that commit themselves to "staging human beings living on after the catastrophe, and to showing why catastrophe is necessary for the new forms of human sociality they envision" (p. 18), which accounts for his omission of some famous postapocalyptic novels, such as Will Self's The Book of Dave and Emily St. John Mandel's Station Eleven.After acknowledging his indebtedness to earlier research, Payne argues that although some critical readings of postapocalyptic fiction "have rightly identified its commitment to starting over, they have generally mischaracterized it by beginning at the macrosocial level, with the social contract and other large-scale forms of social organization, rather than the single human being and their body." He further suggests that "postapocalyptic fiction advances a strand of political thought that is as ancient as Aristotle's student Dicaearchus, who argued, against his teacher, that the polis is not the best form of life for the realization of human potential" (p. 21).Therefore, his research addresses this gap by focusing on individualism, small-scale sociality, and forms of freedom and regeneration outside the polis wall. Payne points out that "the form of freedom staged in postapocalyptic fiction is [End Page 499] marronage" (p. 26). Especially noteworthy is that Payne gives a detailed explication of the theory of marronage, the relationship between occupation and mentation to which he frequently refers in subsequent chapters to expound how survivors after the apocalyptic event can adapt themselves to the altered world and have new forms of mental life through their new occupations.The first chapter, "The Apocalyptic Cosmos," examines how cosmic forces transform human beings' physical existence and forms of life in the works of Hesiod, Shelley, and Olaf Stapledon, and how these writers engage with the immediacy of relationship between occupation and mentation. Payne first engages in illuminating exploration of how Shelley draws on Works and Days for her vision of postapocalyptic fiction. He argues that The Last Man looks to Works and Days "for its vision of human victimization at the hands of a whimsical cosmos" (p. 37). For Shelley, primitive agriculture is the ideal form of life, in which "the relationship between occupation and mentation is the most satisfying to human beings because it affords them the idea that personal, small-scale, local divinities care about human beings in the same way that human beings care for them" (p. 44). In the latter part of the chapter, Payne illustrates how Stapledon's Last and First Men and Star Maker reveal... (shrink)

Due to Eurocentric definition of genre and context, many American utopian texts by writers of color have been underrepresented in the utopian scholarship. Moreover, the issue of race and utopia has not been given due attention in literary studies. However, in recent decades, many critics have reexamined and expanded the study of utopian thought to the texts written by writers of color. Race and Utopian Desire in American Literature and Society, edited by Patricia Ventura and Edward K. Chan, is a (...) timely and valuable contribution that fills a critical gap in both literary studies and utopian studies by giving priority to the vital relationship between race and utopia. This collection's analyses depend on a... (shrink)