31 The Role of Dystopian Literature in Shaping Social Awareness

This essay was composed in December 2024 and uses MLA documentation.

Dystopian novels and stories have been around for a long time, with the first notable being We by Yevgeny Zamyatin, first published in English in 1924—precisely 100 years ago. Zamyatin’s story highlights themes of conformity, an overbearing government, and the flaws of a ‘perfect’ society. The novel gained traction in Russia specifically because of the backlash it faced for purportedly advocating for an individualistic culture during the Russian Revolution. Zamyatin argues for “harmful literature . . . . [H]armful literature is more useful than useful literature, . . . for if is anti-entropic, it is a means of combating calcification, sclerosis, crust, moss, quiescence. It is Utopian, absurd—like Babeuf in 1797. It is right 150 years later” (Dougherty). He argues for stories that fight for ideas against the societal norm, against conformity. We was the catalyst for this genre, urging writers to pursue stories about society, giving commentary and thoughts on the culture and norms of the world around them. Although there are movements throughout recent history that reflect the ideas of dystopian novels, the credit for these ideas and movements should be partially given to these 20^th century novels, as the media intake of youth and society changes the importance of issues and their effects.

The effects of the genre cannot be forgotten, given the growth dystopian media is currently experiencing. More and more novels, movies, and television shows advocate for societal change, and many are writing for Young Adult (YA) audiences. In popular adult novels like 1984, The Handmaid’s Tale, and Fahrenheit 451, the genre’s acceleration shows the growth advocated for different societal views. With many famous novels like The Hunger Games, The Giver, The Maze Runner, Divergent, and so many others appealing to the taste of young people, the genre only keeps growing. The popularity of these novels is increasing with the ideas of today’s society; people are more curious about the many ideas and thoughts that they can have, and this continues the cycle of more books and stories created in the genre, even to the point of cross-categorization. The creative need for a societal commentary only grows with the polarization in the nation, making everyday people unhappy with the direction of their lives. Whether or not agreeable, these books still express social truths for the era and period of people they represent. Readers must still be able to understand the other people around them, learn something, and have their takeaways, creating their ideas and thoughts.

The Effects on Young Adults

Quite a few of these novels are YA Fiction, as many are coming-of-age stories with protagonists fighting for their futures in their worlds. These stories have inspired millions, most of whom were in their youth, to advocate for their opinions and the issues they face. With the challenges of choices and making good decisions at this age group’s forefront, these stories remind the readers of the themes and lessons learned. Rock and Art Cultural Outreach summarizes the novels in the genre under YA Fiction, explicitly breaking down The Hunger Games and Divergent and their themes as novels. The blog credits the popularity of the novel to the nature of the target demographic, stating, “The rise in popularity of these novels with young adults comes from an interest in fantasy/contemporary realistic fiction, non-conformity, rebellious nature (often shown by the main character that a young adult can relate to), different perspectives of personal struggles, societal interest or concern, and escapism” (Eldridge). The article states that youth relate to these stories because of the coming-of-age aspect. The need to spread out and experiment with ideas is significant in these novels, making it at the forefront of the youth readers’ minds. The blog later states that the popular “‘hero’s journey’” structure present in “many young adult dystopian novels” is a useful technique for “showcas[ing] common young adult struggles such as personal development” (Eldridge). As part of these struggles, Eldridge contends, the protagonist is challenged to reconsider their relationship with their environment, and ultimately, they grow from that challenge in some way. In addition to the “hero’s journey” structure providing young readers with a sense of connection, it encourages them to think of ways that they might also motivate change.

The American Journal of Undergraduate Research reminds that youth activism in the United States is not a new concept: “In the 1960s, the Civil Rights movement and the Vietnam War draft drew the attention of many young objectors, leading to the development of historical protests, marches, and organizations” (Jerald 81). Later, the journal discusses the similarities with individuals belonging to Generation Z, those “born between 1996 and 2012,” and what unites them as an age group:

Marked with a vague concept of the American Dream, Generation Z cannot truly remember a time period before terrorism and environmental concerns existed in the world. Yet despite the dark stereotypes that surround the technologically absorbed generation, they are very interested in political and societal issues. For example, research has shown that because they do not trust elected officials, their feelings about the United States are pessimistic and dismal. However, they still believe voting is important due to strong concerns regarding inequality and the direction of the economy. (Jerald 81)

Still describing the thought process of Generation Z, the paper discusses the results of an experiment run regarding dystopian literature and activism. The journal states that the broad cultural events surrounding Generation Z, like “terrorism, financial crisis, media manipulation, and socio-political unrest,” create an even more present “relationship between Generation Z members and dystopian worlds and characters” (Jerald 91). The journal describes Generation Z as a group of people who have faced complicated lives despite a uniting factor that makes them feel patriotic. It then describes a lack of research in this field, making it difficult to make many strong connections. In their article on issues that youth are advocating for and against, Jessica Finden goes on to explain that other pressing cultural issues, like “climate change, the increase of natural disasters, pandemics, water scarcity, and pollution are all issues raised within dystopian texts and are current-day fears.” These two sources work together to show the generation’s input on issues and themes of dystopian novels. Conversely, the dystopian novels of the late 20^th and early 21^st centuries motivate Generation Z to care about the environment, people’s safety, and the whole planet’s welfare. This is shown in The Hunger Games, The Maze Runner, Divergent, and other novels, drawing young readers into the message and giving a reason for care in the topic’s growth.

The website Dystopian Novel further explains the importance of having main characters that push readers to explore the themes of the novels they are in: “In the stark realities of dystopian narratives, characters often emerge as pivotal forces that challenge existing power structures and inspire the quest for change. These protagonists . . . embody the struggle against oppressive systems.” Good, strong characters are important elements of dystopian novels, as connecting with the fictional characters and world drives the reader to consider the effects of the story on their lives and futures. The blog further states that “empathy” is a crucial element of many dystopian stories, as it encourages readers to “align . . . values [and] actions.” With strong, relatable characters and a story that encourages empathy, dystopian novels both lead readers down thoughtful avenues of progression and solidify their importance in the broader library of works.

The Effects on Society

The example of the “Frodo Lives!” movement shows that there is not much difference between the young and new generations regarding activism from stories. “Frodo Lives!” refers to a series of campaigns in the 1960s where young activists would use fantasy literature to advance political points. Before the “Frodo Lives!” movement, “genre fantasy” was created and marketed primarily for the “children and teenagers” of the mid-20^th century (Sergeant). Therefore, at the time, fantasy represented a “low cultural status amongst traditional, conservative critics” but nonetheless gained popularity as the same generation of young readers grew into adulthood. At the same time, many young adults were involved in “rebellion during the mid-century culture wars,” and so because “being a fantasy fan meant rejecting mainstream dogma and embracing an alternative cultural vision,” fantasy reading often coincided with political involvement. Shedding light on the effectiveness of the movement, Alexander Sergeant says,

Even on protest marches where the slogan was seemingly aligned closed to clear political agenda, the banners displaying ‘Frodo Lives!’ largely offered little more than light-relief amongst the most seriously intended message decry the US’s involvement in Vietnam, sandwiched between other equally comical messages including ‘Mary Poppins is a Junkie,’ ‘Hobbits Unite!’ and ‘Gandalf for President’ (Arizona Republic, 1966). It might be tempting to view the ‘Frodo Lives!’ movement as broad, if somewhat less than radical, campaign of civil disobedience.

The “Frodo Lives!” movement becomes a crucial part of this discussion, asking readers about the themes of the series and what they mean to them. Novels are meant to make a reader think, hope for the future, and give the reader something to have an opinion on. Sergeant also shows that there is little difference between the youth of today and the youth of the ’60s. Both periods are contentious and have caused heavy polarization in the nation. These themes are not new; they are just new to different eras. Afia Kanwal, an author of the paper “Dystopian: Reflection of Real World in the Hunger Games,” specifically breaks down the issues that the novel leads in the United States, saying, “The rebellious nature identified in the lead character of The Hunger Games is a depiction of the Americans tired of the government ruling them with strict policies” (Kanwal 3996). The Hunger Games evidences a wave of distrust in the government, where Americans question their rights in the country and, in some cases, advocate for more privacy in government, focusing on less invasive rule. Kanwal then states that movements in The Hunger Games reflect the ways that many in the 21^st century United States have advocated for the truths they believe in “against the domineering and unjust control of the powerful on the weak,” creating massive movements like Black Lives Matter and #MeToo. Dystopian novels only continue to grow these ideas (Kanwal 3998).

In “Dystopian Literature and the Sociological Imagination,” Seen Seeger and Daniel Davison-Vecchione analyze dystopian novels with a sociological lens, stating that “compared to those of the utopia, the literary conventions of the dystopia more readily illustrate the . . . interplay of ‘biography and history’” (Seeger). Seeger and Davison-Vecchione reiterate the same ideas expressed in depth above: dystopian stories bring together intimate youth concerns with broader societal ones. Dystopian stories encourage people of all ages to advocate for what they believe in; however, these ideas have become more individualistic with older generations. Generation Z is almost known to internalize the values of human life and the environment. These goals are essential to the generation that will carry into adulthood. Policies and laws are made to fit the ideals of a given generation, showing that these stories will be carried throughout the lives of the generation. Having the values carried through life will help make them manifest.

Conclusion and Final Discussion

In short, dystopian novels play a large role in delineating what an essential and thriving life looks life, especially for members of Generation Z. The importance of media in describing society is seen through what society values at the time. Just as the 60s had movements, the 21st century is reflecting its own. Society must remember the cause it is fighting for, as the lines and perspectives can sometimes blur. Reflection is also key; the important part of this genre is the time era in which it comes from. Timeliness is key to understanding the works as a whole; reflection is an important step to maintaining and keeping values. Maintaining a filter with these works helps readers learn what did and did not work from an era. Enjoying these media in the form of a movie or story is good, but the importance of these novels is to teach about a theme or an idea and motivate readers to feel a certain way about topics. Maintaining a sharp mind about these ideas creates better outcomes in society, as it teaches the youth ways to grow and better.

Works Cited

Dougherty, Michael Brendan. “Yevgeny Zamyatin’s We: A Dystopian Novel for the 21st Century.” The Week, 10 Jan. 2015, theweek.com/articles/449254/yevgeny-zamyatins-dystopian-novel-21st-century. Accessed 19 Nov. 2024.

Eldridge, Paige. “Diving into Dystopia: How YA Fiction Reflects Current Social Issue.” Rock and Art: Cultural Outreach, edited by Felix Cole, 30 Jun. 2024. rockandart.org/diving-dystopia-ya-fiction-social-issue/. Accessed 5 Nov. 2024.

Finden, Jessica. “Dystopian Literature: More Than Just the End of the World to Teens.” Schools Catalogue Information Services, no. 123, 2023. scisdata.com/connections/issue-123/dystopian-literature-more-than-just-theend-of-the-world-to-teens. Accessed 5 Nov. 2024.

“How Do Dystopian Novels Challenge the Status Quo?” Dystopian Novel, 25 Aug. 2024. dystopiannovel.com/how-do-dystopian-novels-challenge-the-status-quo/. Accessed 05 Nov. 2024.

Jerald, Aysha. “Exploring the Relationship between Dystopian Literature and the Activism of Generation Z Young Adults.” American Journal of Undergraduate Research, vol. 16, no. 4, Mar. 2020, pp. 81-93. ajuronline.org/uploads/Volume_16_4/AJUR_Vol_16_Issue_4_March_2020_p81.pdf. Accessed 5 Nov. 2024.

Kanwal, Afia, et al. “Dystopia: Reflection of Real World in The Hunger Games.” Ilkogretim Online, vol. 19, no. 3, 2020, pp. 3990-3999. bibliomed.org/mnsfulltext/218/218-1633682825.pdf?1730820920. Accessed 5 Nov. 2024.

Seeger, Seen and Daniel Davison-Vecchione. “Dystopian Literature and the Sociological Imagination.” Sage Journals, vol. 155, no. 1, 16 Nov. 2019. journals.sagepub.com/doi/full/10.1177/0725513619888664. Accessed 5 Nov. 2024.

Sergeant, Alexander. “Hobbits on the Wall: The ‘Frodo Lives!’ Campaign as Psychosocial Symbol.” Free Association: Psychoanalysis and Culture, Media, Groups, Politics, Jun. 2020, pp. 103–318. freeassociations.org.uk/FA_New/OJS/index.php/fa/article/view/331/443. Accessed 5 Nov. 2024.