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As a black male that lives in America I sometimes feel that my race of people have lived in a dystopia for a while now. Being a minority in a country that oppressed the some people who help build it to world dominate makes you feel bad. As I read dystopia novels like a shipbreaker or a hunger games I have reached the fact the dystopian novels take a topic that America or another country struggle with mostly moral justice and brings it to the light.
My views on politician and politics have change seen reading dystopian novels, once my ideas of a politician was that change with correct morals in hand can change America for the better but now I have learned after reading dystopian novels that I believe some politicians are just people pleasures and only take care of the one that have money and power. Not only have my views of politics change but the education, society, and outlook on things have to. The dystopia novel not only woke me up as an African male but has allow me to prove my theory on America dystopian society.
I think dystopia changed how people look at current events that happens because the people are being woke on situation that should not happened. For examples the book salvage by Alexandra Duncan was tell the audience the main message that nobody should hold you out of being you that you are entitle to your own density. It also allow us to be shown the women rights breaking the patriarchy chains that have clutched America minds. Dystopian novels have lead America until a new America order setting a new standard of fair equality. Dystopian novels like salvage have caused problems for constancy and supported change. Another thing that has changed in society is attention to the government has shifted to what is going on to a fear of a controlling government.

Scott Westerfeld, well-known author of Leviathan and The Uglies, published an interesting article through his publisher’s website that could be applied to a multitude of research topics concentrated on young adult dystopian literature. Cleverly coining the category as “dyslit”, Westerfeld attempts to explain the adolescent’s draw to the dark themes of a dystopia by defining the genre itself and analyzing several key components in such literature.

“http://www.tor.com/2011/04/15/teenage-wastelands-how-dystopian-ya-became-publishings-next-big-thing/”

The term “counter-utopia” is referred to in the start of the article to define Westerfeld’s version of dystopia being used in his argument. His use of the “classical” type of a dystopia where “a twisted version of perfection is imposed on a populace” is easily applicable to the YA dystopian genre we are using in our research papers. Using such a credible source as a reference for a pre-existing genre of dystopia could help establish ethos for an argument.

Similar to one of my peers’ presentations, Westerfeld draws a connection between “dyslit” and the importance/impact of escapism. By focusing on the function of the wilderness for characters who previously lived in an oppressive society, he illustrates the woods as a refuge and a place of transformation. The escape from previous misery contributes to the change you see in the protagonist that ultimately shares the newfound knowledge with those he/she left behind in their previous life. The decision must then be made: share the perceived utopia with those stuck in the oppressed society or live happily having escaped. This could easily be connected to the concept of escapism that was present in some people’s arguments this week.

This article employs a laid-back style that somehow adds to the credibility. It seems as if you are having a friendly conversation with the well-educated Scott Westerfeld rather than being lectured from an all-knowing source. His conclusion perfectly aligns with his purpose by ending on a thoughtful message of rebirth coming from all the death in a dystopia. Just as the typical YA dystopian novel does, Westerfeld fills his conclusion with a note of utopian hope that both inspires and awes the reader. His article, outside of providing invaluable evidence towards most arguments on the topic of “dyslit”, is a genuine good read.

Work Cited:

Westerfield, Scott. “Teenage Wastelands: How Dystopian YA Became Publishing’s Next Big Thing.” TOR.com, Macmillan, 15 April. 2011, http://www.tor.com/2011/04/15/teenage-wastelands-how-dystopian-ya-became-publishings-next-big-thing/