This book is a volume in the Penn Press Anniversary Collection. To mark its 125th anniversary in 2015, the University of Pennsylvania Press rereleased more than 1,100 titles from Penn Press's distinguished backlist from 1899-1999 that had fallen out of print. Spanning an entire century, the Anniversary Collection offers peer-reviewed scholarship in a wide range of subject areas.

This essay analyzes the eco-religious “God’s Gardeners” group as they appear in Margaret Atwood’s Oryx and Crake and The Year of the Flood as a possible model of capitalist “non-existence,” exploring the alternative potentials at which they arrive in relation to waste throughout the text. The Gardeners present an affective mode of consumer non-participation as a possible first step toward a reflexive awareness of the role trash plays in our subjective experiences of the world. Through a process of symbolic (...) embodiment, the Gardeners exist in marginalized space and so re-situate waste for themselves as objects and spaces with new potential boundaries. This leads to a confrontation with social reality itself, piercing the reality-building project of capitalist logic in order to uncover the fabricated “antagonism between the Excluded—the ‘animals’ according to global capital—and the Included—the ‘political animals’ proper, those participating in capitalism” that structures characters’ experiences. The focus here is not only on re-situating waste but re-inscribing it in the domain of social discourse in a way that subverts consumer expectations and challenges the limits of desire. In these texts, enjoyment is displaced onto waste objects as a point of psychological investment transmitted from subject to subject. In building reality through these kinds of direct relations, Atwood implies, one may challenge the imposition of ideology and expand its apparent limits in order to re-symbolize the spaces and objects marginalized as waste, proceeding in the end to a renewed interconnection between subject, object, and excess. (shrink)

Margaret Atwood’s novels are usually celebrated for their blunt feminism. However, in Moral Disorder—a series of interconnected stories that forms a novel—feminist concerns are replaced with worries about territory and survival. The protagonist is an insider whose sole concern is to survive and to protect her territory. The confrontation between the narrator as the insider and the outsiders does not occur directly but could be inferred by her cruelty toward other characters and her violence against the animals under her (...) care. The present study argues that this cruelty, which abounds in the novel, could be viewed as a substitute for violence against the outsiders. The narrator’s gaze at the Indian boy who entered the protagonist’s territory manifests a garrison mentality. The frequent references to axes in the novel are compared to the use of axes in “Wilderness Tips,” a short story by Atwood in which axes also have a metaphoric significance. The beheading and dismemberment of domestic animals could be the punishment awaiting the intruder. The novel establishes a division between the insider/outsider, here/there, self/other and civilized/barbaric to call for action and awareness about the importance of protecting one’s territory. (shrink)

In her fifth dystopian novel, The Heart Goes Last, Margaret Atwood portrays North America in the not so far future, in the wake of a global economic crisis. Parts of the country are in the state of complete chaos, subjected to a ruthless gang rule. The solution to the system's breakdown comes in the form of the socio-economic experiment that requires from its participants relinquishing their freedom as every other month they will spend in prison. The seemingly preposterous experimental (...) project enables Atwood to explore principal questions about the limits of our freedom in the times of an economic crisis or a neoliberal model of economy. The satirical form the novel takes, especially towards its end, helps the writer to decry people's over-willingness to give away their freedom and civil liberties in exchange for happy, uninterrupted consumption. The following article aims to demonstrate that the notion of freedom and free will permeate The Heart Goes Last, which is, in that respect, a politically and socially engaged satire. (shrink)

Margaret Atwood’s The Handmaid’s Tale has predominantly been read as a critique of patriarchy, a feminist dystopia. This article amends the feminist analysis by applying a biocultural approach to the novel, taking as its point of departure three problems that have troubled the feminist reading: Offred’s perceived passivity, the novel’s subtly critical stance towards its feminist characters, and the open ending. By taking into account the environmental context-a fertility crisis-the biocultural reading is able to analyze char­acter in terms of (...) survival and reproductive strategies. Recognizing that the characters are negotiating male and female mating strategies under extreme conditions leads to a deeper comprehension of the way the contrasting philosophies of radical feminism and sociobi­ology inform sexual politics in the Republic of Gilead. (shrink)

Margaret Atwood and David Suzuki are two of the most prominent Canadian public ‎intellectuals ‎involved in the global warming debate. They both argue that anthropogenic global ‎warming is ‎occurring, warn against its grave consequences, and urge governments and the ‎public to take ‎immediate, decisive, extensive, and profound measures to prevent it. They differ, ‎however, in the ‎reasons and evidence they provide in support of their position. While Suzuki ‎stresses the scientific ‎evidence in favour of the global warming theory and (...) the scientific ‎consensus around it, Atwood is ‎suspicious of the objectivity of science, and draws on an ‎idiosyncratic neo-Malthusian theory of ‎human development. Their implicit views ‎about the cognitive authority of science may be ‎identified with Critical Contextual Empiricism ‎and Feminist Standpoint Epistemology, respectively, ‎both of which face difficulties with ‎providing solid grounds for the position they advocate.‎ ‎. (shrink)

ABSTRACT This article seeks to draw parallels between today’s transmodern reality and the events recounted in Margaret Atwood’s The Testaments and in The Handmaid’s Tale Hulu TV series, particularly Seasons 2 and 3. Addressing issues such as controlled reproduction, violence, corporeal subjection of women, and environmental injustice, I focus on the body as a site of social construction, vulnerability and control. Drawing on the work of various scholars, I argue that the body is simultaneously a site of vulnerability and (...) of resistance that exceeds totalitarian categories, thus allowing for empowering “modes of heterogeneity,” fluidity, diversity, environmental as well as transcorporeal. In Gilead, the totalitarian state where Atwood’s two novels are set, it is the body that is acted upon, with massive repression and violence, and it is the body that resists by forming alternative relations and practices, which eventually facilitate the fall of Gilead from within. Throughout my analysis, I draw on the transmodern concept, while widening it toward the corporeal enmeshment with others in order to demonstrate that it is the interdependence of vulnerability and empowerment that reveals transmodernity’s “new visions of justice.”. (shrink)

Old age and visions of the future are inherently bound with one another, and the realms of dystopian fiction provide scope for a gerontological focus within contemporary literature. A theme that is now being revisited in speculative fiction, this paper aims to assess the role of the elderly within Margaret Atwood's dystopian tales, specifically looking at the role of gerontology in her collection of short stories Stone Mattress: Nine Wicked Tales (2014). I argue that Atwood utilises the dystopian narrative (...) in order to address broader social issues that stem from immobility and declining virility. Focussing on Atwood's feminist politics and representations of the elderly woman in the dystopian narrative, this paper proposes that older women in Atwood's fiction seek to move beyond the asexual, immobile and matronly gerontological stereotype that is often portrayed in literature. Instead, the elderly, and in particular elder women, adapt to their environment, often becoming figures of their community. They are aware of sexual desires and look to move within and beyond societal constraints, utilising the realms of cyberspace in order to forge their own identity. The role of the elderly in a distinctly dystopian narrative allows for a new Utopian strategy to be constructed. (shrink)

With the advent of the 21st century, the way characters and identities interact under the influence of dominant powers has brought a new world into existence, a world dubbed by Manuel Castells as the ‘Fourth World’. Within the Castellsian theoretical matrix of the Fourth World and politics of identity, the present study seeks to investigate the true nature of the futuristic world Margaret Atwood has created in the MaddAddam trilogy. The trilogy literarily reflects a global crisis that ultimately leads (...) to dystopia and the destruction of the human race: what remains of humanity is a small group of survivors who must struggle to conserve what remains of humanity. Identity as the main determining factor in the Fourth World represents personal and public privileges, characteristics, and means of differentiating oneself from others. The Fourth World and its political peculiarities reflect contemporary powers, i.e. the power of the network society, network communication and media. Humankind, in this wheel, is just a toy in the hands of an intelligence broker. What exactly happens to human and semi-human characters in Atwood’s trilogy is the result of Fourth World structures and values, and how they shape and reconstruct identities to lead the world toward fabricated truths and values, and terminate in dystopia. (shrink)

In this article, Aaron James Wendland asks world-renowned author, Margaret Atwood, about: the power of poetry and literature; the relationship between fiction and political commentary; the social and political impact of her dystopian and anti-authoritarian work; modern utopias and the role of hope in utopian writing; her undergraduate studies in logic and the history of philosophy; and the ancient quarrel between poetry and philosophy.

Dystopian and postapocalyptic narratives are often vectors for utopian hope in decidedly anti-utopian historical moments. The twenty-first century has, arguably, been such a moment. The association of utopianism with some of the most devastating political projects of the twentieth century, the plurality of existential threats looming over the globalized world, and the hegemony of global capitalism converge to form a cultural milieu inundated with grim visions of the future. These visions, however, have a stubborn tendency to gesture toward their negation: (...) the emancipated society. Optimism and pessimism are intermingled in contemporary narratives that frame the end of civilization as the precondition for a utopian... (shrink)

Scotland is usually portrayed as being a country that had weak and terrible queens, like Margaret Tudor and Mary Queen of Scots. Saint Margaret is the only queen who is constantly portrayed positively. However, that is not because of her actions as queen consort, but because she was a devote Christian. Scotland is also portrayed for not producing well known or strong female rulers. This essay will examine two contemporary female rulers from the mid-fifteenth century, one from Scotland, (...) Eleanor of Scotland, and one imported to Scotland, Mary of Gueldres. Using these case studies it will be demonstrated that Scotland did produce strong female rulers along with acquiring them. (shrink)

Recent years have seen the development of a new trend in gastronomic discourse toward acknowledging and even valorizing the role of animal slaughter in meat production. This development problematizes some of the ideas of influential theorists of meat such as Fiddes and Adams : namely, that the animal in modernity has been rendered invisible in the process of meat production and consumption , and that meat itself is a commodity with a declining reputation . This paper analyzes the role of (...) nostalgia in this trend toward do-it-yourself slaughter, and takes these developments in cultural tastes and feelings as a context within which to analyze the special significance of meat in Margaret Atwood's Oryx and Crake. In identifying this burgeoning nostalgia for meat and contextualizing it within a risk-reflexive, consumer-driven, dystopian near-future society of the author's own devising, Oryx and Crake foregrounds and illuminates these real-world developments in the meanings of meat. (shrink)

This thesis is the first major study of censorship of and in English Canadian literature. While there are several reasons scholars have focused on censorship in Europe and the United States, it is the ascendancy in quality and quantity of Canadian writing leading to its further use in institutions where censorship takes place---such as schools and libraries---that necessitates a study of censorship in Canadian literature now. This rise in censorship has prompted Canadian authors increasingly to write about the subject. In (...) this thesis I study censorship issues raised both explicitly md implicitly by Timothy Findley, Margaret Atwood, Margaret Laurence, Beatrice Culleton and Marlene Nourbese Philip. All of these writers have been subjected to censorship attacks and have responded to these attacks and grappled with the philosophical implications of censorship in their fiction and non-fiction. My investigation of censorship in these texts sheds new light on the works of literature themselves, but the literary texts also suggest a new way of looking at censorship. Each of my chapters offers arguments challenging the traditional Enlightenment model of censorship as an oppressive government practice against its citizens, a definition resulting in the mistaken views that censorship has been largely eradicated in the West and that, when it does surface, it is to be condemned on principle. This view can be contrasted with a "constructivist" model of censorship as the delegitimation of expression by social forces. My findings support a definition which draws on both models wherein censorship is the exclusion of some discourse as the result of a judgment by an authoritative agent based on some ideological predisposition. The key word in this definition is "judgment" which, when recognized as the primary activity in censorship, must change the way we approach censorship controversies. For if censorship is the exercise of judgment, and judgment is enmeshed in the fabric of human endeavour, then censorship is inevitable in our society. Since censorship is inevitable, I conclude, we should stop arguing about whether censorship itself is a desirable practice and begin to find ways to make censorship practices more reasonable or more "just.". (shrink)

This article analyzes the changes in The Handmaid’s Tale’s moral and political outlook as it tracks different forms of complexity in the novel, the film, and the TV series. While the sense of female empowerment increases with each adaptation of this tale of forced sexual servitude in fictional theocratic state of Gilead, the essay argues that Hulu’s TV series develops an intriguing interaction between the interiority of Margaret Atwood’s 1985 novel and the exteriority emphasized in Volker Schlöndorff’s 1990 film. (...) In so doing, the TV series Escher-twists across related binaries between activity/passivity and personal/political actions as well. By expanding, displacing, and creatively intersecting storylines which the novel cut short, the series weaves an intricate perspectival web that invites the viewer to participate in its mind games. (shrink)

Since 1959, when C.P. Snow delivered his seminal lecture The Two Cultures on the lack of understanding between scholars working in the humanities and their colleagues from science departments, the gap between the two groups has been one of the most notorious clichés of contemporary Western culture. The aim of this article is to show that this seemingly insurmountable abyss between sciences and the humanities that was brought to the forefront during the mid-20th century is slowly receding into history. Literature (...) studies today is heavily indebted to modern science. Biology, physics, and ecology are among the most important subjects scholars of literature have to take into account. In order to prove this point I shortly describe literary genres which introduce modern science to the readers: science fiction, cyberpunk, solarpunk, lablit, quantum fiction, and cli-fi. I also refer to the newly-emerged schools of criticism-science fiction studies, ecocriticism and evocriticism-to show how scholars discuss these texts within the framework of the humanities. Additionally, I give a sample discussion of one of the cli-fi’s classics, J.G. Ballard’s The Drowned World and also shortly discuss two science fiction novels concerned with the civilisational conflict between science and humanities: Stanislaw Lem’s His Master’s Voice and Margaret Atwood’s Oryx and Crake. (shrink)

In hyper-modern society, food has become a source of endemic discontent. Many food products are seen as ‘tainted’; literally, figuratively or both. A psychoanalytic approach, I will argue, may help us to come to terms with our alimentary predicaments. What I envision is a ‘depth ethics’ focusing on some of the latent tensions, conflicts and ambiguities at work in the current food debate. First, I will outline some promising leads provided by two prominent psychoanalytic authors, namely Sigmund Freud and Jacques (...) Lacan. Subsequently, I will elucidate why our chronic dependency on high-tech food production apparently fails to meet consumer needs, focusing on some scenarios of escape, such as anorexia, cultured meat and ersatz food. And I will use ‘genres of the imagination’ to flesh out how food consumption has become a podium for enacting cultural symptoms, moral outcries, provocative identities and practices of the Self. Notably, I will discuss a story by Franz Kafka, a painting by Pablo Picasso and a food novel by Margaret Atwood. (shrink)

Margaret Atwood’s most distinguishing novel is The Handmaid’s tale. The novel has two narrators. First, the story is told in the first person through the eyes of a protagonist and ostensible narrator called Offred. Atwood describes the course of Offred’s daily life under the oppressive regime of a patriarchal theocracy governed by religious fundamentalists. Second, the entire meaning of Offred’s story is altered by the thirteen-page appendix ‘Historical notes on The Handmaid’s Tale’ narrated by Professor Pieixoto. He shocks and (...) disorients the reader who encounters it after having spent nearly 300 affecting pages with Offred and her narration. In this regard, two possible worlds are constructed in The Handmaid’s Tale as the results of Offred’s narration and Pieixoto’s narration. This paper aims to study these two worlds from the viewpoint of Slovenian philosopher Slavoj Žižek. Following Lacan, Žižek argues that fantasy provides a framework through which we see reality. They are anamorphic so that they presuppose a point of view, denying us an objective account of the world. Accordingly, there are two anamorphic symbolic orders, or two anamorphic levels, in the novel: the first phase of anamorphic perspective attributes to the handmaids’ fantasy and the second phase relates to readers of the novel. (shrink)

This paper examines human-nonhuman splices from a multidisciplinary approach, involving bioengineering and literary studies. Splices are hybrid beings, created through gene-splicing—a process which combines the DNA of the two species, resulting in a hybrid or chimeric being. A current trend in biotechnological research is the use of spliced pigs for xenotransplantation. Hiromitsu Nakauchi’s pancreas study that splices pigs with human iPS [induced pluripotent stem] cells in order to grow human organs inside pigs is being compared to a highly similar case (...) of porcine hybrids: the pigoon from Margaret Atwood’s fictional MaddAddam trilogy. Atwood’s pigoons are pigs, genetically modified with human stem cells to facilitate the growth of various human organs for use in organ transplants with no risk of rejection. The case studies from science and science fiction overlap significantly and thus allow for a critical reading of the two highly different sources with a focus on ethical and moral questions regarding the use and abuse of nonhuman animals for human purposes. Furthermore, the context of the fictional works adds new layers of knowledge and new perspectives to the problematic issue of animal “enhancement.” Through the dynamic agency that can be detected within Atwood’s novels and that encompasses human, animal, and hybrid agency, the reader can develop empathy for other-than-human experiences and use this new perspective for a critical reflection of actual technoscientific developments that affect both human and nonhuman animal life. The combination of the two discourses reveals a value of science fiction for both the scientific community and society at large, demonstrating how its critical reception can result in enhanced ethical standards. (shrink)

This essay review of Margaret Atwood's Payback centers on the observation that the book does not dwell on the unnatural face of interest and finance. In this era of financialization, debt has been thoroughly uncoupled from the concept of payback. The least valuable debt is the one that is promptly repaid. It is this aspect of debt—the interest, not the principal—that has attracted the richest tradition of social condemnation. As stable forms of production and exchange were replaced by international (...) arbitrage, the link between debt and sorcery became evident to observers around the world. More profoundly, Atwood's widely shared commonsense impression that consumer debt is a measure of self-indulgence does not hold up empirically. It turns out that our unprecedented levels of household indebtedness were overwhelmingly a function of nondiscretionary spending. Even as Americans owed one hundred percent of GDP in individual debt in 2008, the real Faustian bargain was not a “enjoy now, pay later” scheme for “glitzy, short-term junk.” The truth is much scarier, and points toward a different set of cultural and theological references than the ones Atwood investigates. The dividing line between solvency and insolvency, it turns out, is not consumption but reproduction: the most certain route to financial disaster is having a child. (shrink)

This essay review of Margaret Atwood's Payback shows how the book's accomplishment is to provide a Jungian analysis of the “shadow” of wealth: the primitive meanings attached to debt deriving from ancient cultural configurations of a proper balance in the order of things. Debt is conceived in terms of social obligations, of guilt and sin, of revenge, and as a plot that structures the narrative of human life. Instead of simply looking to the archaic meanings of debt for its (...) shadow side, this review attempts to take stock of what the recent credit crisis can teach us about the place of debt in our lives. It is a question of seeking out shadows that belong specifically to our global financial system, rather than belonging to ways of accounting order, honor, and revenge from a repressed past. If financial institutions, governments, businesses, and individuals were all exposed to high levels of debt, to whom was all this wealth owed? How does the shadow of debt affect economic behavior? Since debt forms the basis of further lending, debt increases through a multiplier effect without corresponding assets, which leads to an unstable system of virtuous or vicious cycles, and debt takes over some of the social, practical, and theoretical functions formerly held by God. (shrink)

On one thing the whole world seems to agree: Globalization is homogenizing cultures. At least, a lot of countries are acting as if that’s the case. In the name of containing what the Canadian novelist Margaret Atwood calls “the Great Star-Spangled Them,” the Canadian government subsidizes the nation’s film industry and requires radio stations to devote a percentage of their airtime to home-grown music, carving out extra airplay for stars such as Celine Dion and Barenaked Ladies. Ottawa also discouraged (...) Borders, the American book superstore, from entering the Canadian market out of fear that it would not carry enough Canadian literature. The French government spends some US $3 billion annually on culture and employs 12,000 cultural bureaucrats in an effort to preserve its vision of a uniquely French culture. Spain, South Korea and Brazil place binding domestic-content requirements on their cinemas; France and Spain do the same for television. Until recently, India barred the sale of Coca-Cola. (shrink)

Global climate change has been characterised as the crisis of reason (Val Plumwood), imagination (Amitav Ghosh) and language (Elizabeth Rush), to mention some. The ‘everything change’, as Margaret Atwood calls it, arguably also impacts on how we aesthetically perceive, interpret and appreciate nature. This article looks at philosophical theories of nature appreciation against global environmental change. The article examines how human-induced global climate change affects the ‘scientific’ approaches to nature appreciation which base aesthetic judgment on scientific knowledge and the (...) competing ‘non-scientific’ approaches which emphasise the role of emotions, imagination and stories in the aesthetic understanding of environment. The author claims that both approaches are threatened by global climate change and cannot continue as usual. In particular, he explores aesthetic imagination in contemporary times when our visions about environment are thoroughly coloured by worry and uncertainty and there seems to be little room for awe and wonder, which have traditionally characterised the aesthetic experience of nature. Finally, he proposes that art could stimulate environmental imagining in this age of uncertainty. (shrink)

Posthuman affirmative ethics relies upon a fluid, nomadic conception of the ethical subject who develops affective, material and immaterial connections to multiple others. Our purpose in this paper is to consider what posthuman affirmative business ethics would look like, and to reflect on the shift in thinking and practice this would involve. The need for a revised understanding of human–animal relations in business ethics is amplified by crises such as climate change and pandemics that are related to ecologically destructive business (...) practices such as factory farming. In this analysis, we use feminist speculative fiction as a resource for reimagination and posthuman ethical thinking. By focusing on three ethical movements experienced by a central character named Toby in Margaret Atwood’s MaddAddam trilogy, we show how she is continually becoming through affective, embodied encounters with human and nonhuman others. In the discussion, we consider the vulnerability that arises from openness to affect which engenders heightened response-ability to and with, rather than for, multiple others. This expanded concept of subjectivity enables a more relational understanding of equality that is urgently needed in order to respond affirmatively to posthuman futures. (shrink)

A philosophy of management that incorporates the big picture of human experience, all levels, and degrees of awareness in relationship with the world, will better develop and sustain an environment conducive to creative contributions that meet organizational goals. Quantum physics reveals the nature of reality to be connection and creativity engaged in a process of actualizing possibilities. Human beings participate in this process of actualization, as both observer-creator and experiencer of the universe through multiple domains of knowing – a collaborator (...) in Alfred North Whitehead’s panexperientialism. Whitehead’s God of process, the primordial field of creative possibilities, and the consequent nature which holds all the experiences of every actualization, supports human consciousness, as it self-actualizes by engaging and integrating the experience of external and internal events and their effects on awareness. Through understanding the participatory nature of consciousness with God and the world as experienced, deep meaning emerges for human life. Tapping into this deeper meaning through a philosophy of management that acknowledges the full human experience, including the embedded spiritual connection to the creative energy that is God, strengthens an organization’s vision, mission and contributions to a community. This brief overview traces a path toward a preliminary framework for a philosophy of management based on God and the ideas of connection, creativity and process. (shrink)

Over the past decade cultural theory has seen a number of 'turns' - the materialist turn, the animal turn, the affective turn - that address the human as an affective, embodied, and ultimately vulnerable animal embedded in dense webs of more-than-human relations, in short as a posthuman phenomenon. Care philosophy shares this focus on embodiment and vulnerability in its insistence on interdependence as the defining condition of human life, making it well positioned for a posthuman turn. To this end, Curious (...) Kin in Fictions of Posthuman Care draws together contemporary narrative fictions that challenge humanist conceptions of care in their imaginative depiction of more-than-human affective bonds, arguing for an expansion care philosophy's central figure: the embodied, embedded, and encumbered 'human'.Fictional narratives of care between humans and robots, bioengineered creatures, clones, nonhuman animals, aliens or inanimate things, highlight the limits of humanist ethical models' capacity to register and accommodate posthuman relational intimacies, while gesturing towards a model of care able to accommodate networked interdependencies that extend beyond the human realm. Texts by Margaret Atwood, Louise Erdrich, Louisa Hall, Eva Hornung, Kazuo Ishiguro, Bhanu Kapil, and Jesmyn Ward, along with films and television programmes like Robot and Frank, Under the Skin, and Real Humans, depict a range of scenarios in which more-than-human care relations not only supersede human-human relationships, but suggest new human/animal/machine ways of being that offer novel insights into the possible presents and futures of posthuman care. Curious Kin in Fictions of Posthuman Care reveals how these fictions do their own theorizing, imagining the politics, ethics and aesthetics of specific, contextualized scenarios of posthuman contact and companionship.Interweaving posthuman theory, care philosophy and contemporary fiction, Curious Kin in Fictions of Posthuman Care offers generative visions of care that make room for the incredible range of affects, energies, behaviours, attachments and dependencies that produce and sustain life in more-than-human worlds. (shrink)

Novels and short stories written since the last decades of the nineteenth century and employing discourses of technology have contributed to shaping the idea of the “posthuman condition” in the West to such a degree that some critics already feel entitled to announce the Age of the Posthuman. This essay interrogates some of the embarrassingly quixotic proposals of posthumanism, taking H. G. Wells's Time Machine, William Gibson's Neuromancer, and Margaret Atwood's Oryx and Crake as paradigmatic texts exploring patterns of (...) mutation, virtuality, and bioengineering. In their concern for the apocalyptic and their sometime depiction of the glorious moment of Herculean victory over classical “human” man, these novels articulate the Western self's undaunted desire for the perfect Other, implying critical and even ironic gestures that question the propagation of a “new” human condition or the idea of absolute boundaries of the human. (shrink)

Moral virtue is, for Aristotle, a state to which an agent’s motivation is central. For anyone interested in Aristotle’s account of moral development this invites reflection on two questions: how is it that virtuous motivational dispositions are established? And what contribution do the moral learner’s existing motivational states make to the success of her habituation? I argue that views which demand that the learner act with virtuous motives if she is to acquire virtuous dispositions misconstrue the nature and structure of (...) the habituation process, but also obscure Aristotle’s crucial insight that the very practice of virtuous actions affords a certain discovery and can be transformative of an agent’s motivational states. Drawing attention, in Aristotle’s account, to an asymmetry between the agential perspective and the observation of others, I consider what the agential perspective affords the learner, and offer a novel interpretation of the role a learner’s existing motives play in her habituation. (shrink)

This article takes the recent rash of unwanted pregnancy films, such as 2007's Juno and Knocked Up, as an opportunity to revisit Margaret Atwood's influential 1985 novel, The Handmaid's Tale. It argues that the novel deals with the same themes the films evoke during a pivotal time for reproductive politics, generally, and abortion politics, specifically. It argues that the novel offers several lessons and warnings on the nature of reproductive politics that are still relevant today. These lessons are connected (...) to how and why these films are able to `make sense' in naturalizing their heroines' choice to keep an unwanted pregnancy. (shrink)

Clough's theological account of animals critiques the familiar negative identification of animals as not-human. Instead, Clough highlights both the distinctive particularity of each animal as created by God and the shared fleshly creatureliness of human and nonhuman animals. He encourages Christians to recognize Jesus Christ as God enfleshed more than divinely human, and consequently to care for nonhuman animals as those who share with human animals in the redemption of all flesh. This move risks downplaying the possibilities for creaturely specific (...) forms of redemption; limiting the cosmic efficacy of salvation in Christ; and losing the particularity of Christ's divine and human natures. Another, possibly less risky, direction to take Clough's insights about creatureliness and well-formed theological ethics might attend to the perverse ways that humans assess the worthiness of human and nonhuman animals by substituting particularities of use and abuse for the particularities of creation and salvation. (shrink)

Some writers are drawn, almost as if hexed, to pronounce on matters of state, politics, and, occasionally, economic policy. Margaret Atwood is one such writer. Her book Payback suffers from its aspiration to create an idealistic and implausible world to take the place of the one we have. This imaginary world would adopt all currently attractive ecological and friendly principles. In positing such a utopia, Atwood puts aside the admirable acuity she has when investigating the real world of literature (...) and veers away into the world of politics, economics, and social life, where she reveals herself a romantic. In so doing, she takes her place, a modest one, in the ranks of twentieth-century writers (Eliot, Pound, Yeats, Brecht) who also ventured into the construction of unworkable social visions that would supplant what they saw around them. Her adventure, while less ambitious, is no less naive than theirs. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Fabuler la fin du monde: La puissance critique des fictions d’apocalypse by Jean-Paul EngélibertCyril CamusJean-Paul Engélibert. Fabuler la fin du monde: La puissance critique des fictions d’apocalypse [Fabulating the end of the world: The critical power of apocalypse fiction]. Paris: Éditions La Découverte, 2019. 239 pp. Print. 20€. ISBN 978-2-348-03719-1.Jean-Paul Engélibert is a well-established expert on apocalyptic and postapocalyptic fiction. His exploration of the genre thus far includes (...) the monograph Apocalypses sans royaume: Politique des fictions de la fin du monde, XX–XXIe siècles (2013), numerous articles, as well as the essay collection L’Apocalypse: Une imagination politique, XIXe–XXIe siècles (2018), which he co-edited. In his latest book, Fabuler la fin du monde, he returns to several texts and aspects of the genre previously covered, delving deeper into what he calls “fictions of the end of the world.” In the ten chapters, gathered in five parts, he approaches his subject as a seasoned scholar in the field of comparative literature, and his analysis draws from comparisons between modern fiction’s representation of apocalypse and biblical literature’s visions of apocalypse and messianism. The book also offers ecocritical insights into the specter of Anthropocenic manifestations in fiction, with reflections on the interrelated genres of utopia and dystopia, theories of cinema, and philosophical writings on the catastrophic history of the twentieth and twenty-first centuries.The range of fictional works discussed is wide, including Jean-Baptiste Cousin de Grainville’s Le dernier homme (1805); Mary Shelley’s Frankenstein (1818); Émile Souvestre’s Le monde tel qu’il sera (1846); Didier de Chousy’s Ignis (1883); Robert Merle’s Malevil (1972); José Saramago’s Blindness (1995); Antoine Volodine’s Minor Angels (1999); Don DeLillo’s Cosmopolis (2003); Cormac McCarthy’s The Road (2006); Céline Minard’s Le dernier monde (2007); Davide [End Page 163] Longo’s The Last Man Standing (2010); and Margaret Atwood’s MaddAddam trilogy (Oryx and Crake [2003], The Year of the Flood [2009], and MaddAddam [2013]). Engélibert also touches on feature-length movies such as Stanley Kramer’s On the Beach (1959), Lars von Trier’s Melancholia (2011), Abel Ferrara’s 4:44 Last Day on Earth (2012), and Mamoru Oshii’s Ghost in the Shell (1995), as well as on other literary and audiovisual fictions, such as E. M. Forster’s short story “The Machine Stops” (1909), Edward Bond’s dramatic trilogy The War Plays (1985), and the first season (2014) of Damon Lindelof and Tom Perrotta’s TV series The Leftovers (2014–17).Engélibert’s exegeses of the genre build around two aspects of the evolving relationship of apocalyptic narratives to the context of their production. Apocalypse (in the sense of “the end of the world” rather than the etymological sense of “revelation”) is no longer primarily a religious myth: the creation and use of the atomic bomb during the Second World War, the theorization of the Anthropocene, and the mainstreaming of concerns over climate change have made the term “apocalypse” a very real, tangible prospect for the future. Engélibert relies on Günther Anders’s Die atomare Drohung (1981) to highlight the importance of the A-bomb in bringing home the reality of potential annihilation to people’s collective consciousness. Yet his second contextual/historical point is that the Anthropocene (albeit unnamed at the time) actually started with the Industrial Revolution, and that thinkers and polemicists such as Charles Fourier or Eugène Huzar, as well as contemporary fiction writers, were already acknowledging the environmental impact of humans and their economic/industrial/technological activity as threats to human and nonhuman life, and to the health of the planetary system itself.1Citing the work of Jean-Baptiste Fressoz and Christophe Bonneuil on the history of climate science, Engélibert analyzes in detail several nineteenth-century novels (namely Le Dernier homme, Frankenstein, Le monde tel qu’il sera, and Ignis) and one early-twentieth-century story (Forster’s “The Machine Stops”) that denounce the harm that the idol of the time, Progress, was already wreaking on nature and human life... (shrink)

In The Handmaid’s Tale and The Testaments, Margaret Atwood vividly portrays a dystopia from a woman’s point of view. The themes she explores are familiar, they are not shocking fictional devices designed to keep readers surprised and engaged. Instead, the stories describe how our own world might have been or, even worse, how it might be. It explores the dangers of treating women’s bodies as resources to be regulated and commodified. The series emphasizes the value of autonomy and highlights (...) the ways in which it can be eroded by oppression until it no longer exists in any meaningful way. This chapter will explore the theme of autonomy as it arises in The Handmaid’s Tale and The Testaments. It will situate these stories as part of a long philosophical tradition of sorting members of society into groups based on their perceived skills and abilities, allowing no room for transcendence or self-creation. It will explore how manipulation of love and relationships, religion, the use of language, and opportunities to think critically can, without bars or shackles, imprison a population by diminishing their capacity for self-determination. The story of The Handmaid’s Tale and The Testaments is cautionary. This chapter will explore the nature of the lesson that story teaches. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Utopian Enterprises: Growing Up with Star TrekMark Jendrysik (bio)It might be hard to imagine today, when new Star Trek entertainment product seems to be everywhere, that there was once a time when Star Trek meant the seventy-nine episodes of the original series and nothing else. And it might be hard to imagine a time when episodes of a television series had to be watched at one particular time, with (...) no guarantee those episodes would ever be seen again—before the VCR, before streaming, when you had to race home and not miss a moment of the program. When Star Trek came on at 4 p.m., I sat glued to the TV, hoping my mother wouldn’t call me to dinner until 5. You might also remember telling friends who missed the program about the plot and experiencing the Rashomon effect as debates raged about what happened or did not happen on the show the afternoon before.In this article, I try to reconstruct the experience of watching Star Trek (“the Original Series,” or TOS, not that we called it that) for the first time as a child in the mid-1970s. This will be a reconstruction in Margaret Atwood’s sense of the term. I cannot at this distance of time be certain that my recollections have not been modified with the knowledge of years, or by a desire to make the experience of Star Trek perhaps more central to my life than it [End Page 359] was at the time. I will also reflect on Star Trek as a utopian and anti-utopian artifact. I do this because it seems to me that the Original Series has become the object of various caricatures that don’t do justice to the complexity and ambiguity of the program.Sci-fi in a Simpler Time?I ask you, if you are old enough, to cast your mind back to a time when Star Trek was not a multiplatform cultural juggernaut. I was born in 1964 and, perhaps predictably, I was enthralled by the space program as a child. After all, I grew up in the waxing years of the space race, just after Alan Shepard made his orbit around Earth. I was five years old when Neil Armstrong made his famed walk on the moon. The moon landings and Skylab missions provided hours of respite for my mother, too, as I sat glued to the television listening to Walter Cronkite’s calm voice. I read issues of National Geographic about the space race until they fell apart. I read all the books in my school’s library about space. A picture book with an introduction by Werner Von Braun showing future space habitants seemed to present an obvious future path for humanity.1 My friends and I were firmly convinced that one day, and soon, we would go live and work in space!By the early 1970s I had become a big fan of science fiction. In that simpler time sci-fi meant my Uncle Tom’s collection of anthologies that he had left at my grandmother’s house. On many afternoons in her sunroom, I tried to work through stories that were more than a little above my reading level. Poul Anderson’s story “The Queen of Air and Darkness” (1971) made a particularly strong impression on me in its treatment of colonialism and resistance (not that I would have used those terms at the time). Isaac Asimov’s Y/A2 book series Lucky Starr: Space Ranger (1952–58) was another favorite. I was enthralled with the stories set on Mars, Venus, and across the solar system. When I met the author in 1974, he seemed embarrassed by my love of these fairly slight works that he had published under the pseudonym “Paul French.” When I asked him to sign one of my “Lucky Starr” books, he laughed and said something like “those were a long time ago.”Sci-fi also meant movies that showed up on our local independent television stations, often as part of programs with titles like “Sunday Adventure Theater.” My friends and I became quite the connoisseurs of various voyages to the... (shrink)

This first scholarly edition in English of the philosophical writings of Novalis (Friedrich von Hardenberg), the German Romantic poet, philosopher, and mining engineer, includes two collections of fragments published in 1798, Miscellaneous Observations and Faith and Love, the controversial essay Christendom or Europe, and substantial selections from his unpublished notebooks.

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)