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Creative Saplings
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Cli-fi is an innovative genre of fiction that modernizes climate science into human stories. Writers of cli-fi discover, what it means to be human in a world that is influenced by warming temperature, powerful storms and rising seas. The cli-fi narratives arouse consciousness about the complex issues of climate change. The novel Oryx and Crake by Margaret Atwood, published in 2003, is about a post-apocalyptic world which will be a reality in the future. The novel carries two distinct genres- a pre apocalyptic world and a post-apocalyptic world. The pre apocalyptic world is an exaggerated representation of the mid of twenty first century and the post-apocalyptic world is portrayed as the end of twenty first century. Oryx and Crake discusses a world that is completely destructed due to unscientific acts, war, global warming, climate change and diseases. The two genres narrate through the character Snowman who is the only survivor of the destruction. Oryx and Crake, towards the end, n...
Dystopian fiction is a mode of resistance to the repressive regimes and the societal dementia which they beget. Canadian dystopian fiction varies from traditional dystopian owing to its central reliance on thematic concern of nature. Usually, the dystopias do not relate to nature for depicting or reprehending social, political, or even technological tyranny. Contrarily, Canadian dystopian literature provides us an insight into societal discord reflected through its association with nature. This paper is an attempt to explore the representation of nature in Margaret Atwood’s dystopian novel Oryx and Crake (2003). The natural world appears as a victim in this novel as Atwood engages in an “against the grain” discourse to crack-up the common but hegemonic conventions. This paper investigates how Atwood explores several dystopian traditions to emphasize the importance and presence of the natural world in fiction.
Arab World English Journal, 2013
This paper provides a comparative ecocritical study of two contemporary novels, Oryx and Crake (2003) by Canadian Margaret Atwood and Der Schwarm (The Swarm; 2004) by German Frank Schätzing, in order to emphasize the global dimension of environmental concerns expressed by these authors on one hand, and the need for what Ursula K. Heise has termed a ‘sense of planet’ in the required scholarship on the other. While the two texts differ in style and format, they both represent natural disasters that are results of misguided scientific developments and political decisions. Both, Oryx and Crake and Der Schwarm, focus on the involvement of the so-called ‘natural’ or ‘hard sciences’, mostly genetic engineering in Atwood’s story and oceanography, as well as marine biology along with petro-chemistry in Schätzing’s. They likewise provide sources of suggested comfort, and through the diversity of settings underline a global urgency as it relates to concepts such as ‘globalization’, ‘sustainability’, and ‘risk society’.
The Journal of International Social Research, 2014
The modern mechanization of nature and its reification as a commodity by the Project of Modernity is the main cause of the alarming ecological situation today. With respect to the probable ecological disasters that humanity may possibly face, the ecological threat has become the central discussion among the scientific as well as the literary circles. Among other literary critics and novelists, Margeret Atwood, one of the most acknowledged feminist novelists, also treats this issue in her trilogy, the last book of which has come out very recently. In Oryx and Crake (2003), The Year of the Flood (2009) and MaddAddam (2013) she creates a dystopic narrative that depicts the collapse of civilization, warning her readers as to what might happen if the indifference towards the abuse of nature nature goes on. However, one cannot also help noticing that there is also a utopic aspect to this dystopia which is also depicted as the first step to the healing of the world.
eTropic: electronic journal of studies in the tropics, 2018
In her speculative fiction novel, Oryx and Crake, Atwood explores and challenges readers with visions of loss: the extinction of life forms, of culture, and loss of human control over various systems including those of language, economy and ecology. All such systems are prone to human manipulative influence and sensitive to minor alterations that result in major disruptions and ultimately to extinction, disappearance (both forms of loss) or, at best, altered forms of survival. I consider here McKibben’s suggestion that we live in a “postnatural world” because human activity has altered things as fundamental as the weather, and explore Atwood’s depiction of some of the consequences of a human-altered future in which a great city transforms into a harsh, tropical wilderness. I also apply Buell’s notion that apocalyptic rhetoric serves to alert people to global environmental threats by arousing their imagination to a “sense of crisis,” through this “master metaphor”. If only perception...
2016
As a global population, inclusive of humans, fauna, and flora, we are each subject, though disproportionality, to the risks associated with our planet's changing climate. These changes are largely caused by our unabated expulsion of CO 2 emissions into the atmosphere. Our globalized world and economic activities have largely engendered the burning of fossil fuels. The 2014 report from the Intergovernmental Panel on Climate Change states that to mitigate the worst effects of climate change, which means keeping warming below 2°C, we need to achieve emissions scenarios relative to pre-industrial levels. Without such reductions we can expect substantial species extinction, increased food insecurity, frequent extreme precipitation events, continued warming and acidification of the ocean, global mean sea level rise, and more frequent and longer lasting heatwaves. Responding to this means collective action at a global level. In my thesis I ask how the novel can respond to and help us to cognise these demands, as well as to cognise the scale and complexities of climate change, its philosophical and physical implications, and to attend to the particularities of local place whist remaining global in its scope and vision. I argue that climate change gives rise to a new form of novel. My work is primarily concerned with ecofiction and how it can raise consciousness about climate change. I consider that the novel, as a counterfactual narrative, can personalise the issue, create stories so that we have ways to speak about it and enchant us towards an ecological imagining. My thesis begins by discussing the existing genre of popular climate change fiction. This mostly consists of clichéd, post-apocalyptic and hero-orientated disaster narratives. These novels are often predictable and limited in how they can engage the reader with climate change. In my second chapter I look at how climate change affects and alters our language. Certain processes belonging to it lead to a loss of words but also to the production of new words. I examine these themes in
Bodhi International Journal of Research in Humanities, Arts and Science, 2018
Margaret Atwood, a renowned female writer from Canada is famous for her assessment of wilderness and ecological issues. Through her novel-Oryx and Crake‖ she explores how the culture is related to nature by setting the scenario in an anti-utopian or in a dystopian future. And through various symbolisms she reinforces a sense of emergency in terms of ecology. Analyzing the environmental disaster which happens due to man's selfishness, the novel also portrays a dark prophecy of what might happen to the human race in the near future. Examining the scaring forecast of human existentialism given in the text this paper also intends to read the novel through a post-human or a post-apocalyptic vision.
Wiley Interdisciplinary Reviews: Climate Change, 2011
This article provides an overview of climate change in literature, focusing on the representation of climate change in Anglophone fiction. It then evaluates the way in which these fictional representations are critiqued in literary studies, and considers the extent to which the methods and tools that are currently employed are adequate to this new critical task. We explore how the complexity of climate change as both scientific and cultural phenomenon demands a corresponding degree of complexity in fictional representation. For example, when authors represent climate change as a global, networked, and controversial phenomenon, they move beyond simply employing the environment as a setting and begin to explore its impact on plot and character, producing unconventional narrative trajectories and innovations in characterization. Then, such creative complexity asks of literary scholars a reassessment of methods and approaches. For one thing, it may require a shift in emphasis from literary fiction to genre fiction. It also particularly demands that environmental criticism, or ecocriticism, moves beyond its long-standing interest in concepts of 'nature' and 'place', to embrace a new understanding of the local in relation to the global. We suggest, too, that there are synergies to be forged between these revisionary moves in ecocriticism and developments in literary critical theory and historicism, as these critical modes begin to deal with climate change and reimagine themselves in turn.
Studia Neophilologica, 2016
Atwood comments that her MaddAddam trilogy is neither apocalyptic nor utopian. Nor is the Waterless Flood, the central catastrophic event around which the various narratives of the trilogy cohere, an ecological catastrophe, but, instead, is the consequence of an act of bioterrorism meant to forestall such a possibility. Nonetheless, it is argued, following Laurence Coupe's mythic schema, that Atwood's trilogy can be understood in an alternative sense of apocalypse, that of revelation, an imaginative exploration of possibilities rather than the end of all possibilities that a literalist interpretation of this key biblical myth entails. The study uses Coupe's mythic schema to analyse some of the biblical myths that Atwood employs in her trilogy and builds on Watkins's distinction between monologic, pessimistic and tragic male apocalyptic fiction and dialogic, optimistic and comic female apocalyptic fiction. It shows how the polyphonic structure of the whole trilogy transcends the apparent pessimistic content of the novels, particularly of the first installment Oryx and Crake, pointing imaginatively to permanent possibility and hope, even if the future may be post-human.
Beykent Üniversitesi Sosyal Bilimler Dergisi, 2016
Margaret Atwood's dystopian, speculative novel, Oryx and Crake (2003) shows the devastating effects of the unbridled, scientific power or hubris of humans as they play god in attempting to contravene against devastation of the environment according to their own lights, whether reengineering humanity according to their own design, or taking drastic action to ensure the survival of the ecosystem, both of these in a desperate attempt to counteract the results of corporate greed which has virtually destroyed the ecosystem. Atwood presents the cataclysmic events of this novel through a double time frame. The past shows the ecological, climactic destruction of the globe effected by rapaciously capitalist multinational corporates which spreads a dark pall over Jimmy's childhood. The present time leaves Snowman/ Jimmy almost the sole inheritor after an apocalyptic mass death has occurred. He remains trapped in a traumatic survival of these devastations, looking back to wonder at his own responsibility for this destruction, even as he remains caught within the consequences. Atwood's imaginative presentation of the ecological destruction of the world, presented through the psychic traumas of her protagonist, shows us the possible consequences of human actions in disregard for the planet earth, which just might operate in warning us of the results of such destruction of our environment before they are actually upon us and it will be too late.
2013
Margaret Atwood’s Oryx and Crake (2003) and The Year of the Flood (2009) are the first and second novels in an as-yet-unfinished trilogy. The two works share a complex structure in which scenes from different moments in the future follow one another. A post-apocalyptic narrative line is intertwined with one that depicts events from a nearer future, all of them leading up to an environmental catastrophe of huge proportions. The nearest scenario is one of extreme genetic manipulation, in which the boundaries between species are blatantly crossed. Biopolitics strictly controls the environment and those who inhabit it; identities can be bought, and only some of them grant access to the Compounds – the only safe areas left after open spaces have become radioactive. In the meantime, all kinds of technological and genetic enhancements to human capabilities are being employed, some of them resulting in the creation of para-human populations. An environmental catastrophe follows, and both books feature last-man-on-earth narratives. Whether – or, more appropriately, how – the apocalyptic destruction is linked to an attempt to cross the boundary of the human is the issue this essay addresses. The first section deals with more classical interpretations of Atwood’s fiction as a cautionary tale about current environmental policies, whereas a new hypothesis is made in the second section, a post-humanist reading of Atwood's novels. Philosophical support will be provided by Jacques Derrida’s reflections on the fine line between animals and humans and Cary Wolfe’s theory of posthumanism.
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