Is capitalist-dystopia its own genre?
Dystopian works feature many end-of-the-world themes. Nuclear fallout, volcanic eruptions, solar flares, the heating of Earth’s core (because of solar flares), the slowing down of Earth’s liquid magma, the uprising of machines, asteroids, alien invasion, climate change. And of course, my favourite: zombie virus.
Last year I read Paulo Bacigalupi’s, The Water Knife. A novel based (as the name would suggest) on corporate interests battling for water rights in a world which has been ravaged by climate crises, and is now facing drought.
The whole way through Bacigalupi’s novel I found my mouth parched by descriptions of dry and arid lands, of characters longing for drink and the constant awareness of rationing what little water is available. But more than anything, I was intrigued and appalled by the depictions of corporate greed and consequential foul-play.
Is this the kind of future with which we should become accustomed?
Spurred by The Water Knife, I read Bacigalupi’s other dystopian masterpiece, The Windup Girl. In this novel, Bacigalupi creates a world bashed and beaten by corporate espionage which takes form in the poisoning of crops, (leading to something horrendous called “blister rust”) outperforming one another by creating genetically modified food and by using money to influence politics.
In both novels (and throughout the Ship Breaker series), the planet has essentially been ruined for financial gain. That ol’ bird, Capitalism. Not the kind of capitalism that frees the shackles from the poor mind you, more the neo-liberal, unchecked-market kind of capitalism.
George Orwell showed us a world ruled by Communism and it could be said that Ray Bradbury introduced us to the world of rampant capitalism with the focus on fast rides and fun times, but the works of more modern writers feels less like a prophecy for the not too distant future and more like something that could take place with the signing of a few pieces of trade legislature.
For example, Catherine Webb/Clare North’s 84K shows a Britain at the whim of mass production and insurance companies who dictate what level of existence is given to people judged by how much money they earn or how much money they owe. Need I say more?
A more comic approach to rampant capitalist-dystopia is Max Barry’s Jennifer Government. Neo-liberalism has won and the world is split between corporations to the extent that all life is split between corporations to the extent that to be employed is to take the corporate name, for example; Hack Nike. The government and police, on the other-hand, have become something that more resembles charity than any real form of leadership. If people want crimes investigated, they must pay.
Science-fiction and dystopian-fiction does the wonderful thing of attempting prophecy. Aldous Huxley’s Brave New World is more relevant now more than when it was written, especially given the advances in biotech taking us ever closer toward designer human beings. With that in mind, are we much removed from the capitalist dystopias as portrayed by so many other dystopia fiction novelists?
Motor insurance companies monitor drivers through apps in order to gain data. This is done with the premise of decreasing insurance costs depending on how you accelerate, decelerate, how sharply you brake and your average speed. We already allow devices to count our steps and monitor our sleeping habits in order to improve our overall health. Are we really that far from allowing insurance companies to monitor our health so that they can determine our general health habits? And how would that effect our insurance costs? And what other information can be garnered from such apps?
When it comes to corporate influence, are we that far removed from the landscapes of Bacigalupi and Barry when we already witness the political might of the NRA and oil conglomerates over presidential candidates in the United States? What is to stop such forces from gaining more momentum under Trump?
Capitalist-dystopia is so effective because it allows us to entertain the future possibilities of an ideology with which we are already attached. These novels should have the same kind of resounding clout as George Orwell’s warning of Communism faced by the world post World War 2.