‘A Boot Stamping on a Human Face’ – Why Do We Enjoy Dystopias?

Dystopian Visions of the Future: A Discussion, International Anthony Burgess Foundation, Thursday, 27th June, 6:30pm

Words by Siobhán O'Toole

Despite the shoddiness of many modern filmic examples, we all love a good dystopian plot. Whether it be George Orwell’s classic, 1984, Anthony Burgess’, 1985 and A Clockwork Orange, or the countless American blockbusters that have us running to the cinema to watch its own shattering demise, we just love to experience devastation.

Academics, Dr Kaye Mitchell (University of Manchester), Dr Eleanor Byrne (Manchester Metropolitan University), and Dr Michael Sayeau (University College London), joined forces with avid readers and writers at the International Anthony Burgess Foundation in Manchester last Thursday to discuss this fascination with dystopias, and delve into the murky depth that is the dystopian novel.

The event, organised in collaboration with The George Orwell Trust, offered three individual talks, followed by a group discussion between the three academics, stimulated by questions from the audience.

First up was Dr Kaye Mitchell, whose research focuses on contemporary literature and culture, with a particular focus on gender and sexuality, critical theory and narratology. It seemed right that Kaye speak first, seen as her talk concentrated on the meaning of the terms ‘utopia’ and ‘dystopia’, offering extremely insightful points to introduce guests to the world of the dystopian novel. Through revealing that the word utopia is a community or society possessing highly desirable or perfect qualities, and the word dystopia being coined from this as simply the opposite, Kaye highlighted that the two terms are not as different as you would first assume. The terms are slippery and indeterminate; ‘one person’s utopia is another’s dystopia’.

Kaye also focused upon the political drive of dystopian novels such as 1984, and questioned whether authors still write politically when creating dystopias. Do such authors aim to send a message about the state of society, or are they simply following a winning formula? This is a question Kaye left unanswered, choosing to put it to the audience instead to discuss later on.

Next up was Dr Ellie Byrne, whose research includes postcolonial literature and theory, nineteenth and twentieth century English literature, African and Caribbean writing and poststructuralism and feminism. Ellie’s talk very much focused upon the relationship between literature and democracy, and the ways in which the two are inextricably linked through freedom of imagination, creativity and speech—rights that are non-existent in Orwell’s 1984society.

Ellie offered different perspectives of dystopian novels in the light of postcolonialism and its effects on the western outlook towards other countries. When discussing dystopic societies, Ellie highlighted that they often exude fears of natural disasters, such as floods, hurricanes and volcanic eruptions, as well as man-made disasters such as war. However, Ellie stated that, ‘looking into the future is a titillation that the West can afford’. Here she touched upon the imbalance in the fact that Westerners enjoy watching their buildings and homes artificially submerged in water, their societies decimated by war, however, for many countries across the world these issues are happening presently, yet we do nothing.

Dr Michael Sayeau’s research examines the relationship between the narrative rendering of the temporality of lived experience and life stories and wider developments in the social conception of time. Michael, Keeper of the George Orwell Archive at University College London, was more interested in discussing the popularity of the dystopic form and the ways in which authors remain traditional to the literary form, whilst simultaneously pushing its boundaries. He discussed novels such as: The Time Machine and 1984, and their use of romance—the most traditional literary hook. ‘At the heart of every story, dystopias included, is a tale of romance, and if an author wants to convey a political message, he must utilise romance to suck people in’.

He also looked into the reasons why 1984 is taught throughout the world, and also why it remains so popular with teens and adults alike. His answer – ‘Rebellion’. The control and surveillance conveyed in 1984 directly reflects the controlling presence of parents, whilst the constant surveillance of the bedroom mirrors a teenage angst at not being able to have sex.

The first audience question asked the academics to highlight their thoughts on what makes a novel dystopian, and how authors retain our attention without sending us into a depressive hole of desperation. Their answer was extremely simple: it is indeed hope that keeps us turning the pages. Without hope we would give up to the darkness of the novel’s dystopian world.

Another popular question amongst the guests regarded the recent rise in sales of 1984, and the implications of this.  All three academics agreed that this is probably due to people seeking answers. In a society dominated by CCTV and paranoia that no information is truly secret or safe, it isn’t surprising that people are reverting to literature for some enlightenment. Their fear of where our society is headed is clear.

Overall the event was extremely successful and one that encouraged much debate amongst its audience. One guest noted, ‘it’s so interesting to discuss utopias and dystopias, especially given our current climate and the rejuvenated popularity of these controversial texts’. Discussions such as this once again affirm the value of the humanities and their use when discussing real, hard-hitting political issues. I would certainly encourage anyone interested in these issues to look at Anthony Burgess’ work, and expect to be both enthralled and possibly offended at the same time, in the most glorious ways.

Siobhan studies English Literature at Manchester Metropolitan and is an inspiring writer, hopeless optimist and romantic, and a complete technophobe. Follow Siobhan on Twitter @smo_07

All Hands Were Clapping!

One Hand Clapping, Friday, 15th March, International Anthony Burgess Foundation

Words by Alex Martin

A dimly lit stage with the buzzing static of a television to light the space. This was an unusual Friday night for me, one that would turn out to be entertaining, funny and consistently thought-provoking, all due to Lucia Cox’s stunning adaptation of One Hand Clapping at the International Anthony Burgess Foundation. The audience was buzzing as we waited to go in, milling around with the kind of quiet excitement that always comes before a truly great performance; an infectious atmosphere that left me itching to see the play, and it did not disappoint!

Eve Burley & Oliver Devoti

A chair, a bookcase, a trunk and several well placed televisions make up the stage of One Hand Clapping, but in viewing the performance, I found myself in awe at the simple power of clever lighting and even the smallest props that were involved. The set, designed by Meriel Pym’s, was incredible - honestly, I could go on about this set for hours - even a couple of books became hugely important to the performance, and props such as a simple armchair and a rather memorable large trunk were as vital to the play as much as the actors! This attention to minute detail did wonders for the stage; anyone who has been to the Burgess Foundation knows that the stage has the potential to be quite limiting, but in this case I believed it immensely, and was thrilled at the clever ways that the televisions managed to transport me beyond the living-room setup.  

One Hand Clapping, based on the Burgess novel of the same name, shows us the story of Janet and Howard Shirley, told retrospectively through the eyes of Janet. It appears innocent enough until it is revealed that Howard has a rather unusual gift; he has a photographic memory, and a strange ability to predict the future, and uses this to his advantage on a popular quiz show to win a large sum of money. The play then follows how the couple goes about spending this money, and despite the light premise, maintains a dark tone throughout. That said, it is consistently funny, and raised more than a few laughs from the audience! I’ll admit that the plot was a mystery to me when I sat down for the performance - One Hand Clapping was not a novel that I was immensely familiar with. Still, I found myself dying to buy a copy once I had seen this spectacular version of it. The plot, the characters, everything about it drew me in. As if blessed with Howard Shirley’s foresight, the IABF were selling copies of the book for only a fiver before and after the performance, so needless to say, I gravitated there!

Adam Urey, Oliver Devoti & Eve Burley

The performances of the three actors of the play were extremely impressive, constantly keeping the plot going and adding their own unique twists to their lines and movements on stage. Eve Burley, as Janet, constantly drew attention, particularly with a flawless opening monologue that instantly set the pace for the remainder of the play; fast, witty, and always entertaining. Oliver Devoti brought Howard’s awkward and slightly sinister personality to life, always perfectly in character and playing the final dark twist in a cool and almost comically calm manner. It was Adam Urey, however, that stole the show for me. He played the parts of Laddie O’Neill and Redvers Glass, both of which are hilariously funny and brilliantly silly - wonderful contrasts to the character of Howard! The quiz show moments in particular (where Laddie O’Neill is the presenter) stood out for the pure cheesy quality of it, and had most of the audience roaring with laughter.

From start to finish, over the course of an hour and a half, One Hand Clapping had my undivided attention. For the cheap price (only £6!), the charming venue and the fantastic performances, I’d call it a night well spent. In fact, I think if I could go back I’d watch it all over again!

Alex is an English Literature student at Manchester Metropolitan University. She is passionate about good coffee, boring films and ridiculously long books. She would like her writing to be seen and hopefully one day be published. Follow her on Twitter @aalexjm