Dystopian literature is focused on oppressive societies

Dystopian literature is a form of speculative fiction

The classification includes any fiction that "speculates" about how society might operate in the future or in contexts different from the present reality. The genre is an umbrella term for science fiction, fantasy, alternative historical fiction, dystopian and utopian fiction, and apocalyptic and post-apocalyptic fiction.

Dystopian satire became more prominent in the 20th century

Although "anti-utopian" stories have always existed, the international conflicts of World War I and World War II inspired some of dystopian literature’s most influential novels, like Yevgeny Zamyatin’s "We," Aldous Huxley’s "Brave New World," and George Orwell’s "1984." In the decades to follow, more writers would follow the example of those early novels, using the dystopian model to critique artificial intelligence, climate change, and more.

Why dystopian literature remains popular

Yale English professor Joe Cleary argues that dystopian literature’s continued relevance is due to a torrent of additional societal anxieties and that the streaming adaptations of dystopian classics "The Handmaid’s Tale" and "The Man in the High Castle" have expanded the genre’s popularity, introducing new audiences to its tropes.

'Dystopia,' explained

John Stuart Mill introduced the term "dystopia" in 1868 to critique harmful policies, calling it the opposite of utopia, or an ideal world. The concept grew as industrialization and totalitarian regimes exposed societal flaws, inspiring works like George Orwell's "1984" to warn against oppression and moral decay.

Dystopian narratives have influenced real-life extremists

J.M. Berger, a senior research fellow at Middlebury’s Center on Terrorism, Extremism, and Counterterrorism, traced how terrorist organizations have latched on to dystopian narratives, with some groups even embracing the texts’ lexicons and iconographies.

Science fiction or new technology?

Dystopian literature is no longer relegated to the page, with innovations like the Tesla Cybertruck and Meta virtual reality headsets mirroring the aesthetics of texts like "The Running Man" and "Neuromancer." In this essay, Casey Michael Henry argues that the images from these works remain while their messages have faded.

Dystopian books have grown especially popular with younger audiences

In the late 2000s, Suzanne Collins’s dystopian "The Hunger Games," a young adult book series where impoverished children are pitted against one another for entertainment, spent over five years on The New York Times bestseller list.

The word 'dystopia' was first used in 1868

John Stuart Mill, an English philosopher, economist, and politician, uttered the word at the House of Commons while criticizing what he considered to be the government’s insufficient land policy for the Irish, saying, “What is commonly called Utopian is something too good to be practicable; but what they appear to favour is too bad to be practicable.”

'Dystopia' is an inversion of Sir Thomas More's 'utopia'

The word is derived from the Greek for “bad place," but it's also an inversion of “utopia,” a term popularized by Sir Thomas More in his 1516 book, "Utopia," which imagined an ideal society free of oppression, inequity, and want. More recognized this place was a fantasy; "utopia" is derived from the Greek for "no place."

Why school boards ban dystopian books

Journalist Ali Velshi analyzes the lasting appeal of Lois Lowry's "The Giver" and George Orwell's "1984," two dystopian novels that have courted controversy since their publications. Beyond his interpretations, though, Velshi wants to understand why school boards perennially ban these books—and what makes them so fascinating for adolescent readers. In his search, he talks to Lowry about the lasting influence of her novel and to Orwell expert James McCallister about the prescient political portrait in "1984."

George Orwell's '1984' is one of the most famous dystopian works

Orwell's life experiences, from living among the poor to witnessing the rise of authoritarian regimes, deeply shaped his worldview. His iconic works, "Animal Farm" and "1984," offered stark warnings about power, control, and propaganda, making him one of the most enduring voices against totalitarianism.

Political science professors say dystopias are defined by government coercion

Shauna Shames and Amy Atchison, two political science professors and the authors of "Survive and Resist: The Definitive Guide to Dystopian Politics,” argue that defining a real-world dystopia depends on whether a government is using coercion to protect its citizens or to control them. Shames and Atchison seek to provide a more nuanced understanding of the word “dystopia,” one they note they began hearing more and more as the COVID-19 pandemic progressed.

Where to start with dystopian literature master Octavia Butler

Rather than simply forecasting events, which she managed with startling accuracy, Butler used dystopian science fiction to explore racial and environmental issues, leaving behind a body of work that was both innovative and thought-provoking. This guide will show you where to begin.

What it means to call something 'Orwellian'

The adjective often refers to anything that resembles the dystopian governments of George Orwell, usually a state like the one in "1984" that monitors its citizens to ensure compliance. But as this video essay from Noah Tavlin makes clear, the more precise definition is a society that redefines language to control thought.

Critic Neil Postman argued modern technology is dystopian

Cultural critic Neil Postman argued in 1985's "Amusing Ourselves to Death" that mass media had made the dystopia of Huxley's "Brave New World" a reality. In 1992, he published "Technopoly," a wider critique of the utopian visions of technology or, as Postman calls it, "all of the machinery that takes people out of public arenas and keeps them fixed in their homes."

Sci-fi writer Jeff VanderMeer writes dystopian fiction about the environment

Noted science fiction writer Jeff VanderMeer discusses his 2014 novel "Annihilation," which uses climate change as a dystopian frame. VanderMeer notes that he’s not interested in cynicism, even though that’s how most people view dystopian literature. “I’m not a fan of fiction that’s totally hopeless,” VanderMeer says. “You find ways of documenting the world as it is and you wind up redefining utopia and dystopia.”

Fantasy has dozens of subgenres

“Fantasy” itself is a rather broad way of characterizing fiction. The genre encompasses many subgenres, including epic (like JRR Tolkein’s “Lord of the Rings”), dark (like Neil Gaiman’s “Coraline”), or even superhero (like your favorite Marvel or DC comics).

Mapping fiction's imagined breakdowns of the US after apocalypse

Post-apocalyptic fiction in the US is at least a century old, and how the future is envisioned reflects contemporary anxieties and divisions. This piece examines the various creative maps birthed from the tradition from Jack London's 1912 "The Scarlet Plague," a pandemic novel set in 2073, through Stephen King's "The Stand", dystopian "The Hunger Games," and visions of civil war.

Aldous Huxley, author of 'Brave New World,' wrote to his former student, George Orwell, after the release of '1984,' suggesting that Orwell's vision of dystopia was misguided.

One writer believes fantasy is a form of realism

The literary genre has become massively popular in the 2020s, turning a previously marginal form into a mainstream concern. Spufford, a literary novelist who grew up loving books that explored fantastic worlds, argues that fantasy is so popular because it so accurately reflects the real world.

Orwell warned readers about how abuse of language can lead to dystopias

In his 1946 essay "Politics and the English Language," Orwell argues that language is the primary tool of political control and is "designed to make lies sound truthful and murder respectable, and to give an appearance of solidity to pure wind." The essay warns readers that how they use and consume language will dictate what they permit—or prohibit—in society.

India has a century-old parallel form of science fiction

One of its earliest works was Rokeya Sakhawat Hossain's 1905 feminist utopia "Sultana's Dream." This rich visual essay shows how the genre, while taking inspiration from its western counterpart, evolved from India's distinct cultural, social, and political realities.

Horror stories often rely on tropes

All literary genres use tropes, a word used to describe established plot devices, character types, and themes. Horror has many of them, like the "Creepy Child" and the "Evil Mask." Some are based on folklore, like the "Deal with the Devil."

A visual guide to Hollywood dystopias and their real-world locations

Even the most dire dystopias are grounded in the real world. That's especially true with dystopian movies, which turn real cities into near-future nightmares. This guide from Atlas Obscura takes readers on a tour through some of the most recognizable, from "Blade Runner" (filmed in Los Angeles) to "Total Recall" (Mexico City, Mexico), "The Matrix" (Sydney, Australia), and more.

Early English fantasy writers built on horror and Gothic texts

After the success of 19th-century books like Mary Shelley’s “Frankenstein” and Robert Louis Stevenson’s “The Strange Case of Dr. Jekyll and Mr. Hyde,” readers were eager for more stories that deviated from realism. Early 20th-century texts like George MacDonald’s “Phantastes” and Lord Dunsany’s “The King of Elfland’s Daughter” met the moment, laying the groundwork for the fantasy genre.

Fantasy is a genre that relies on the supernatural

Fantasy is a literary genre that embraces supernatural and magical elements. While the stories often follow common narrative archetypes, like a quest, they frequently take place in elaborately constructed worlds, which sometimes have their own complex physics, lifeforms, and societies.

'The Stranger' remains a popular novel for teenagers

Camus' book's themes—alienation, transgression, and existentialism—continue to resonate with adolescent reader. That's also true of other popular teenage touchstones, like Aldous Huxley's "Brave New World," George Orwell's "Nineteen Eighty-Four," and Sylvia Plath's "The Bell Jar," which are still widely read—and assigned by high school teachers. (Some users may experience a paywall.)

Ursula K. Le Guin worked to dismantle fantasy's clichés

The author is one of the genre’s most legendary names, constructing high fantasies like “The Earthsea Cycle” that detail intricate new worlds. In 2004, she delivered a lecture criticizing books and movies that rely on a simple formula: white characters, Medieval settings, and a battle between good and evil. “Whenever I find a fantasy that is set in a genuinely imagined society and culture instead of this lazy-minded, recycled hokum,” she said, “I feel like setting off fireworks.”

How 'Star Wars' changed science fiction

The popularity of "Star Wars" shifted the market away from the more literary, and sometimes cynical, science fiction of the 1960s and '70s. In the wake of George Lucas' space opera, publishers and studios wanted similarly optimistic adventure stories. In time, though, writers like William Gibson would react against that and, in turn, create the "cyber punk" subgenre.

Literary theorists distinguish between ‘terror’ and ‘horror’

In her essay “On the Supernatural in Poetry,” gothic novelist Ann Radcliffe defined “terror” as the lurking, unseen specter in a story—something that defined gothic literature. “Horror,” on the other hand, was the explicit portrayal of it. For her, the former was artistic, while the latter was cheap.

Jane Austen used satire to critique women's place in society

Although the novelist is sometimes dismissed as a romance writer, her stories feature pointed societal critiques, especially of women's limited options and challenged popular notions that women were subservient and passive.

'The grotesque' describes a feature of Gothic literature

The term harkens back to decorative aspects of Gothic architecture, including mythical creatures like gargoyles. In literature, the grotesque describes similarly monstrous characters and situations.

Fan fiction relies on tropes and subgenres

Fan fiction sites often appear to be littered with inscrutable codewords, with stories labeled as "AU," "drabble," or "PWP." These alert readers to elements of a fan fiction: "AU" is an alternative universe narrative; "drabble" is a very short story; "PWP" stands for "plot? What plot?"

Twain read (and lampooned) classic literature

Ever the ironist, Twain claimed to have “ no liking for novels or stories.” Obviously, that was untrue: He read widely, devouring books by Charles Dickens, slave narratives, and texts on astronomy. He also loved John Milton’s “Paradise Lost,” which he called “something everybody wants to have read and nobody wants to read.”

Unpacking the rapid rise of romantasy, the genre that blends fantasy and romance

The subgenre—primarily aimed at female readers and sometimes bordering on erotica—has become a sensation, due in no small part to its popularity on social media platforms like TikTok. Writers like Sarah J. Maas and Rebecca Yarros harken back to early Gothic works, which similarly sought to combine the supernatural and the erotic.

Modernist novels used unconventional narrative approaches

Modernist writers in the early 20th century sought to capture the complexities of the human mind in their fiction. Novelists like Virginia Woolf, James Joyce, Jean Rhys, and William Faulkner experimented with the form by using unconventional approaches to narrative, time, and structure. This lecture from Dr. Madeleine Davies from the University of Reading explains how modernists revolutionized fiction, using Woolf’s “Mrs. Dalloway” as a primary example.

Horror evolved from Gothic literature

Although creepy tales can be found in nearly every folk tradition, the roots of modern horror can be traced back to Gothic literature, which focused on the battle between humans and unnatural, evil forces.

Novels often use perspective as a narrative device

Classic novels like "The Great Gatsby," "Passing," and "Heart of Darkness" are told from characters' limited perspectives, inviting readers to consider how that narrator might be intentionally or unintentionally crafting the story in a particular way.

Read the scathing review of '1984' by science fiction legend Isaac Asimov

Asimov, the author of the "Foundation" series and a major figure in science fiction, tore Orwell's novel apart in a 1980 review, writing, "This is not science fiction, but a distorted nostalgia for a past that never was."

Existentialist literature explores the philosophy's ideas

Existentialism isn't confined to philosophical texts. Some of the movement's figureheads, like Albert Camus and Jean-Paul Sartre, were also novelists. Christina Howells, Professor of French at the University of Oxford, suggests this is because existentialism, as a philosophy, requires human stories to be fully understood, and literature makes the experience of the human condition more present and immediate.

Joyce's 'Ulysses' is among modernism's most famous novels

James Joyce’s 1922 epic, “Ulysses,” might be the most intimidating of the modernist movement's many famous novels. It’s a lengthy tome and incredibly dense, written in a stream-of-consciousness style that many readers find impenetrable. Others, however, find it transcendent. This travelogue was written by a reporter traveling to Dublin for Bloomsday, the annual holiday celebrating the novel, who wants to understand why so many people are so drawn to something so esoteric.

The 21st-century novel is increasingly autofictional

Although autofiction, a literary genre blending autobiography and fiction, has been around for millennia, it has become a popular mode in the 21st century. This extensive study of the genre—which analyzes works by Megan Boyle, Tao Lin, and others—argues that the form has become more prevalent because it mirrors the defining technology of the times: social media.

Fantasy is heavily influenced by myths, legends, and folk tales

In fantasy, anything is possible, mirroring the supernatural worlds of history’s earliest stories. The narrative voice of fantasy is often similar to early tales, too, with an affinity for the magisterial rather than the contemporary.

A critic evaluates Orwell's lesser-known books

Orwell is primarily known for "Animal Farm" and "1984," but The Critic's Alexander Larman argues that Orwell's other titles—especially the 1936 novel "Keep the Aspidistra Flying"—are also worthy reads. (Some users may experience a paywall.)

Hear 2 literature professors unpack the legacy of 'Animal Farm'

The University of Oxford's David Dwan—a professor of English literature and intellectual history—is an Orwell scholar who has written about the author's politics, especially as they relate to "Animal Farm." In this conversation with Dr. Nathan Waddell, from the University of Birmingham, UK, Dwan explores how framing the novella as a beast fable both made it more accessible and allowed it to be overly simplified.

Fantasy and science fiction are distinct genres, though they sometimes overlap

Fantasy stories take place in universes where magic exists; science fiction stories take place in universes that are still grounded in the physics of our world. In science fiction, supernatural powers have scientific explanations. Think of “Spiderman”: Peter Parker gains his powers after being bitten by a radioactive spider.

Read George Orwell's essay 'Why I Write,' the writer's memoir on how he came to literature.

14 famous authors trash-talking classic books

Just because something's considered a "classic" doesn't mean it's universally loved. Even the world's most respected writers don't agree on what defines great literature. Look no further than this list of writers criticizing canonical texts, like Charlotte Brontë deriding Jane Austen's "Pride and Prejudice" or Virginia Woolf on James Joyce's "Ulysses." The most succinct might be Aldous Huxley on Jack Kerouac's "On the Road": "I got a little bored after a time. I mean, the road seemed to be awfully long."

Stephen King, Octavia Butler, and Anthony Burgess all grew to regret books they'd published

Some, like Butler, regretted writing predictable, trope-heavy books. Others, like King and Burgess, regretted that what they'd intended as satire had been misunderstood as endorsements.

Writer DH Lawrence, a 20th-century writer known for challenging social conventions, argued that the novel is the height of literary expression.