Patterns of Repetition: Colonialism, Capitalism and Climate Breakdown in Contemporary Post-Apocalyptic Fiction

IF 0.1 4区 社会学 Q4 CULTURAL STUDIES Parallax Pub Date : 2021-01-02 DOI:10.1080/13534645.2021.1976462
Diletta De Cristofaro
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Abstract

Scenario one, from The Marrow Thieves (2017) by Cherie Dimaline (M etis): in a post-apocalyptic North America ravaged by climate breakdown, where ‘all the industry-plundered Great Lakes [are] poison’, Indigenous people find themselves trapped, once again, in a residential school system. This time, the residential schools are ‘harvesting’ Indigenous people for their ability to dream, in order to treat the epidemic of dreamlessness that is killing the white population. Scenario two, from Matthew Sharpe’s Jamestown (2007): following environmental devastation that has reduced the United States to embattled city-states, white men belonging to the Manhattan Company venture into the Indian territory of Virginia to trade for resources and found the colony of Jamestown, a name oddly reminiscent of the first permanent English settlement in North America. Scenario three, from ‘When This World is All on Fire’ (2001) by William Sanders (Cherokee): American coastal areas are under water, the inland territories are reduced to a desert, and Cherokee people’s sovereignty over reservation land is constantly threatened by white squatters from the rest of the United States. As a character wryly puts it, ‘Twenty-first century, better than five hundred years after Columbus, and here we are again with white people trying to settle on our land’. Dimaline’s, Sharpe’s, and Sanders’s scenarios belong to a strand of contemporary Anglophone post-apocalyptic fiction that confronts the prospect of climate breakdown defining our Anthropocene present through patterns of repetition linking these fictions’ environmentally devasted futures to the colonial past. Through these patterns, the narratives in question suggest that the colonial past is, in fact, no past at all, but something actively shaping our present and future. These post-apocalyptic scenarios bring to the fore global networks of (neo)colonialism and capitalism that lie at the heart of the Anthropocene, highlighting the legacies of a long history of imperialist practices of exploitation in the environmental risks of today’s globalised world.
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重复模式:当代后启示录小说中的殖民主义、资本主义和气候崩溃
场景一,来自切丽·迪玛琳(M蒂斯)的《骨髓窃贼》(2017):在气候崩溃肆虐的后世界末日北美,“所有工业掠夺的五大湖都是毒药”,土著居民发现自己再次被困在寄宿学校系统中。这一次,寄宿学校正在“收获”土著居民的梦想能力,以治疗正在杀死白人的无梦流行病。马修·夏普(Matthew Sharpe) 2007年的《詹姆斯敦》(Jamestown)中的场景二:在环境遭到破坏后,美国沦为四战四战的城邦,曼哈顿公司(Manhattan Company)的白人冒险进入弗吉尼亚州的印第安人领地进行资源贸易,并建立了詹姆斯敦殖民地,这个名字奇怪地让人想起北美第一个永久的英国定居点。情景三,出自威廉·桑德斯(切罗基人)2001年的《当这个世界都着火了》:美国沿海地区被淹没,内陆地区变成了沙漠,切罗基人对保留土地的主权不断受到来自美国其他地方的白人擅自占用者的威胁。正如一个角色挖苦地说的那样,“21世纪,比哥伦布之后500年还要早,我们又遇到了白人,他们试图在我们的土地上定居。”迪玛琳、夏普和桑德斯的小说情节属于当代以英语为母语的后世界末日小说,它们通过将这些小说中环境遭到破坏的未来与殖民时代的过去联系起来的重复模式,面对气候崩溃的前景,这将定义我们人类世的现状。通过这些模式,这些有争议的叙述表明,殖民的过去实际上根本不是过去,而是积极塑造我们的现在和未来的东西。这些后世界末日的情景将处于人类世核心的(新)殖民主义和资本主义的全球网络带到了前台,突出了在当今全球化世界的环境风险中,帝国主义剥削实践的悠久历史的遗产。
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Parallax
Parallax Multiple-
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期刊介绍: Founded in 1995, parallax has established an international reputation for bringing together outstanding new work in cultural studies, critical theory and philosophy. parallax publishes themed issues that aim to provoke exploratory, interdisciplinary thinking and response. Each issue of parallax provides a forum for a wide spectrum of perspectives on a topical question or concern. parallax will be of interest to those working in cultural studies, critical theory, cultural history, philosophy, gender studies, queer theory, post-colonial theory, English and comparative literature, aesthetics, art history and visual cultures.
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