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Kayla Blackburn
Malcolm Campbell
UWRT 1103-H06
November 3rd, 2016
Why do Young Adults Adore Despair, Death, and Dystopia?
Clad in hunter green with braided up-dos representing the most popular heroine of our
generation, my five best friends and I exited the theater following the end of the final Hunger
Games movie, tears leaking out of our eyes at the prospect of the series coming to a close, the
tragedies leaving the audience stunned, and, quite prominently, the hope resonating throughout
each of our hearts. My own mind was reflecting on the series Id grown up with, seeing as the
books had been published my 6th, 7th, and 8th grade years, and the movies released my 9th, 10th,
11th, and 12th grade years. I pondered my own connections with the main character, Katniss
Everdeen, even though we live in starkly different worlds, and gave thought to the series
implications about our own society.
However, at the back of my mind was the impending question of why I was so interested
in a series rampant with some of my own most pressing fears-oppressive authoritative figures,
isolation, and, for lack of better term, death. Sparked with curiosity, I began digging deep into
my mind and trying to find where my own affection for the series came from. I knew I loved
dystopian literature Divergent, The Maze Runner, The Hunger Games, 1984, The Giver, the
list goes on. But what exactly, then, is dystopian literature, and why am I so fond of it?

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According to UNCC English Professor Balaka Basu, dystopian literature combines

elements of dystopia (bad world), science fiction, adventure, romance, and bildungsroman
(coming of age) stories involving global concerns like liberty, self-determination,
environmental destruction, looming catastrophe, questions of identity, and fragile boundaries of
technology. It is the total opposite of utopia, though it may include similar elements of being
unrealistic and extrapolated compared to the norm. This genre also involves plots with elements
of excessive measures to police societies with already unjust laws, pressure to conform, media
manipulation, measures to cover up flaws in society, attempts to erase history, limited freedom,
division of people, economic manipulation, misunderstood advances in science, and suppression
of emotions promoting themes of government, sovereignty, and justice (Scholes and Ostenson).
The underlying principle is that humanity causes the bad in the world. Derreck Schellenburg
adds that the common concepts of war, death, despair, oppression, and environmental ruin result
in a form of demoralizing literature involving dictators, damaged people, revolution, and
counterrevolution, emphasizing the negative aspects of our society. Dystopian literature on the
young adult scale, however, typically involves a well-designed setting, an individual or group
with absolute power, a strong protagonist who has been shaped by his or her surroundings, and
dismal conclusions that leave readers uneasy but with a glimmer of hope (Ryan), as opposed to
the wider range of elements involved in the genre as a whole.
A very prominent theme in dystopian literature is fear, as it often incites apprehension,
whether valid or destructive, and reflects fears and anxieties among cultures. A very relevant and
even possible example of such is corporations gaining excessive power, blurring the relationship
between them and the government, as the genre is indeed largely concerned with
political/cultural contexts with measures of social control taken to extremes (Warner). With the

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prospect of the apocalypse on the rise, secrecy, fear, and control via violence and repression to
maintain social structure is a mutual idea within these novels, leading to manipulation and
degradation of people (Basu). In The Hunger Games, for instance, civilians are motivated to
remain peaceful, submissive, and quiet about societal injustices by the fear of having a greater
chance of being chosen for the annual deadly fighting match among children from all districts, or
the daily threat of stepping out of line and receiving physical punishment, such as getting
whipped in the square.
Dystopian literature is also largely a social commentary, satirizing utopian ideals
(Scholes and Ostenson) and providing insight on ethical issues under didactic camoflage,
according to Western Michigan University Honors Student Devin Ryan. Thus, one of the most
obvious and primary purposes of this type of literature is to caution against destructive politics
and culture via its focus on providing analysis on current social, economic, and political issues,
with modern implications involving terrorism, nuclear war, and biological warfare (Wark).
While this does, perhaps, leave some readers in fear, it offers warning as a prescriptive element
(Warner) and is not telling us how to build a better world, but how to, perhaps, avoid worsening
the one weve got.
Satisfied and newly invigored, my next question involved wondering how dystopian
literature began. Some aspect of society must have been extremely impactful to empower the
beginning of a genre, after all. So, claims Canadian intelligence expert Wesley Wark, British
writers wrote thrilling spy fiction in response to world events at the opening of the 20th century,
later resulting in espionage anxiety at the turn of the intelligence revolution in Europe. Public
fascination, coupled with new cinematic features, the rise of powerful intelligence
commandment (AKA the growth of power of intelligence agencies), and the start of World War I

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only added to this genres new popularity, as people began to continually rely on intelligence
services throughout World War II and the Cold War in response to increased weapons access and
the increase in power, size, impact, and scope of intelligence organizations. After these events,
the historical revolution of dystopian literature occurred, resulting in more frightening views of
surveillance and authority involving espionage, compliance, and, ultimately, corruption, all
kicked off initially in England by English philosophical author and proponent of liberalism and
utilitarianismer John Stuart Mill in 1868 and in the .United States by George Orwells famous
1984 in 1949. In fact, Mill was considered one of the first people to use the term dystopia, as
he did in one of his parliamentary speeches (John Stuart Mill). The genre later began in the
United States with George Orwells famous 1984 in 1949. Closely following this work were
other books focused on contemporary surveillance, fear of information corruption, and
diminishing life in response to political, economic, and cultural shifts. Thus, the issue of national
security versus human rights became prominent in the genre, with this theme of degradation of
morals to protect oneself or ones community sacrifice versus safety stretching all the way
back to Biblical times, as intelligence was commonly used throughout both the Old and New
Testaments, from Israealite spies to Judas betrayal of Jesus to the Sanhedrin (Cardwell). The
entire genre of spy fiction transformed to dystopian literature, yet spying still remains a
significant concept in many genres, including utopian literature and historical fiction.
As of recent, according to Ryan, there has been a large increase of YA dystopian
literature as its own, independent branch of fiction since the terrorist attacks in New York City
on September 11th, 2001. Though only a vague memory for my generation, this impactful event
did change history and influence the way our world works. With this tragedy, post-apocalyptic
settings, controls on sexuality and reproduction, and an increase of technology with a decrease of

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nature have become more prevalent in literature, namely in those genres that are most popular
among my own generation, who have grown up in a society replete with terrorism, murder, and
corruption.
So what has happened since the 1984 era? After The Giver (1993) by Lois Lowry and
similar works were released closely following the popularity boom, a spark began to grow, later
leading to The Hunger Games era, the latter being aimed at teenagers, primarily, creating the YA
division of the genre. According to many studies, reading one novel of this genre can lead to
reading many others (I can testify!), providing both for authors a target audience and for readers
an abundance of such stories in which to immerse in and critically think on. The evolution in
understanding how and why the protagonists in these stories rebel has led to a deeper
understanding of the impact of rebellion in a society where protesting has not only become
prevalent, but, quite frankly, necessary. The concept of making young adults appear to be
appealing idealists has resonated among young readers, according to Basu, and, quite frankly,
open-minded millennials had been looking for a book with a thrill, which they found in dystopia.
Technology becoming more widespread and more crucial, as well as the recognition of needing
to appreciate diversity and enact social change via multiculturalism, has resulted in the expansion
of the audience. While the books did increase in violence, they also became less grim, focusing
on new beginnings and starting over, leaving readers with positive hopes for the future (Miller)
and having the power to educate readers on controversial issues in modern society. The overall
intention of this genre was then established to work towards a better world that is characterized
not so much by an ideal society that lies in harmony with nature, but by total freedom and
security, unlimited resources, lack of responsibility, emotional stability, and a rewarding but
undemanding life (Basu), carrying it to its prominence today.

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Aside from the intriguing plotlines, there are many elements of dystopian literature that
make it extremely appealing to young adults. Unstable settings, controversial themes, and
challenged characters in dystopian fiction reflect intellectual changes in young adults, like
critical thinking and complex problem-solving. The concepts are welcome in developing minds,
and, oftentimes, protagonists feel as if they have the weight of the world on their shoulders,
much like modern teenagers feel in relation to their role in society. In the Divergent series, it is
up to female heroine Tris to not only save the entire city of Chicago from self-destruction via its
shattering government, but she must also balance her love life and decide upon her identity in a
world replete with labels and stereotypes. Sound familiar? Popular news article writer Rachel
Bitoun even goes as far to say that the tension in society in dystopian literature can relate
specifically to high school wars of popularity, class, and status, and the characters can give
teenagers advice and be a role model for them in their own struggles. Ryan claims that constant
surveillance, oppressive ruling regimes, lack of freedoms, and forced conformity are present in
both teen lives and dystopian fiction. Isolation and an abundance of flaws during the transition
from childhood to adulthood are connecting factors between protagonists and readers, making
the main characters feel more relatable. Identity is another common feature in the novels that
strike them as appealing among young adults, seeing as they provide for readers a collective
identity as well as a personal one (Basu). These books make teenagers realize their independence
and their capacity to disagree and act out against societys flaws (Scholes and Ostenson), and
they can impact who a teenager is, inspiring them to have heroic courage and speak up for
what they believe in., This encourages ing rreaders to think about social and political issues,
shaping themselves for the world and shaping the world for who they will become (Basu).

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The honesty of the writing and its prominence in our own culture are attractive to young
readers, according to Astor. While other genres may require historical knowledge to understand,
dystopian literature presents situations involving common problems in uncommon societies on a
more shallow, understandable level, teaching interesting lessons through a more intriguing and
enjoyable way to learn. The rebellious nature of teenagers also helps to make these novels more
appealing (Ryan). In the battle between conditioning, brainwashing, and passivity versus
resistance and independence, it isnt surprising that the teenagers in the novels of this genre
typically side with the latter to rebel against immorality, much like actual teenagers themselves;
they struggle with being able to shape the future while maintaining societal expectations.
A majority of the books end by imparting hope onto the audience, which becomes
embedded among young readers; Honors Otterbein University student Scherzer calls the books
invitations to action. According to popular author Miller, other stories are less conducive to
adventure and therefore less appealing than this genre. These books often give readers the
opportunity to evaluate how reasonable the scenarios are and if they are applicable in the future,
oftentimes providing uncomfortable realism and proximity. One remarkable ending Ive
stumbled upon in this genre is the final book in the Maze Runner series, when, after all chaos has
subsided and death has wiped nearly all of the main characters, those who are left find
themselves at peace among a meadow, the threats theyd previously faced long behind them and
a brand new world in the palm of their hands. Uncomfortably real, undoubtedly relieving, but
also overwhelmingly dauntinglike how young adults often view the future. And, of course,
teenagers are interested in seeing the movies made from the books, here in the prime time of
digital editing and special effects. Who isnt?!

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There are, however, some parts of the genre that many find unappealing and
contradictory. Scherzer says that the series could potentially acknowledge minority contributions
to culture to unsettle the white privilege identity, but that it currently mirrors, rather than defies,
racial stereotypes and lacks depth in that area. Basu goes as far as saying that race is not even
addressed, and that the novels are inherently political with a negative connotation. Many feel that
some YA dystopian literature books lack ideological coherence, in both authority and
technology (Miller). In other words, readers, especially those of older generations, find these
works to have authoritative figures that are not logically present, strict, or threatening enough at
various points in these stories, and the technology is often so far advanced and imaginative that
readers lose track of its ability or its purpose.
Regardless, dystopian literature is undoubtedly impactful in the world. From school
shootings to Middle Eastern women, cultural norms are being challenged, as reflected in the
genre. Female heroines, often playing what would typically be a non-female role, have paved the
way for feminism in these novels as of recent times, inspiring girls but being open to both
genders to read (Astor). With terrorism becoming widespread, people getting used to its
presence, and stringent security measures being taken, these books provide a manner for people
to educate themselves (Warner). Lastly, these novels do impart ecological degradation fears onto
readers, making them more aware of the environment.
A tangible application of the impact of these novels occurred in Bangkok, Thailand,
when several students protested against the totalitarian regime, utilizing symbols from dystopian
literature to promote their cause. Just prior to the release of The Hunger Games: MockingjayPart 1, these students rallied, flashing the three-finger salute exhibited in the book series and

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subconsequent movies as a sign of unity. The government later canceled the showing of the
movie (Olarn and Botelho).
Overall, dystopian literature has become widely known around the world, but especially
here in western culture. From its origin to now, YA style has become much more prevalent and
popular, and its impact on our way of life is evident. I appreciate this genre and its complexity,
as well as all it has taken to get it to this point. It is quite interesting what draws people,
especially those of younger generations, to this genre, but it is unsurprising, given the many
factors that make dystopian literature so appealing and intellectual. Perhaps dystopia isnt so bad
after allat least in the context of literature. No wonder young adults love it so much. And
whos to say we arent living in our own dystopia right now?

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Works Cited
Astor, Dave. "Why Do We Like Dystopian Novels?" Editorial. The Huffington Post. The
Huffington Post. 19 Dec. 2012, huffingtonpost.com Accessed 10 Oct. 2016.
Basu, Balaka, et al. (2013) Contemporary Dystopian Fiction for Young Adults: Brave New
Teenagers. New York: Routledge, 2013.
Bitoun, Rachel E., ed. "The Rising Popularity of Dystopian Literature." Editorial. The Artifice.
20 April 2015, the-artifice.com Accessed 10 Oct. 2016.
Cardwell, John M. "CIA's "Bible Lesson on Spying"" Southern Cross Review.

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Southerncrossreview.org Accessed 22 Nov. 2016.

"John Stuart Mill." New World Encyclopedia. 27 Oct. 2014. Accessed 22 Nov. 2016.
Miller, Laura. "Fresh Hell." Editorial. New Yorker. New Yorker.14 June 2010,
newyorker.com/magazine Accessed 15 Oct. 2016.
Olarn, Kocha, and Greg Botelho. "Thais Held after Flashing 'Hunger Games' Salute." CNN. 20
Nov. 2014. Cable News Network. cnn.com/ Accessed 14 Oct. 2016.
Ryan, Devin. (2014) Emerging Themes in Dystopian Literature: The Development of an
Undergraduate Course Web. The ScholarWorks at WMU. Honors Theses. Paper 2466.
Scholarworks.wmich.edu/ Accessed 14 Oct. 2016.
Schellenburg, Derreck. "The Anti-Hero of One's Own." Ted Ed. Ted Talk. Web. Accessed 10
Oct. 2016.
Scherzer, Rachel L. (2015) Young Adult Dystopian Literature as Social Change Evolution Web.
Digital Commons at Otterbein Honor's Papers. Paper 27. digitalcommons.otterbein.edu/
Accessed 14 Oct. 2016.

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Scholes, Justin, and Jon Ostenson. (2013) Understanding the Appeal of Dystopian Young Adult
Fiction Web. The ALAN Review Virginia Tech Digital Library and Archives 40.2.
scholar.lib.vt.edu/ejournals/ALAN/ Accessed 14 Oct. 2016.
Wark, Wesley K. "The Intelligence Revolution and the Future." Central Intelligence Agency, 08
May 2007. Cia.gov/library, Accessed 19 Oct. 2016.
Warner, William. "Definition of Dystopia, Dystopian Fiction." Dystopia and Science Fiction.
2002. dc-mrg.english.ucsb.edu/ Accessed 10 Oct. 2016.