Assignment

Amy Shanks

Acclimating to and Evaluating Utopian Literature

      At the beginning of the course, I was much more familiar with the subgenre dystopia than I was with the utopian genre. While at times this proved to be a resourceful background for learning through contrast, my preconceived notions were at times a hindrance. Thomas More’s Utopia deceptively let me cling to these inaccurate expectations for a short time. Beginning with a disagreement “of no small consequence” (I.1) between “the great monarch” (I.1) King Henry VIII and “the serene” (I.1) Prince Charles, I was anticipating a historical fiction novel developing these two interesting characters that would ultimately result in a great conflict, even if it simply was a war of words. Because More is being sent for the purpose of “treating and composing matters between them” (I.1), I thought my expectations for at least a verbal confrontation to be reasonable. However, the plot swiftly took a complete divergence from my expectations when More soon ran into Peter Giles and was newly acquainted with Raphael Hythloday. Throughout the novel, I kept waiting for some example of conflict to arise, but I was not satisfied. Though Raphael purposes some radical ideals while describing the Utopia that More is skeptical of, the story ends on a euphoric note where More is convinced that it would be beneficial to implement some of Raphael’s ideas. Finishing More’s Utopia revealed to me that this course would force me to readjust my literary expectations. Utopian tales were not going to neatly fit into my plot diagram adhering expectations.

 Just as I clung to literary forms I recognized, it is within human nature to often be drawn to what is familiar and to be more reluctant toward the unknown (Obj. 3). It is not uncommon for utopian literature to receive some derision for being an unrealistic ideal. A perfect world with humanity peacefully coexisting is not a setting readers can easily relate to. The genre also has its plot line limitations. In order to create perfection, stories like More’s Utopia and Bellemy’s Looking Backward often lack conflict, a foundational element for fictional plot development, though Herland is a possible exception to this. Another issue utopian literature runs into is with literary form. Because Utopian tales are often heavily informative texts, they can often feel didactic, at times foregoing entertaining elements such as character and plot development and creating a more challenging read.

Even though some cynically scoff at the literary genre, sweeping dismissive attitudes are unfairly delivered. Literature is often reflective (and at times responsive) of real life. While it is hard for me to argue that the utopias are achievable, it is undeniable that to strive for a utopia is a relative part of human existence. The issues of social class injustices that existed in Julian West’s nineteenth century life are still applicable to current society. Whether or not the worlds created in the works of the genre are achievable, their appeal and applicable ideals to modern and historical realities are undeniable. From suburban communities to public education systems, communes are not the only social constructs that exemplify an ideologically driven community analogous to a utopian society. A great draw for utopian literature is this identifiable desire to improve one’s existence.

 Not only can the utopian literature be relatable, but it can also be inspirational. Utopian literature’s innate social commentary provides demonstrative lessons for improving lifestyles. From the truly equal opportunity education system in the Looking Backward utopia to the pedagogically sound student-centered education of Herland, utopian literature provides model examples that can inspire reform.

Another common critique of utopias is that not only is a utopian society seemingly unachievable, but it is also inconceivable. This critique primarily arises with the topics of growth and progress in a utopian society. The argument is that personal choice and “healthy competition” can be the catalyst to progress and ingenuity and without them progress would be stunted. The frightening lack of occupational choice depicted in the dystopia Anthem provides added concerns for deficiency in individuality within a utopian communal structure. If everyone is assigned specific roles within the community and treated equally, what will motivate workers? Looking Backward uses a feasible system of positive reinforcement structured to combat such arguments. In this example of a utopia, workers are assigned occupations based on aptitude with a reward system. According to Dr. Leete, through positive reinforcement and the desire of honor, workers are inspired to reach their maximum potential.

Whether one is inclined to bestow it with accolades or chide it with scathing criticism, utopian literature invokes and provokes thought. Just as any literary genre has its limitations, utopian literature is generally tied down to the ideology it purports; however, the ways in which a reader can respond with the text are seemingly limitless (the text supersedes and the author is dead).  

The Utopian Form

The utopian genre has the complex purpose to entertain while simultaneously to inform (Obj. 1). Finding this balance can often be a struggle. The sequencing of the works read in class thus far seemed to exemplify a progression from heavily didactic to more fiction conventional texts. While Thomas More’s Utopia almost deceptively began with an exposition, once the dialogue began, the lines of the traditional plot structure and characterization began to fade. Devoid of real character insight through interaction (i.e. descriptive dialogue tags), there is at times even hesitation to label it as the utopian genre convention of dialogue. Raphael’s domination of the conversation causes the reader to occasionally forget that he is interacting with other characters. Though the work leaned more toward the informative goal of the utopian literature, it proved to be an excellent introduction to the genre because it strongly exemplified some of the defining elements of utopian literature.

While just like any other genre, utopian works vary in the degrees to which they adhere to the characteristics of the genre. The stock roles for characters in a utopian tales are the educator/guide and the student/traveler. More’s Utopia gave an excellent introductory example of this with the characters More and Raphael. Using a Socratic method of instruction, Raphael exemplified the teacher role by giving a verbose demonstrative tale (i.e. a long lecture) of the utopian island he visited that at least partially inspired More to desire change within his own society.

Though utopian literature is a novel of education, because it is working with idealistic beliefs, characters are not only expected to gain knowledge, but also they are often expected to undergo a change. Conversion is another defining characteristic of a utopian tale. While the character More is not completely convinced by all of Raphael’s ideology, it is fair to at least concede partial conversion of the student because More desires some reform. 

The convention of educator and student is continued in Edward Bellemy’s novel Looking Backward with the student protagonist Julian West and his educating guide Dr. Leete. This second novel read in class served as an introduction to the utopian characteristic of journeys. Julian travels in time a hundred years to a futuristic utopia that greatly contrasts with his nineteenth century origins. While in comparison to More’s Utopia, Bellemy’s Looking Backward made great strides in plot development through the fleshing out of characters, even including a romantic subplot.

The progression toward an adherence to fictional plot continued with Herland. Featuring genre blending complex character relationships, lengthy exposition, and slightly less didactic conversation, Herland is a refreshing take on the utopian genre. While dialogue is still a driving narrative structure, it is better balanced with insightful, reactionary character narration. Herland not only exemplified many of the previously seen characteristics of utopian literature (the teacher/student roles ,the journey), but it also incorporated the most detailed account of the Millennial motif often represented in utopian literature. Phrased as “a succession of historic misfortunes” (5.58), Herland describes a plethora of apocalyptic events in their history that left them nearly destitute and without any men. Such events are often the catalyst for the creation of utopias.

Where I noticed genre lines blending the most was with the romantic genre.

In Looking Backward it was the relationship between Julian and the two Ediths. In Herland we see a variety of relationships from the serene Jeff and Celis, to the volatile Terry and Alima relationship. The romance that makes the two genres converge the most is with the prioritized Van and Ellador. A reader could almost get lost in their courtship and forget that Herland was a utopian tale if it wasn’t for the conflicting elements that their differing backgrounds cause.

      Another genre that utopian literature often intersects with is science fiction. A category that encompasses a variety of fanciful science and often futuristic related elements, science fiction relates well to utopian literature through the often fanciful defining characteristics of utopian literature: the journey, immaculate setting, and peaceful communities. In More’s Utopia there are more subtle hints of science fiction, primarily when Raphael describes Utopus’s implausible goal to “bring the sea quite around them” (II.1a) that ultimately leads to the creation of a island. In Looking Backward, the genre intersection is greatly imbedded with the protagonist traveling in time to the future.

Because dystopian literature is a subgenre of utopian literature, it is not surprising that the two classifications have a unique relationship. A point often made in class discussion was that one person’s utopia might be another person’s dystopia. This idea was exemplified in many of the works we read (Terry in Herland and Equality 7-2521 in Anthem); however, another significant insight about the two genres’ relationship that struck me was that utopian ideals are what drive dystopian plots. In contrast to utopias, conflict is a staple of dystopian tales. Most stories within the genre focus on individuals or subgroups becoming dissatisfied by their circumstances and making attempts to rise above them. This observation is an overt part of the only dystopia we’ve read in class. Without the utopian drive to dissent from the collective “we” and actualize his strive for the ideal of individuality, Anthem’s protagonist Equality 7-2521’s story would not be dystopian.

Confining literary works to specific categories is a slippery slope. The process, however, is an insightful one that forces a reader to closely examine the text and draw better understanding from it. Though at times categorizing can feel as though it were a never-ending excavation, literary works that are seemingly the most indefinable can at times be the most interesting because their compellability.

Utopian Interest 

Naturally, my interests in utopian literature are guided by practical application for my profession. An objective heavily discussed in class was what utopian literature teaches us about education (Obj. 5b). Herland’s commentary on education systems was poignant for me. Describing the female community’s approach to academics, the text explains how Herland students are given, “choices, simple choices, with very obvious causes and consequences”(82). Herland takes a student centered pedagogical approach, having students engage in “peaceful researches of their own” (82). Upon observing their education, the visitor Van states, “ if they loved to do it, how could it be educational”(81), highlighting the contrasting view of academics from his background. His striking comment is an overt example for me of how utopian literature is not simply a piece of entertainment, but rather an informative text that elicits interactive contemplation. I could not help thinking of how my classroom environment compares to the ideology presented in Herland and evaluate what standards I aspire for in my profession. 

While I realize that education trends are often cyclical and I do not boast authoritative knowledge of the history of such trends, I find it (perhaps naively) astounding that back in 1915 Charlotte Perkins had such pedagogical insight. In slight contrast, More’s depiction of a utopian education appears to be more of a solitary exercise in which students are, “taught to spend those hours in which they are not obliged to work in reading; and this they do through the whole progress of life” (2.20). Though his “literary utopia” admirably focuses on encouraging children to be life-long readers, it does not have the same engaging impression that Perkin’s utopian education depicts. The “best practices” taught in education training courses today purport the idea of giving students choices so they can have a sense of ownership in the classroom.

My contemplation of utopian literature’s examples of education made me wonder what would be the closest model currently in America. In the midterm “Utopia and Dystopia: Education’s Role,” Amy Sidle assesses, “Much like Utopia or Herland, the Oneida Community could only thrive in its own habitat, away from other’s constant condemnation so they may focus on their utopian foundation” (http://coursesite.uhcl.edu/hsh/Whitec/LITR/5439 utopia  /models /midterms /mt09/mt09sidle.htm). I could not help but relate her observation to the idea of homeschooling being the closest modern day example to the utopian form of education. If isolation from judgment is the only “habitat” for a successful utopia, then it seems the most private venue would be in a home. I am not trying to distort her comment, but simply reveal a line of reasoning her assertions elicited from me. To my knowledge and from my personal experience, there are no formal regulations when it comes to homeschooling. Students educated at home are free from the course selecting restrictive “four by four” the state of Texas now mandates in a high school education. It is up to the parent/guardian to select curriculum and methods for instruction. Students of a certain age who are homeschooled have the potential liberty to leave the home and pursue more vocational training, field trips, and explorative learning modeled in Herland. Though I suppose homeschooling might be negatively looked upon by a utopian society as an analogous individualistic/ anti-communal action that occurred in Anthem, it could, however, also be perceived as the small reformative start that could build a larger utopian community.  

As previously mentioned, a strong advantage to studying utopian literature is how it draws the reader in through relatable, desirable ideals. Whether or not a reader believes in or contends with the ideology represented in a work, it is hard to argue against the fact that it beckons the reader to think. A most rewarding part of the course readings has been the ways the genre has challenged me to critique approaches in my profession and revaluate the ideals I strive for.