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Places of Rest in Worlds of Ruin Havens in Post-Apocalyptic Fiction

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Places of Rest in Worlds of Ruin Havens in Post-Apocalyptic Fiction Places of Rest in Worlds of Ruin Havens in Post-Apocalyptic Fiction Andreas Nyström Places of Rest in Worlds of Ruin Havens in Post-Apocalyptic Fiction Andreas Nyström Faculty of Arts and Social Sciences English DOCTORAL THESIS | Karlstad University Studies | 2021:6 Places of Rest in Worlds of Ruin Havens in Post-Apocalyptic Fiction Andreas Nyström DOCTORAL THESIS | Karlstad University Studies | 2021:6 Places of Rest in Worlds of Ruin - Havens in Post-Apocalyptic Fiction Andreas Nyström DOCTORAL THESIS Karlstad University Studies | 2021:6 urn:nbn:se:kau:diva-82698 ISSN 1403-8099 ISBN 978-91-7867-191-5 (print) ISBN 978-91-7867-201-1 (pdf) © The author Distribution: Karlstad University Faculty of Arts and Social Sciences Department of Language, Literature and Intercultural Studies SE-651 88 Karlstad, Sweden +46 54 700 10 00 Print: Universitetstryckeriet, Karlstad 2021 WWW.KAU.SE Abstract In the inhospitable and ruined landscapes of post-apocalyptic fiction there are often found havens, places of rest that provide contrast to the desolation of the wasteland. This study explores the generic functions of such havens. As scholarly attention has mainly been towards the genre’s main themes of survival and death, paying close attention to the haven offers an important addition to previous research. Although not comprehensive as there is room for further explorations, the study claims that the haven in post-apocalyptic fiction serves at least three different and overlapping functions: as a focal point for the genre’s attempts to recover and represent a lost paradise, as a place for the exploration of tensions between mobility and immobility, and/or as a narrative endpoint for inquiries into spatiotemporal infinity and death. Supported by an eclectic mix of critical theories and a range of primary texts in English from literature, film, and computer games, the study comes to the conclusion that the haven in post-apocalyptic fiction is a rejoinder to cultural concerns about beginnings and endings, life and death, and how humans relate to nonhuman nature. i Acknowledgments From the start of this project to the last revisions of the final manuscript, it has been my great honor and privilege to have professors Åke Bergvall and Maria Holmgren Troy as my supervisors. They have guided me with confident expertise and have provided astute comments without ever constraining me in my explorations of the material. And when I have gone off on some tangent, as a PhD student is prone to do, they have kindly nudged me in more productive directions. Their experience as researchers together with their warm- hearted personalities have given me the best possible conditions for writing a dissertation. A sincere thank you, Åke and Maria! I am also honored to have had associate professor Jerry Määttä as reader of a preliminary draft at the final seminar. His mastery of the genre, his close reading of the manuscript, and his constructive comments greatly helped in finding segments of the text that were in much need of improvement. I would also like to thank Luke Bailey, Nicklas Hållén, Anna Linzie, Andrea Schalley, Fredrik Svensson, Marie Tåqvist, Elisabeth Wennö, Johan Wijkmark, and Peter Wikström for their help with proofreading. Whatever shortcomings there are in the final text, they are my own. Thank you to fellow PhD students Saga Bokne, Sophia Liu Fei, Marinette Grimbeek, Alexander Kofod Jensen, Kari Løvaas, Sebastian Malinowski, Tim Roberts, Fredrik Svensson, Marie Tåqvist, Peter Wikström, and Grace Zhu Yuanyuan for companionship and stimu- lating conversations. I would like to extend a special thank you to Marie, Marinette, and Peter for your influence on my coming-of-age as a scholar. Our many hours of conversations over tea and coffee, learning from each other and sharpening our arguments, is what academia is all about. I would further like to thank Karlstad University and the Department of Language, Literature, and Intercultural Studies for offering me the chance to pursue a PhD and Helge Ax:son Johnson Foundation for funding a research visit to the British Library in London. iii I dedicate this dissertation to my family. To my three children, Alfred, Tyra, and Harald; here it is: the book daddy has been working on for so long. Some day you might read these lines and understand why I spent so many days and weekends in the office. But wherever I have been, you have always been with me. To Jessica I can only say that the quest is achieved, and now all is over, as Frodo says to Sam. And I am so glad you are with me, my dearest friend and beloved wife, here at the end of all things. Or is it the beginning? Andreas Nyström Mjölnartorpet, February 2021 iv Contents Abstract ................................................................................................ i Acknowledgments ............................................................................ iii Contents .............................................................................................. v List of Illustrations ........................................................................... vii Introduction ........................................................................ 1 Research Question and Claims ........................................................... 3 Delimitations ...................................................................................... 5 Chapter Outline ................................................................................ 15 Chapter One: The Haven and the Pastoral ......................... 17 A Trace of Green ............................................................................... 19 The Pastoral Mode in Earth Abides ................................................. 22 Exiting Paradise in Z for Zachariah ................................................ 25 The Ideal Garden .............................................................................. 27 Sentimental and Complex Pastoral Havens ..................................... 32 The Island Paradise in Waterworld ................................................. 35 Leaving the City Behind ................................................................... 37 Case Study: The Pastoral Haven in Peter Heller’s The Dog Stars (2012) ............................................ 41 Chapter Two: The Haven and (Im)Mobility ....................... 63 Mind and Body, Time and Space ..................................................... 65 Placing Space ................................................................................... 68 Embracing Boundaries: The Dark Cellars in The Road ................. 69 Resting in the Wasteland .................................................................. 74 Post-Apocalyptic Nomads and Migrants ......................................... 76 On a Nomadic Trajectory in The Flame in the Flood ...................... 79 Case Study: Flying Below the Radar in Joseph Kosinski’s Oblivion (2013) .............................................. 84 v Chapter Three: The Haven and Its Narrative Function .... 101 The Terrifying Limitlessness of Time ............................................ 103 Making Ends Meet .......................................................................... 109 Returning to Eden in The Death of Grass ..................................... 110 Racing to the Starting Line in Mad Max: Fury Road ................... 112 Desire for the End ........................................................................... 118 Case Study: Finding Your Way Back Home in Jeff Lemire’s Sweet Tooth (2009–2013) ................................... 121 Concluding Remarks ....................................................... 141 Works Cited ..................................................................... 143 Primary Texts by Title .................................................................... 143 Secondary Texts by Author ............................................................ 144 Index ............................................................................... 154 vi List of Illustrations Figure 1. Dryland in Waterworld (Universal Pictures, 1995). ............ 36 Figure 2. The Island of Nikumaroro (Apple Maps). ........................... 48 Figure 3. Death of a migrant in Sweet Tooth (Lemire 3, 350). ........... 77 Figure 4. Menu screen, The Flame in the Flood (cropped; Molasses Flood, 2017). ............................................... 80 Figure 5. ‘The Kingdom’—the game’s final destination (cropped; Molasses Flood, 2017). ............................................... 83 Figure 6. The wasteland in Oblivion (Universal Pictures, 2013). ...... 86 Figure 7. The Green Place in Mad Max: Fury Road (Warner Bros., 2015). ................................................................ 114 Figure 8. The removal and return of Jepperd and Louise (cropped; Lemire 1, 143). ........................................................... 128 Figure 9. Jepperd buries his wife saying “…I’d bring you home, Louise” (cropped; Lemire 1, 145). .............................................. 129 Figure 10. Inside the midpoint haven (cropped; Lemire 2, 176–77). 131 Figure 11. Singh arrives in Alaska (Lemire 3, 201). ........................... 134 Figure 12. The juxtaposition of Gus’s two places of origin (cropped; Lemire 3, 220). .......................................................... 136 Figure 13. The endpoint haven in Sweet Tooth (cropped; Lemire 3, 330–31). .................................................... 139 Figure 14. The final resting place
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