Lake of the Lake: Why Did Adam Roberts Opt for Utopia Over Dystopia in His Novel?

The foundation of this novel stemmed from my desire to craft utopian fiction, a first for me, as my earlier works primarily revolved around traditional science fiction. The concept of utopia—portraying an improved or ideal world—predates science fiction itself, famously introduced by Thomas More in his 1516 work, Utopia.

Intrigued by the evolution of this genre, I noted that More’s Utopia inspired numerous copies. Over the subsequent 17th and 18th centuries, a multitude of utopian literature emerged. It flourished in the 19th century and continued into the 20th with notable works like Samuel Butler’s Erewhon (1872), William Morris’s News from Nowhere (1892), H.G. Wells’s A Modern Utopia (1905), and B.F. Skinner’s Walden Two (1948). Edward Bellamy’s Looking Backward (1888) stands out as a significant American bestseller, catalyzing the establishment of numerous “Bellamy Clubs” and a nationalist movement aimed at realizing his vision of utopia.

But what about our contemporary landscape? Utopian narratives seem largely relegated, replaced by an overwhelming prevalence of dystopian themes—the dark antithesis. Think of titles like The Hunger Games, Road, Divergent, and The Maze Runner, alongside numerous cyberpunk realms, Battle Royale, and Oryx and Crake. This raises an intriguing question: why has utopia fallen out of favor while dystopia thrives?

One potential explanation is that utopia inherently lacks conflict. When aspiring writers present their imaginative worlds, I often query, “Where’s the conflict?” Without conflict, there’s no drama or narrative. Crafting a perfect utopia is challenging because, by its nature, a flawless realm might lack the tension necessary for storytelling. I’ve often contended that no one truly writes a utopia, to which some might counter with Iain M. Banks’s Culture series as an example. Yet, Banks seldom delves into the euphoria of cultural existence, focusing instead on the dangers surrounding its covert agencies. In my own narrative, the characters are extricated from their utopian comforts, thrust into peril, monstrosities, and adventure.

However, I aspired to delve deeper and scrutinize the very essence of utopia itself. Is the ideal world even attainable? “Can we make the world a little better?”—this is certainly achievable, but can we fully reorganize society to achieve a flawless utopia?

Some years back, I was invited to deliver a keynote address at the Utopialess Conference, an annual event across Europe. During my visit to Tarragona, Spain, I presented my ideas, which can be summarized as follows: Utopia, as a concept, cannot elude the nuances of human nature. Some utopias manifest in authoritarian structures (as seen in More’s original vision), where the authority must reconcile power with utopian ideals. Conversely, others are grassroots endeavors, suggesting that with the removal of material or psychological ailments, humanity can coexist blissfully. I must express my skepticism; as literary critic John Carrey posits, all utopias share a fundamental desire to sanitize reality, simplifying the existence of actual human beings.

In my Utopial speech, I proposed that the most compelling representation of utopia in modern culture is a television series: Teletubbies. These entities—whether genetically modified posthumans, or simply whimsical beings—embody utopian principles, existing in a bubble of childlike simplicity where their needs are easily met, leading to constant joy. Yet, it’s unlikely that adults would perceive Teletubbyland as desirable. This suggests that the concept of utopia is somewhat infantilized. Following my lecture, I mingled at the reception, engaging with attendees. Some were dismissive and turned away when approached, a reaction clarified later by organizers. The conference attracted both literary scholars and true Utopians—those genuinely seeking to realize their visions. They felt I was mocking their aspirations.

I regret they felt insulted, but I stand by my interpretations in Lake of Darkness, where I intertwine social theory, imaginative technological elements, and distinct characters to explore utopian ideals.

Adam Roberts’ Lake of Darkness (Gollancz) is the latest selection for the New Scientist Book Club. Join us and read together here.