Tim Winton Explores Dystopia: Is the Term Becoming an Opiate for Society?

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Tim Winton: “Some areas on our planet may overlook the reality of a world on fire, but Australia is not one of them.”

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<p>My grandparents were born at the close of the 19th century, during the age of horse-drawn carriages, while my parents experienced the rise of mass-produced machines, and I grew up in the space age.</p>

<p>Despite the challenges posed by world wars and the looming threat of nuclear annihilation, this period was marked by a steady increase in prosperity, security, and mobility—a liberating experience that reinforced our belief in human progress. With each generation, the prospects seemed to improve, making life better for my family.</p>

<p>However, that trajectory of improvement seems to have halted with my children, signifying not just the end of a dream, but the reality of a shared illusion collapsing.</p>

<p>The world I was born into is starkly different from the one I will leave for my grandchildren. They will not inherit the same sense of security that I had. This is a deeply troubling fact for me.</p>

<p>The reasons behind this decline in prospects are well-documented. The world suffers due to the energy practices we adopted to fuel prosperity. The advancement we once praised came with the cost of exploitation and environmental degradation, with progress often built on a bed of destruction.</p>

<p>Currently, our planet is already 1.5 degrees warmer since my grandparents’ time. If we continue on our current path, we risk doubling that temperature increase. A world as hot as ours is already chaotic, threatening ecosystems and the myriad species that depend on them. We must prevent the catastrophic scenario of the planet heating another 1.5 degrees, as this will render many regions nearly uninhabitable, resulting in the tragic loss of millions of lives and dire conditions for billions.</p>

<p>Among the many affected will be my descendants, which deeply resonates with me—the thought that the comfort and freedom I enjoyed were attained at the expense of their suffering is unbearable. <em>Juice</em> This is a nightmare for my family.</p>

<p>While there may be parts of our world where the reality of climate change can be evaded, Australia is not one of those places.</p>

<p>In my home in northwestern Australia, the climate is intensifying. Just yesterday, temperatures reached 50℃, and due to growing storm severity, many homes lack insurance.</p>

<p>When queried about why I chose to publish a dystopian novel at this point in my career, my irritation is tempered. They wonder why I shifted genres; in truth, I haven't changed directions—rather, the world around me has. The real question is, why should I not write about this moment in history? What kind of artist would I be if I ignored the pressing issues of our times?</p>

<p>A dystopian narrative? You may call it that, but it suggests something fantastical or exaggerated, which I do not perceive. The millions already enduring dystopian realities would disagree—across the globe, individuals face hunger and displacement due to conflict and extreme weather. The horrors they encounter are often remnants of fossil fuel capitalism. Sometimes, the term ‘dystopia’ serves as an opiate, a term that buffers us and distances us from reality. I believe we can no longer afford such distance.</p>

<p>The story unfolds in northwest Australia, generations into the future. The collective efforts made to circumvent the worst impacts of climate change seem futile, leaving us trapped in a cycle of increasing temperatures by 3°C or more. The nation-state structure has eroded, and communities have retreated from equatorial zones, with those remaining in this climate often forced to seek refuge underground for extended periods annually. Thus, the adaptation has become a daunting yet necessary skill.</p>

<p>Much like my previous works, this narrative revolves around family—exploring themes of loyalty, freedom, geography, and history. It's an examination of what it means to endure in an increasingly hostile environment. Although speculative, its nature is not solely scientific or climatic; it is also moral and profoundly personal. I felt compelled to envision the future my grandchildren's children might face, set in a landscape I cherish and have defended throughout my life.</p>

<p>For me, this narrative extends logically, emotionally, and imaginatively from the world I inhabit. Enhanced by scientific insights and climate modeling, it mirrors my experiences in a region historically known for its climatic extremes, now facing the brink of uninhabitability.</p>

<p><em>Juice</em> presents a stark reality—a resilient populace grappling with harsh conditions. Out of tradition and determination, they cling to what remains inhabitably viable. However, as conditions worsen, families are compelled to migrate to safer, cooler regions.</p>

<p>This is not mere speculation; it is already occurring in northern Australia. The most vulnerable citizens, much like the Oakies from Steinbeck's narratives, make these transitions. The dial merely needs to shift slightly.</p>

<p>Yet, the foremost struggle my characters encounter is not purely one of climate but of humanity. As the protagonist learns, the most precious resource is not shelter, food, or water, but civility. This is the essence of the narrative.</p>

<p>What sustains life is a shared commitment to the common good. The forces of fossil capitalism thrive on the dispensation of that ethic. To survive, my character must revive and cherish it. We must embrace that ethos as well. Ultimately, whether this is feasible lies in the realm of speculation.</p>

<p><em>© Tim Winton</em></p>
<p><strong>Tim Winton is the author of <em>Juice</em> (Picador), featured as the New Scientist Book Club's selection for February 2026. You can purchase a copy </strong><a href="https://www.panmacmillan.com/authors/tim-winton/juice/9781035050826"><strong>here</strong></a><strong>. Join the reading community </strong><strong>here</strong>.</p>

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Source: www.newscientist.com

New Scientist Book Club Review: “Circular Motion” – A Dystopia Strikingly Familiar

New Scientist Book Club discusses Alex Foster’s Circular Motion

The New Scientist Book Club has taken a turn by revisiting Alex Foster’s Circular Motion, moving from Adam Roberts’ futuristic Lake of Darkness, set thousands of years ahead in a world eerily similar to ours. However, a significant distinction exists; Foster’s universe is dominated by massive aircraft that can traverse the globe in mere hours. This “westerly circuit” not only facilitates rapid travel for the wealthy but also speeds up the Earth’s rotation as the narrative unfolds, especially evident by the conclusion where just two hours have profound implications.

As I mentioned, this book left a strong impression on me. It ticked all my boxes for science fiction: an impending apocalyptic event of nightmarish scale? Absolutely. A society desperately trying to maintain a facade of normalcy? Definitely. A cast of engaging and relatable characters? Yes, indeed. From a science fiction standpoint, it has become my favorite (new) read thus far. I ponder whether it leaned more towards grand physical phenomena (storms, gravity shifts) or more intimate experiences (the psychological burden of merely two hours in this world).

Yet, I found myself at odds with my two-sentence summary. (And isn’t that the charm of a book club, where different interpretations bloom?) While I relish a good dystopia, Neil Leighton found Foster’s grim portrayal of life on Earth a bit overwhelming. “I appreciated it and am glad I read it, but it was overly dystopian, and I’m not likely to recommend it as a gift,” he shared in our Facebook group. “I will say it is solid literary science fiction, but I struggled to suspend my disbelief, and it felt somewhat forced at times. It struck a decent balance between character work and ideas, yet was too dystopian for my palate.”

I wasn’t the only one grappling with the narrative. “I typically have no issues with suspending disbelief, but Circular Motion challenged that,” Jennifer Marano admitted. “Furthermore, the dystopian elements felt too oppressive for Gothia Fulmanik. The narrative felt uncomfortably close to home.”

I am thankful that Gosia highlighted the theme of climate change in this context. Video Interview The book is intended to draw parallels to our current reality. Instead of halting aircraft operations, the protagonists resort to constructing a colossal, vacant “shell” as a technological solution to the very issues they created within the Western Circuit. Many of you witnessed Foster’s characters facing calamities that resonate with our daily existence. “The theme of hubris (attempting to build shields to rectify issues with pods, circuits, gravity, and time) was a poignant and overt lesson,” Steve Swann remarked. It became a discussion point where we all tried to align the world correctly, only to end up exclaiming, “Well, there’s nothing we can do about it.”

For Niall, “as someone concerned about climate change, it serves as a more profound cautionary tale, replete with wise critiques of ineffective technical fixes.”

One aspect that perplexed me was Foster’s dating system, presented as “AH 976,314:17.” Many of you shared the same confusion. Eliza Rose echoed my thoughts, stating, “I didn’t grasp it, nor did I attempt to. I just read along, assuming it wasn’t crucial to the plot.” Phil added, “I would have liked an explanation of the new AH time-measurement system and its introduction.” Thankfully, Paul Jonas provided clarity: “It translates to hundreds of thousands of hours, consistent globally. 970,000 corresponds to 11 years, but good luck wrapping your head around it unless you reset.”

Members of the New Scientist Book Club expressed a desire for more substantial science within this science fiction work. “I felt that the scientific elements were secondary to the characters’ narratives,” articulated one member. “What I longed for was speculation on how an accelerating Earth impacts non-human life forms. This would have significant repercussions for flora and fauna. Gosia, too, expressed a wish for Foster to delve into the experiences of less privileged communities amid the apocalypse (especially considering how climate change disproportionately affects the Global South).

“I craved deeper insights into the systems responsible for the escalating issues surrounding time and travel. For me, it fell short of being authentically science fiction,” Paul remarked.

We aspire that our next reading fulfills those expectations: it is one of the most lauded science fiction novels in history—the award-winning anarchist utopian work by Ursula K. Le Guin, The Dispossessed, released long before 1974. We haven’t tackled classics in a while. Le Guin has been recommended by several of you as the next author, so I’m enthusiastically on board! Book Club members can also enjoy essays from Theo Downs Le Guin, the son of the late Le Guin, who offers unique insights as both a son and a reader (which is fantastic). Join us on our Facebook group for a discussion about this timeless classic and share your thoughts.

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Source: www.newscientist.com

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

Two spacecraft explore the black hole, highlighted in Adam Roberts’ novel.

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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.

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  • New Scientist Book Club

Source: www.newscientist.com