![]() ![]() ![]() For that, this is a fine dystopia, and the plot does its job moving us through it. A dystopia isn’t about its own plausibility, but about the spectacle of human suffering, excess and folly it displays. Winston, like the unnamed, biracial narrator of Paul Tremblay’s Swallowing a Donkey’s Eye, is an irrelevancy, more of a lens we can peer through into the world than someone we care about. In George Orwell’s 1984, we don’t remember the protagonist Winston’s love of the English countryside we remember posters of Big Brother, war with Eastasia, and the Thought Police. A dystopic work thrives on its sense of place, the ability to conjure up an image of what this world might be like, and what it is like to live in it. The plot stumbles forward, mostly serving to set up increasingly absurd scenarios as the narrator runs for political office and hunts for his missing mother. The narrator has no name, no motivation and seems barely interested in what’s going on. ![]() ![]() Almost every chapter has an explosion, or someone handling excrement. This latest novel by Bram Stoker Award- nominated novelist Paul Tremblay is a cyber-scatological satire set in a dystopic closed ecology of City, Farm and Pier. ![]()
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