History is Fractal
This chapter explores dystopian works—Diana Wynne Jones’s The Game (2007), Alan Garner’s Red Shift (1971), John Christopher’s Fireball series (1981–6), N. M. Browne’s Warriors series (2000–9), Suzanne Collins’s Hunger Games trilogy (2008–10), Sabaa Tahir’s An Ember in the Ashes and its two sequels (2015–18), and Megan Whalen Turner’s The Queen’s Thief series (1996–2017)—whose dominant spatial metaphor is that of the fractal. The fractal structure offers a jaundiced view of progress marred by conflicts large and small whose protagonists are caught within uncontrollable repetition. It is argued that memory is central to this exploration of conflict and that memory is intertwined with guilt and empathy. While these works also foreground the agency of the young protagonist, efforts at communication are as likely to be damaging as healing, and emotion is often revealed to be a matter of performance rather than authenticity.