When Two Natures Collide

Debra Youthed ID 14113142 230.100 Assignment Three

When Two Natures Collide: How Internal and External Nature Work Together for a Brighter Future in Post Apocalyptic Fiction.
Post apocalyptic literature explores not just human relationships, but also the relationships between human and non human nature. Post apocalyptic fiction often features urban dystopian spaces dominated by the annihilation of the natural world (Softing 706) and has 'become part of the mythology and the imagery' (Wheeler) of contemporary culture. The novels The Chrysalids by John Wyndham, The Hunger Games by Suzanne Collins, and Z for Zachariah by Robert C. O'Brien, go against this trend by having predominantly rural, rather than urban, settings. By focussing on the importance of the landscape, and its influence on humanity's well being, the genre contributes to our understanding of the synergy between humans and their natural environment. Placing these narratives in the countryside underscores the positive impact 'the force of nature, whether inner human nature or external nature' (Stephens 83) can have on human outcomes. The connections between physical and internal environments contribute to physical safety in The Chrysalids, power in The Hunger Games, and optimism in Z for Zachariah. These 'interconnections of nature, liberty, and fulfilment' (Stephens 76) occur at crucial turning points highlighting the significant role the natural world plays in our lives. When both human and non human nature unite in The Chrysalids, The Hunger Games, and Z for Zachariah, a fulcrum of power is created that propels the protagonists towards escape, rebellion, and independence.
In The Chrysalids the combination of human inner nature and the physical environment facilitate the concealment and escape of the main characters ensuring their survival. Almost immediately Wyndham establishes a pattern of the characters utilising the landscape to avoid detection. David Strorm first meets Sophie Wender and discovers her mutation as they play behind a bank which serves as a shield from the Strorm farm. Spending time with Sophie and her parents at their home, Petra's telepathic scream for help as she almost drowns, and the attack on Petra's pony, all occur in the woods reinforcing nature as a resource used to deflect suspicion from David and his companions. These incidents lead to David, Rosalind, and Petra using the cover of the forest as 'a good hiding place' (Wyndham 140) as they escape from their pursuers and await rescue from the Sealanders. While forests have been described as 'wild' and 'useless' (Clark 61), the forest in The Chrysalids is closer to Lawrence Buell's idea of the wilderness as a 'refuge' (67).
The physical environment not only offers concealment, but also allows the telepaths to maximise the benefits of their abilities thereby securing freedom. The forest provides privacy for David's group to communicate freely with Michael, Sally, and the Sealanders, enabling them to formulate their escape plan. This strengthens the deep connection the telepaths share, described by David as, 'how we are so much more a part of each other' (Wyndham 93), which is equally important to their survival as hiding from their persecutors. According to Rowland Hughes, 'nature's value lies largely in the emotional nourishment it can provide to human beings' (26) in dystopian narratives. However, David's group does not succumb to the 'sentimentalism of fancying one is in tune with "nature"' (Buell 83); for David his surroundings are 'just a part of the world' (Wyndham 6), and do not inspire 'wonder' (Wyndham 6). The forest is used, not as a romantic space, but purely as a vehicle for human inner nature to prevail. Physical nature may help them evade capture, but without their telepathic abilities there would be no rescuers to save them; conversely without using the forest for concealment they would captured before their rescuers arrive. Ultimately the alliance between both the external environment, and a rich internal human nature, are required to ensure safety and freedom.
The Hunger Games uses nature as a vehicle for biopower which leads not to safety, but to rebellion. Katniss Everdeen's connection to the natural environment enables her to not only survive in a post apocalyptic world ruled by a totalitarian government and inspire others to fight the regime. This close relationship with the natural world is evident when we are told, 'Gale says I never smile except in the woods' (Collins 7). The increased confidence Katniss has when in the natural environment enables her to seize the opportunities to exercise her biopower, thereby showing The Capitol that there is 'a part of every Tribute they can't own' (Collins 286). Monique Deveaux states the philosopher Michel Foucault 'uses the term "biopower" to denote ... a concurrent shift from struggles for political rights to "life rights"--that is, a right to one's body, health, and the fulfilment of basic needs'. The most dramatic incident of biopower is Katniss and Peeta's decision to commit suicide rather than submit to the demands of The Capitol. The boldness and self-assurance Katniss projects when she whispers to Peeta, 'trust me' (Collins 418), as they prepare to poison themselves as an act of defiance against the Gamemakers, inspires Peeta to also exert his own biopower.
However, biopower transcends from being a physical, political act, to an emotional and perhaps even spiritual one, when Rue dies. Before Rue's body is taken from the arena Katniss performs an impromptu funeral. Festooning her with wild flowers and reinstating her 'personhood status' (Macaluso and McKenzie 114) elevates Rue's importance; she is no longer 'just a piece in their Games' (Collins 286). Katniss robs The Capitol of the power to manipulate the images of Rue's death. This is more than one friend honouring another; it is an act of 'revenge' (Collins 286) by Katniss which sparks the rebellion of her fellow citizens. It could be argued the citizens of Panem would have been strongly affected by Rue's funeral even in an urban environment, but by contrasting the romanticism and innocence of untamed nature, which 'remains a powerful feature of mainstream culture' (Clark 13), against governmental control and destruction amplifies the impact. The beauty and significance of external nature and Katniss's passionate internal nature intersect to produce a powerful emotional reaction resulting in widespread rebellion.
A close relationship with the natural world leads to rebellion on a smaller scale culminating in personal freedom and independence for Ann Burden in Z for Zachariah. Ann's astute observations of the natural world, the crows in particular, prompt a 'reorientation of the spirit' (Buell 67) giving her hope for the future. Finding the baby crow and returning it to the parent birds is interpreted by Anne as 'a good omen' (O'Brien 98), thereby reversing the traditional symbolism of crows 'as portents of doom' (Burke 66) into symbols of hope and rebirth. Ann's reliance on the land for survival and companionship creates a deep and 'direct emotional connective experience' (Stephens 81) of nature forming a 'union of mind and nature' (Clark 22), and it is this union that inspires her towards an independent future. The turning point for Ann comes during her time hiding in the woods with the realisation that she won't be able to survive the approaching autumn and a confrontation with Mr Loomis is inevitable. This new found self awareness and determination is 'affirmation of wild nature as a scene of instruction or of the recovery or creation of a supposedly deeper, truer, or more authentic identity' (Clark 25). Noticing the changes in her environment leads Ann to also perceive the changes in her own inner nature.
But it is not Ann's new found assertiveness that precipitates the implementation of her plan to leave both 'her home and shelter' (O'Brien 176), and Mr Loomis. Without nature's intervention in the form of a startled rabbit, Ann could have postponed her plan to head west towards the promise of the circling birds (O'Brien 192) until it was too late. All of these environmental elements converge on Ann pushing her out of the valley, forcing her to make her own way in the world, and undergo a positive emotional transformation from 'miserable' (O'Brien 179) to 'hopeful' (O'Brien 192). Taking inspiration from non human nature gives Ann the confidence to assert her independence and, more importantly, to hope for a more optimistic future.
An awareness of the natural world, and humanity's role within it, is critical to providing the potential for more promising human outcomes in post apocalyptic fiction. The human relationship with nature spaces, even if some are 'more pristine than others' (Clark 6), are the key to the freedom of thoughts and actions that facilitate positive futures. The images and emotions physical environments arouse in us are 'called upon as the touchstone of liberty, sincerity, and spontaneity' (Stephens 84), creating potent moments that can change, and even save lives. The fight for freedom, whether it is physical, mental, or spiritual, requires all the resources available if it is to end in victory. The protagonists in The Chrysalids, The Hunger Games, and Z for Zachariah, utilise all the natural world has to offer combined with their own inner human nature. If the opportunities for 'growth, questioning, and imagination' (Stephens 93) that a partnership with external nature presents are embraced, no matter how dire the situation, anything is possible. Ultimately post apocalyptic fiction's legacy will be the hope for a brighter future which has a greater chance of becoming a reality if humanity works with, not against, the physical world.
Works Cited

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