The Future Is Here: Dystopian Movies Fit for a Dystopian World

By John W. Whitehead

Source: The Rutherford Institute

“The Internet is watching us now. If they want to. They can see what sites you visit. In the future, television will be watching us, and customizing itself to what it knows about us. The thrilling thing is, that will make us feel we’re part of the medium. The scary thing is, we’ll lose our right to privacy. An ad will appear in the air around us, talking directly to us.”—Director Steven Spielberg, Minority Report

We have arrived, way ahead of schedule, into the dystopian future dreamed up by such science fiction writers as George Orwell, Aldous Huxley, Margaret Atwood and Philip K. Dick.

Much like Orwell’s Big Brother in 1984, the government and its corporate spies now watch our every move.

Much like Huxley’s A Brave New World, we are churning out a society of watchers who “have their liberties taken away from them, but … rather enjoy it, because they [are] distracted from any desire to rebel by propaganda or brainwashing.”

Much like Atwood’s The Handmaid’s Tale, the populace is now taught to “know their place and their duties, to understand that they have no real rights but will be protected up to a point if they conform, and to think so poorly of themselves that they will accept their assigned fate and not rebel or run away.”

And in keeping with Philip K. Dick’s darkly prophetic vision of a dystopian police state—which became the basis for Steven Spielberg’s futuristic thriller Minority Report which was released 20 years ago—we are now trapped into a world in which the government is all-seeing, all-knowing and all-powerful, and if you dare to step out of line, dark-clad police SWAT teams and pre-crime units will crack a few skulls to bring the populace under control.

Minority Report is set in the year 2054, but it could just as well have taken place in 2022.

Seemingly taking its cue from science fiction, technology has moved so fast in the short time since Minority Report premiered in 2002 that what once seemed futuristic no longer occupies the realm of science fiction.

Incredibly, as the various nascent technologies employed and shared by the government and corporations alike—facial recognition, iris scanners, massive databases, behavior prediction software, and so on—are incorporated into a complex, interwoven cyber network aimed at tracking our movements, predicting our thoughts and controlling our behavior, Spielberg’s unnerving vision of the future is fast becoming our reality.

Both worlds—our present-day reality and Spielberg’s celluloid vision of the future—are characterized by widespread surveillance, behavior prediction technologies, data mining, fusion centers, driverless cars, voice-controlled homes, facial recognition systems, cybugs and drones, and predictive policing (pre-crime) aimed at capturing would-be criminals before they can do any damage.

Surveillance cameras are everywhere. Government agents listen in on our telephone calls and read our emails. Political correctness—a philosophy that discourages diversity—has become a guiding principle of modern society.

The courts have shredded the Fourth Amendment’s protections against unreasonable searches and seizures. In fact, SWAT teams battering down doors without search warrants and FBI agents acting as a secret police that investigate dissenting citizens are common occurrences in contemporary America.

We are increasingly ruled by multi-corporations wedded to the police state. Much of the population is either hooked on illegal drugs or ones prescribed by doctors. And bodily privacy and integrity has been utterly eviscerated by a prevailing view that Americans have no rights over what happens to their bodies during an encounter with government officials, who are allowed to search, seize, strip, scan, spy on, probe, pat down, taser, and arrest any individual at any time and for the slightest provocation.

All of this has come about with little more than a whimper from an oblivious American populace largely comprised of nonreaders and television and internet zombies, but we have been warned about such an ominous future in novels and movies for years.

The following 15 films may be the best representation of what we now face as a society.

Fahrenheit 451 (1966). Adapted from Ray Bradbury’s novel and directed by Francois Truffaut, this film depicts a futuristic society in which books are banned, and firemen ironically are called on to burn contraband books—451 Fahrenheit being the temperature at which books burn. Montag is a fireman who develops a conscience and begins to question his book burning. This film is an adept metaphor for our obsessively politically correct society where virtually everyone now pre-censors speech. Here, a brainwashed people addicted to television and drugs do little to resist governmental oppressors.

2001: A Space Odyssey (1968). The plot of Stanley Kubrick’s masterpiece, as based on an Arthur C. Clarke short story, revolves around a space voyage to Jupiter. The astronauts soon learn, however, that the fully automated ship is orchestrated by a computer system—known as HAL 9000—which has become an autonomous thinking being that will even murder to retain control. The idea is that at some point in human evolution, technology in the form of artificial intelligence will become autonomous and human beings will become mere appendages of technology. In fact, at present, we are seeing this development with massive databases generated and controlled by the government that are administered by such secretive agencies as the National Security Agency and sweep all websites and other information devices collecting information on average citizens. We are being watched from cradle to grave.

Planet of the Apes (1968). Based on Pierre Boulle’s novel, astronauts crash on a planet where apes are the masters and humans are treated as brutes and slaves. While fleeing from gorillas on horseback, astronaut Taylor is shot in the throat, captured and housed in a cage. From there, Taylor begins a journey wherein the truth revealed is that the planet was once controlled by technologically advanced humans who destroyed civilization. Taylor’s trek to the ominous Forbidden Zone reveals the startling fact that he was on planet earth all along. Descending into a fit of rage at what he sees in the final scene, Taylor screams: “We finally really did it. You maniacs! You blew it up! Damn you.” The lesson is obvious, but will we listen? The script, although rewritten, was initially drafted by Rod Serling and retains Serling’s Twilight Zone-ish ending.

THX 1138 (1970). George Lucas’ directorial debut, this is a somber view of a dehumanized society totally controlled by a police state. The people are force-fed drugs to keep them passive, and they no longer have names but only letter/number combinations such as THX 1138. Any citizen who steps out of line is quickly brought into compliance by robotic police equipped with “pain prods”—electro-shock batons. Sound like tasers?

A Clockwork Orange (1971). Director Stanley Kubrick presents a future ruled by sadistic punk gangs and a chaotic government that cracks down on its citizens sporadically. Alex is a violent punk who finds himself in the grinding, crushing wheels of injustice. This film may accurately portray the future of western society that grinds to a halt as oil supplies diminish, environmental crises increase, chaos rules, and the only thing left is brute force.

Soylent Green (1973). Set in a futuristic overpopulated New York City, the people depend on synthetic foods manufactured by the Soylent Corporation. A policeman investigating a murder discovers the grisly truth about what soylent green is really made of. The theme is chaos where the world is ruled by ruthless corporations whose only goal is greed and profit. Sound familiar?

Blade Runner (1982). In a 21st century Los Angeles, a world-weary cop tracks down a handful of renegade “replicants” (synthetically produced human slaves). Life is now dominated by mega-corporations, and people sleepwalk along rain-drenched streets. This is a world where human life is cheap, and where anyone can be exterminated at will by the police (or blade runners). Based upon a Philip K. Dick novel, this exquisite Ridley Scott film questions what it means to be human in an inhuman world.

Nineteen Eighty-Four (1984). The best adaptation of Orwell’s dark tale, this film visualizes the total loss of freedom in a world dominated by technology and its misuse, and the crushing inhumanity of an omniscient state. The government controls the masses by controlling their thoughts, altering history and changing the meaning of words. Winston Smith is a doubter who turns to self-expression through his diary and then begins questioning the ways and methods of Big Brother before being re-educated in a most brutal fashion.

Brazil (1985). Sharing a similar vision of the near future as 1984 and Franz Kafka’s novel The Trial, this is arguably director Terry Gilliam’s best work, one replete with a merging of the fantastic and stark reality. Here, a mother-dominated, hapless clerk takes refuge in flights of fantasy to escape the ordinary drabness of life. Caught within the chaotic tentacles of a police state, the longing for more innocent, free times lies behind the vicious surface of this film.

They Live (1988). John Carpenter’s bizarre sci-fi social satire action film assumes the future has already arrived. John Nada is a homeless person who stumbles across a resistance movement and finds a pair of sunglasses that enables him to see the real world around him. What he discovers is a world controlled by ominous beings who bombard the citizens with subliminal messages such as “obey” and “conform.” Carpenter manages to make an effective political point about the underclass—that is, everyone except those in power. The point: we, the prisoners of our devices, are too busy sucking up the entertainment trivia beamed into our brains and attacking each other up to start an effective resistance movement.

The Matrix (1999). The story centers on a computer programmer Thomas A. Anderson, secretly a hacker known by the alias “Neo,” who begins a relentless quest to learn the meaning of “The Matrix”—cryptic references that appear on his computer. Neo’s search leads him to Morpheus who reveals the truth that the present reality is not what it seems and that Anderson is actually living in the future—2199. Humanity is at war against technology which has taken the form of intelligent beings, and Neo is actually living in The Matrix, an illusionary world that appears to be set in the present in order to keep the humans docile and under control. Neo soon joins Morpheus and his cohorts in a rebellion against the machines that use SWAT team tactics to keep things under control.

Minority Report (2002). Based on a short story by Philip K. Dick and directed by Steven Spielberg, the film offers a special effect-laden, techno-vision of a futuristic world in which the government is all-seeing, all-knowing and all-powerful. And if you dare to step out of line, dark-clad police SWAT teams will bring you under control. The setting is 2054 where PreCrime, a specialized police unit, apprehends criminals before they can commit the crime. Captain Anderton is the chief of the Washington, DC, PreCrime force which uses future visions generated by “pre-cogs” (mutated humans with precognitive abilities) to stop murders. Soon Anderton becomes the focus of an investigation when the precogs predict he will commit a murder. But the system can be manipulated. This film raises the issue of the danger of technology operating autonomously—which will happen eventually if it has not already occurred. To a hammer, all the world looks like a nail. In the same way, to a police state computer, we all look like suspects. In fact, before long, we all may be mere extensions or appendages of the police state—all suspects in a world commandeered by machines.

V for Vendetta (2006). This film depicts a society ruled by a corrupt and totalitarian government where everything is run by an abusive secret police. A vigilante named V dons a mask and leads a rebellion against the state. The subtext here is that authoritarian regimes through repression create their own enemies—that is, terrorists—forcing government agents and terrorists into a recurring cycle of violence. And who is caught in the middle? The citizens, of course. This film has a cult following among various underground political groups such as Anonymous, whose members wear the same Guy Fawkes mask as that worn by V.

Children of Men (2006). This film portrays a futuristic world without hope since humankind has lost its ability to procreate. Civilization has descended into chaos and is held together by a military state and a government that attempts to keep its totalitarian stronghold on the population. Most governments have collapsed, leaving Great Britain as one of the few remaining intact societies. As a result, millions of refugees seek asylum only to be rounded up and detained by the police. Suicide is a viable option as a suicide kit called Quietus is promoted on billboards and on television and newspapers. But hope for a new day comes when a woman becomes inexplicably pregnant.

Land of the Blind (2006). In this dark political satire, tyrannical rulers are overthrown by new leaders who prove to be just as evil as their predecessors. Maximilian II is a demented fascist ruler of a troubled land named Everycountry who has two main interests: tormenting his underlings and running his country’s movie industry. Citizens who are perceived as questioning the state are sent to “re-education camps” where the state’s concept of reality is drummed into their heads. Joe, a prison guard, is emotionally moved by the prisoner and renowned author Thorne and eventually joins a coup to remove the sadistic Maximilian, replacing him with Thorne. But soon Joe finds himself the target of the new government.

All of these films—and the writers who inspired them—understood what many Americans, caught up in their partisan, flag-waving, zombified states, are still struggling to come to terms with: that there is no such thing as a government organized for the good of the people. Even the best intentions among those in government inevitably give way to the desire to maintain power and control at all costs.

Eventually, as I make clear in my book Battlefield America: The War on the American People and in its fictional counterpart The Erik Blair Diaries, even the sleepwalking masses (who remain convinced that all of the bad things happening in the police state—the police shootings, the police beatings, the raids, the roadside strip searches—are happening to other people) will have to wake up.

Sooner or later, the things happening to other people will start happening to us.

When that painful reality sinks in, it will hit with the force of a SWAT team crashing through your door, a taser being aimed at your stomach, and a gun pointed at your head. And there will be no channel to change, no reality to alter, and no manufactured farce to hide behind.

As George Orwell warned, “If you want a picture of the future, imagine a boot stamping on a human face forever.”

The Omnipresent Surveillance State: Orwell’s 1984 Is No Longer Fiction

By John W. Whitehead

Source: The Rutherford Institute

“You had to live—did live, from habit that became instinct—in the assumption that every sound you made was overheard, and, except in darkness, every movement scrutinized.”—George Orwell, 1984

Tread cautiously: the fiction of George Orwell has become an operation manual for the omnipresent, modern-day surveillance state.

It’s been 70 years since Orwell—dying, beset by fever and bloody coughing fits, and driven to warn against the rise of a society in which rampant abuse of power and mass manipulation are the norm—depicted the ominous rise of ubiquitous technology, fascism and totalitarianism in 1984.

Who could have predicted that 70 years after Orwell typed the final words to his dystopian novel, “He loved Big Brother,” we would fail to heed his warning and come to love Big Brother.

“To the future or to the past, to a time when thought is free, when men are different from one another and do not live alone— to a time when truth exists and what is done cannot be undone: From the age of uniformity, from the age of solitude, from the age of Big Brother, from the age of doublethink — greetings!”—George Orwell

1984 portrays a global society of total control in which people are not allowed to have thoughts that in any way disagree with the corporate state. There is no personal freedom, and advanced technology has become the driving force behind a surveillance-driven society. Snitches and cameras are everywhere. People are subject to the Thought Police, who deal with anyone guilty of thought crimes. The government, or “Party,” is headed by Big Brother who appears on posters everywhere with the words: “Big Brother is watching you.”

We have arrived, way ahead of schedule, into the dystopian future dreamed up by not only Orwell but also such fiction writers as Aldous Huxley, Margaret Atwood and Philip K. Dick.

“If liberty means anything at all, it means the right to tell people what they do not want to hear.”―George Orwell

Much like Orwell’s Big Brother in 1984, the government and its corporate spies now watch our every move. Much like Huxley’s A Brave New World, we are churning out a society of watchers who “have their liberties taken away from them, but … rather enjoy it, because they [are] distracted from any desire to rebel by propaganda or brainwashing.” Much like Atwood’s The Handmaid’s Tale, the populace is now taught to “know their place and their duties, to understand that they have no real rights but will be protected up to a point if they conform, and to think so poorly of themselves that they will accept their assigned fate and not rebel or run away.”

And in keeping with Philip K. Dick’s darkly prophetic vision of a dystopian police state—which became the basis for Steven Spielberg’s futuristic thriller Minority Report—we are now trapped in a world in which the government is all-seeing, all-knowing and all-powerful, and if you dare to step out of line, dark-clad police SWAT teams and pre-crime units will crack a few skulls to bring the populace under control.

What once seemed futuristic no longer occupies the realm of science fiction.

Incredibly, as the various nascent technologies employed and shared by the government and corporations alike—facial recognition, iris scanners, massive databases, behavior prediction software, and so on—are incorporated into a complex, interwoven cyber network aimed at tracking our movements, predicting our thoughts and controlling our behavior, the dystopian visions of past writers is fast becoming our reality.

Our world is characterized by widespread surveillance, behavior prediction technologies, data mining, fusion centers, driverless cars, voice-controlled homes, facial recognition systems, cybugs and drones, and predictive policing (pre-crime) aimed at capturing would-be criminals before they can do any damage.

Surveillance cameras are everywhere. Government agents listen in on our telephone calls and read our emails. Political correctness—a philosophy that discourages diversity—has become a guiding principle of modern society.

“People sleep peaceably in their beds at night only because rough men stand ready to do violence on their behalf.”―George Orwell

The courts have shredded the Fourth Amendment’s protections against unreasonable searches and seizures. In fact, SWAT teams battering down doors without search warrants and FBI agents acting as a secret police that investigate dissenting citizens are common occurrences in contemporary America. And bodily privacy and integrity have been utterly eviscerated by a prevailing view that Americans have no rights over what happens to their bodies during an encounter with government officials, who are allowed to search, seize, strip, scan, spy on, probe, pat down, taser, and arrest any individual at any time and for the slightest provocation.

“The creatures outside looked from pig to man, and from man to pig, and from pig to man again; but already it was impossible to say which was which.”―George Orwell, Animal Farm

We are increasingly ruled by multi-corporations wedded to the police state.

What many fail to realize is that the government is not operating alone. It cannot. The government requires an accomplice. Thus, the increasingly complex security needs of the massive federal government, especially in the areas of defense, surveillance and data management, have been met within the corporate sector, which has shown itself to be a powerful ally that both depends on and feeds the growth of governmental overreach.

In fact, Big Tech wedded to Big Government has become Big Brother, and we are now ruled by the Corporate Elite whose tentacles have spread worldwide. For example, USA Today reports that five years after the 9/11 terrorist attacks, the homeland security business was booming to such an extent that it eclipsed mature enterprises like movie-making and the music industry in annual revenue. This security spending to private corporations such as Google, Amazon, Microsoft and others is forecast to exceed $1 trillion in the near future.

The government now has at its disposal technological arsenals so sophisticated and invasive as to render any constitutional protections null and void. Spearheaded by the NSA, which has shown itself to care little to nothing for constitutional limits or privacy, the “security/industrial complex”—a marriage of government, military and corporate interests aimed at keeping Americans under constant surveillance—has come to dominate the government and our lives. At three times the size of the CIA, constituting one third of the intelligence budget and with its own global spy network to boot, the NSA has a long history of spying on Americans, whether or not it has always had the authorization to do so.

Money, power, control. There is no shortage of motives fueling the convergence of mega-corporations and government. But who is paying the price? The American people, of course.

Orwell understood what many Americans, caught up in their partisan flag-waving, are still struggling to come to terms with: that there is no such thing as a government organized for the good of the people. Even the best intentions among those in government inevitably give way to the desire to maintain power and control over the citizenry at all costs. As Orwell explains:

The Party seeks power entirely for its own sake. We are not interested in the good of others; we are interested solely in power, pure power. What pure power means you will understand presently. We are different from the oligarchies of the past in that we know what we are doing. All the others, even those who resembled ourselves, were cowards and hypocrites. The German Nazis and the Russian Communists came very close to us in their methods, but they never had the courage to recognize their own motives. They pretended, perhaps they even believed, that they had seized power unwillingly and for a limited time, and that just around the corner there lay a paradise where human beings would be free and equal. We are not like that. We know what no one ever seizes power with the intention of relinquishing it. Power is not a means; it is an end. One does not establish a dictatorship in order to safeguard a revolution; one makes the revolution in order to establish the dictatorship. The object of persecution is persecution. The object of torture is torture. The object of power is power. Now you begin to understand me.

“The further a society drifts from truth the more it will hate those who speak it.” ― George Orwell

How do you change the way people think? You start by changing the words they use.

In totalitarian regimes—a.k.a. police states—where conformity and compliance are enforced at the end of a loaded gun, the government dictates what words can and cannot be used. In countries where the police state hides behind a benevolent mask and disguises itself as tolerance, the citizens censor themselves, policing their words and thoughts to conform to the dictates of the mass mind.

Dystopian literature shows what happens when the populace is transformed into mindless automatons. In Ray Bradbury’s Fahrenheit 451, reading is banned and books are burned in order to suppress dissenting ideas, while televised entertainment is used to anesthetize the populace and render them easily pacified, distracted and controlled.

In Huxley’s Brave New World, serious literature, scientific thinking and experimentation are banned as subversive, while critical thinking is discouraged through the use of conditioning, social taboos and inferior education. Likewise, expressions of individuality, independence and morality are viewed as vulgar and abnormal.

And in Orwell’s 1984, Big Brother does away with all undesirable and unnecessary words and meanings, even going so far as to routinely rewrite history and punish “thoughtcrimes.” In this dystopian vision of the future, the Thought Police serve as the eyes and ears of Big Brother, while the Ministry of Peace deals with war and defense, the Ministry of Plenty deals with economic affairs (rationing and starvation), the Ministry of Love deals with law and order (torture and brainwashing), and the Ministry of Truth deals with news, entertainment, education and art (propaganda). The mottos of Oceania: WAR IS PEACE, FREEDOM IS SLAVERY, and IGNORANCE IS STRENGTH.

All three—Bradbury, Huxley and Orwell—had an uncanny knack for realizing the future, yet it is Orwell who best understood the power of language to manipulate the masses. Orwell’s Big Brother relied on Newspeak to eliminate undesirable words, strip such words as remained of unorthodox meanings and make independent, non-government-approved thought altogether unnecessary. To give a single example, as psychologist Erich Fromm illustrates in his afterword to 1984:

The word free still existed in Newspeak, but it could only be used in such statements as “This dog is free from lice” or “This field is free from weeds.” It could not be used in its old sense of “politically free” or “intellectually free,” since political and intellectual freedom no longer existed as concepts….

Where we stand now is at the juncture of OldSpeak (where words have meanings, and ideas can be dangerous) and Newspeak (where only that which is “safe” and “accepted” by the majority is permitted). The power elite has made their intentions clear: they will pursue and prosecute any and all words, thoughts and expressions that challenge their authority.

This is the final link in the police state chain.

“Until they became conscious they will never rebel, and until after they have rebelled they cannot become conscious.”—George Orwell

Americans have been conditioned to accept routine incursions on their privacy rights. In fact, the addiction to screen devices—especially cell phones—has created a hive effect where the populace not only watched but is controlled by AI bots. However, at one time, the idea of a total surveillance state tracking one’s every move would have been abhorrent to most Americans. That all changed with the 9/11 attacks. As professor Jeffrey Rosen observes, “Before Sept. 11, the idea that Americans would voluntarily agree to live their lives under the gaze of a network of biometric surveillance cameras, peering at them in government buildings, shopping malls, subways and stadiums, would have seemed unthinkable, a dystopian fantasy of a society that had surrendered privacy and anonymity.”

Having been reduced to a cowering citizenry—mute in the face of elected officials who refuse to represent us, helpless in the face of police brutality, powerless in the face of militarized tactics and technology that treat us like enemy combatants on a battlefield, and naked in the face of government surveillance that sees and hears all—we have nowhere left to go.

We have, so to speak, gone from being a nation where privacy is king to one where nothing is safe from the prying eyes of government. In search of so-called terrorists and extremists hiding amongst us—the proverbial “needle in a haystack,” as one official termed it—the Corporate State has taken to monitoring all aspects of our lives, from cell phone calls and emails to Internet activity and credit card transactions. Much of this data is being fed through fusion centersacross the country, which work with the Department of Homeland Security to make threat assessments on every citizen, including school children. These are state and regional intelligence centers that collect data on you.

“Big Brother is Watching You.”―George Orwell

Wherever you go and whatever you do, you are now being watched, especially if you leave behind an electronic footprint. When you use your cell phone, you leave a record of when the call was placed, who you called, how long it lasted and even where you were at the time. When you use your ATM card, you leave a record of where and when you used the card. There is even a video camera at most locations equipped with facial recognition software. When you use a cell phone or drive a car enabled with GPS, you can be tracked by satellite. Such information is shared with government agents, including local police. And all of this once-private information about your consumer habits, your whereabouts and your activities is now being fed to the U.S. government.

The government has nearly inexhaustible resources when it comes to tracking our movements, from electronic wiretapping devices, traffic cameras and biometrics to radio-frequency identification cards, satellites and Internet surveillance.

Speech recognition technology now makes it possible for the government to carry out massive eavesdropping by way of sophisticated computer systems. Phone calls can be monitored, the audio converted to text files and stored in computer databases indefinitely. And if any “threatening” words are detected—no matter how inane or silly—the record can be flagged and assigned to a government agent for further investigation. Federal and state governments, again working with private corporations, monitor your Internet content. Users are profiled and tracked in order to identify, target and even prosecute them.

In such a climate, everyone is a suspect. And you’re guilty until you can prove yourself innocent. To underscore this shift in how the government now views its citizens, the FBI uses its wide-ranging authority to investigate individuals or groups, regardless of whether they are suspected of criminal activity.

“Nothing was your own except the few cubic centimetres inside your skull.” ― George Orwell

Here’s what a lot of people fail to understand, however: it’s not just what you say or do that is being monitored, but how you think that is being tracked and targeted. We’ve already seen this play out on the state and federal level with hate crime legislation that cracks down on so-called “hateful” thoughts and expression, encourages self-censoring and reduces free debate on various subject matter.

Say hello to the new Thought Police.

Total Internet surveillance by the Corporate State, as omnipresent as God, is used by the government to predict and, more importantly, control the populace, and it’s not as far-fetched as you might think. For example, the NSA is now designing an artificial intelligence system that is designed to anticipate your every move. In a nutshell, the NSA will feed vast amounts of the information it collects to a computer system known as Aquaint (the acronym stands for Advanced QUestion Answering for INTelligence), which the computer can then use to detect patterns and predict behavior.

No information is sacred or spared.

Everything from cell phone recordings and logs, to emails, to text messages, to personal information posted on social networking sites, to credit card statements, to library circulation records, to credit card histories, etc., is collected by the NSA and shared freely with its agents in crime: the CIA, FBI and DHS. One NSA researcher actually quit the Aquaint program, “citing concerns over the dangers in placing such a powerful weapon in the hands of a top-secret agency with little accountability.”

Thus, what we are witnessing, in the so-called name of security and efficiency, is the creation of a new class system comprised of the watched (average Americans such as you and me) and the watchers (government bureaucrats, technicians and private corporations).

Clearly, the age of privacy in America is at an end.

“If you want a picture of the future, imagine a boot stamping on a human face—for ever.”—Orwell

So where does that leave us?

We now find ourselves in the unenviable position of being monitored, managed and controlled by our technology, which answers not to us but to our government and corporate rulers. This is the fact-is-stranger-than-fiction lesson that is being pounded into us on a daily basis.

It won’t be long before we find ourselves looking back on the past with longing, back to an age where we could speak to whom we wanted, buy what we wanted, think what we wanted without those thoughts, words and activities being tracked, processed and stored by corporate giants such as Google, sold to government agencies such as the NSA and CIA, and used against us by militarized police with their army of futuristic technologies.

To be an individual today, to not conform, to have even a shred of privacy, and to live beyond the reach of the government’s roaming eyes and technological spies, one must not only be a rebel but rebel.

Even when you rebel and take your stand, there is rarely a happy ending awaiting you. You are rendered an outlaw.

So how do you survive in the American surveillance state?

We’re running out of options.

As I make clear in my book Battlefield America: The War on the American People, we’ll soon have to choose between self-indulgence (the bread-and-circus distractions offered up by the news media, politicians, sports conglomerates, entertainment industry, etc.) and self-preservation in the form of renewed vigilance about threats to our freedoms and active engagement in self-governance.

Yet as Aldous Huxley acknowledged in Brave New World Revisited: “Only the vigilant can maintain their liberties, and only those who are constantly and intelligently on the spot can hope to govern themselves effectively by democratic procedures. A society, most of whose members spend a great part of their time, not on the spot, not here and now and in their calculable future, but somewhere else, in the irrelevant other worlds of sport and soap opera, of mythology and metaphysical fantasy, will find it hard to resist the encroachments of those would manipulate and control it.”

You Want a Picture of the Future? Imagine a Boot Stamping on Your Face

By John W. Whitehead

Source: The Rutherford Institute

“The Internet is watching us now. If they want to. They can see what sites you visit. In the future, television will be watching us, and customizing itself to what it knows about us. The thrilling thing is, that will make us feel we’re part of the medium. The scary thing is, we’ll lose our right to privacy. An ad will appear in the air around us, talking directly to us.”—Director Steven Spielberg, Minority Report

We have arrived, way ahead of schedule, into the dystopian future dreamed up by such science fiction writers as George Orwell, Aldous Huxley, Margaret Atwood and Philip K. Dick.

Much like Orwell’s Big Brother in 1984, the government and its corporate spies now watch our every move.

Much like Huxley’s A Brave New World, we are churning out a society of watchers who “have their liberties taken away from them, but … rather enjoy it, because they [are] distracted from any desire to rebel by propaganda or brainwashing.”

Much like Atwood’s The Handmaid’s Tale, the populace is now taught to “know their place and their duties, to understand that they have no real rights but will be protected up to a point if they conform, and to think so poorly of themselves that they will accept their assigned fate and not rebel or run away.”

And in keeping with Philip K. Dick’s darkly prophetic vision of a dystopian police state—which became the basis for Steven Spielberg’s futuristic thriller Minority Report which was released 15 years ago—we are now trapped into a world in which the government is all-seeing, all-knowing and all-powerful, and if you dare to step out of line, dark-clad police SWAT teams and pre-crime units will crack a few skulls to bring the populace under control.

Minority Report is set in the year 2054, but it could just as well have taken place in 2017.

Seemingly taking its cue from science fiction, technology has moved so fast in the short time since Minority Report premiered in 2002 that what once seemed futuristic no longer occupies the realm of science fiction.

Incredibly, as the various nascent technologies employed and shared by the government and corporations alike—facial recognition, iris scanners, massive databases, behavior prediction software, and so on—are incorporated into a complex, interwoven cyber network aimed at tracking our movements, predicting our thoughts and controlling our behavior, Spielberg’s unnerving vision of the future is fast becoming our reality.

Both worlds—our present-day reality and Spielberg’s celluloid vision of the future—are characterized by widespread surveillance, behavior prediction technologies, data mining, fusion centers, driverless cars, voice-controlled homes, facial recognition systems, cybugs and drones, and predictive policing (pre-crime) aimed at capturing would-be criminals before they can do any damage.

Surveillance cameras are everywhere. Government agents listen in on our telephone calls and read our emails. Political correctness—a philosophy that discourages diversity—has become a guiding principle of modern society.

The courts have shredded the Fourth Amendment’s protections against unreasonable searches and seizures. In fact, SWAT teams battering down doors without search warrants and FBI agents acting as a secret police that investigate dissenting citizens are common occurrences in contemporary America.

We are increasingly ruled by multi-corporations wedded to the police state. Much of the population is either hooked on illegal drugs or ones prescribed by doctors. And bodily privacy and integrity has been utterly eviscerated by a prevailing view that Americans have no rights over what happens to their bodies during an encounter with government officials, who are allowed to search, seize, strip, scan, spy on, probe, pat down, taser, and arrest any individual at any time and for the slightest provocation.

All of this has come about with little more than a whimper from a clueless American populace largely comprised of nonreaders and television and internet zombies. But we have been warned about such an ominous future in novels and movies for years.

The following 15 films may be the best representation of what we now face as a society.

Fahrenheit 451 (1966). Adapted from Ray Bradbury’s novel and directed by Francois Truffaut, this film depicts a futuristic society in which books are banned, and firemen ironically are called on to burn contraband books—451 Fahrenheit being the temperature at which books burn. Montag is a fireman who develops a conscience and begins to question his book burning. This film is an adept metaphor for our obsessively politically correct society where virtually everyone now pre-censors speech. Here, a brainwashed people addicted to television and drugs do little to resist governmental oppressors.

2001: A Space Odyssey (1968). The plot of Stanley Kubrick’s masterpiece, as based on an Arthur C. Clarke short story, revolves around a space voyage to Jupiter. The astronauts soon learn, however, that the fully automated ship is orchestrated by a computer system—known as HAL 9000—which has become an autonomous thinking being that will even murder to retain control. The idea is that at some point in human evolution, technology in the form of artificial intelligence will become autonomous and that human beings will become mere appendages of technology. In fact, at present, we are seeing this development with massive databases generated and controlled by the government that are administered by such secretive agencies as the National Security Agency and sweep all websites and other information devices collecting information on average citizens. We are being watched from cradle to grave.

Planet of the Apes (1968). Based on Pierre Boulle’s novel, astronauts crash on a planet where apes are the masters and humans are treated as brutes and slaves. While fleeing from gorillas on horseback, astronaut Taylor is shot in the throat, captured and housed in a cage. From there, Taylor begins a journey wherein the truth revealed is that the planet was once controlled by technologically advanced humans who destroyed civilization. Taylor’s trek to the ominous Forbidden Zone reveals the startling fact that he was on planet earth all along. Descending into a fit of rage at what he sees in the final scene, Taylor screams: “We finally really did it. You maniacs! You blew it up! Damn you.” The lesson is obvious here, but will we listen? The script, although rewritten, was initially drafted by Rod Serling and retains Serling’s Twilight Zone-ish ending.

THX 1138 (1970). George Lucas’ directorial debut, this is a somber view of a dehumanized society totally controlled by a police state. The people are force-fed drugs to keep them passive, and they no longer have names but only letter/number combinations such as THX 1138. Any citizen who steps out of line is quickly brought into compliance by robotic police equipped with “pain prods”—electro-shock batons. Sound like tasers?

A Clockwork Orange (1971). Director Stanley Kubrick presents a future ruled by sadistic punk gangs and a chaotic government that cracks down on its citizens sporadically. Alex is a violent punk who finds himself in the grinding, crushing wheels of injustice. This film may accurately portray the future of western society that grinds to a halt as oil supplies diminish, environmental crises increase, chaos rules, and the only thing left is brute force.

Soylent Green (1973). Set in a futuristic overpopulated New York City, the people depend on synthetic foods manufactured by the Soylent Corporation. A policeman investigating a murder discovers the grisly truth about what soylent green is really made of. The theme is chaos where the world is ruled by ruthless corporations whose only goal is greed and profit. Sound familiar?

Blade Runner (1982). In a 21st century Los Angeles, a world-weary cop tracks down a handful of renegade “replicants” (synthetically produced human slaves). Life is now dominated by mega-corporations, and people sleepwalk along rain-drenched streets. This is a world where human life is cheap, and where anyone can be exterminated at will by the police (or blade runners). Based upon a Philip K. Dick novel, this exquisite Ridley Scott film questions what it means to be human in an inhuman world.

Nineteen Eighty-Four (1984). The best adaptation of Orwell’s dark tale, this film visualizes the total loss of freedom in a world dominated by technology and its misuse, and the crushing inhumanity of an omniscient state. The government controls the masses by controlling their thoughts, altering history and changing the meaning of words. Winston Smith is a doubter who turns to self-expression through his diary and then begins questioning the ways and methods of Big Brother before being re-educated in a most brutal fashion.

Brazil (1985). Sharing a similar vision of the near future as 1984 and Franz Kafka’s novel The Trial, this is arguably director Terry Gilliam’s best work, one replete with a merging of the fantastic and stark reality. Here, a mother-dominated, hapless clerk takes refuge in flights of fantasy to escape the ordinary drabness of life. Caught within the chaotic tentacles of a police state, the longing for more innocent, free times lies behind the vicious surface of this film.

They Live (1988). John Carpenter’s bizarre sci-fi social satire action film assumes the future has already arrived. John Nada is a homeless person who stumbles across a resistance movement and finds a pair of sunglasses that enables him to see the real world around him. What he discovers is a world controlled by ominous beings who bombard the citizens with subliminal messages such as “obey” and “conform.” Carpenter manages to make an effective political point about the underclass—that is, everyone except those in power. The point: we, the prisoners of our devices, are too busy sucking up the entertainment trivia beamed into our brains and attacking each other up to start an effective resistance movement.

The Matrix (1999). The story centers on a computer programmer Thomas A. Anderson, secretly a hacker known by the alias “Neo,” who begins a relentless quest to learn the meaning of “The Matrix”—cryptic references that appear on his computer. Neo’s search leads him to Morpheus who reveals the truth that the present reality is not what it seems and that Anderson is actually living in the future—2199. Humanity is at war against technology which has taken the form of intelligent beings, and Neo is actually living in The Matrix, an illusionary world that appears to be set in the present in order to keep the humans docile and under control. Neo soon joins Morpheus and his cohorts in a rebellion against the machines that use SWAT team tactics to keep things under control.

Minority Report (2002). Based on a short story by Philip K. Dick and directed by Steven Spielberg, the setting is 2054 where PreCrime, a specialized police unit, apprehends criminals before they can commit the crime. Captain Anderton is the chief of the Washington, DC, PreCrime force which uses future visions generated by “pre-cogs” (mutated humans with precognitive abilities) to stop murders. Soon Anderton becomes the focus of an investigation when the precogs predict he will commit a murder. But the system can be manipulated. This film raises the issue of the danger of technology operating autonomously—which will happen eventually if it has not already occurred. To a hammer, all the world looks like a nail. In the same way, to a police state computer, we all look like suspects. In fact, before long, we all may be mere extensions or appendages of the police state—all suspects in a world commandeered by machines.

V for Vendetta (2006). This film depicts a society ruled by a corrupt and totalitarian government where everything is run by an abusive secret police. A vigilante named V dons a mask and leads a rebellion against the state. The subtext here is that authoritarian regimes through repression create their own enemies—that is, terrorists—forcing government agents and terrorists into a recurring cycle of violence. And who is caught in the middle? The citizens, of course. This film has a cult following among various underground political groups such as Anonymous, whose members wear the same Guy Fawkes mask as that worn by V.

Children of Men (2006). This film portrays a futuristic world without hope since humankind has lost its ability to procreate. Civilization has descended into chaos and is held together by a military state and a government that attempts to keep its totalitarian stronghold on the population. Most governments have collapsed, leaving Great Britain as one of the few remaining intact societies. As a result, millions of refugees seek asylum only to be rounded up and detained by the police. Suicide is a viable option as a suicide kit called Quietus is promoted on billboards and on television and newspapers. But hope for a new day comes when a woman becomes inexplicably pregnant.

Land of the Blind (2006). This dark political satire is based on several historical incidents in which tyrannical rulers were overthrown by new leaders who proved just as evil as their predecessors. Maximilian II is a demented fascist ruler of a troubled land named Everycountry who has two main interests: tormenting his underlings and running his country’s movie industry. Citizens who are perceived as questioning the state are sent to “re-education camps” where the state’s concept of reality is drummed into their heads. Joe, a prison guard, is emotionally moved by the prisoner and renowned author Thorne and eventually joins a coup to remove the sadistic Maximilian, replacing him with Thorne. But soon Joe finds himself the target of the new government.

All of these films—and the writers who inspired them—understood what many Americans, caught up in their partisan, flag-waving, zombified states, are still struggling to come to terms with: that there is no such thing as a government organized for the good of the people. Even the best intentions among those in government inevitably give way to the desire to maintain power and control at all costs.

Eventually, as I point out in my book Battlefield America: The War on the American People, even the sleepwalking masses (who remain convinced that all of the bad things happening in the police state—the police shootings, the police beatings, the raids, the roadside strip searches—are happening to other people) will have to wake up.

Sooner or later, the things happening to other people will start happening to us and our loved ones.

When that painful reality sinks in, it will hit with the force of a SWAT team crashing through your door, a taser being aimed at your stomach, and a gun pointed at your head. And there will be no channel to change, no reality to alter, and no manufactured farce to hide behind.

As George Orwell warned, “If you want a picture of the future, imagine a boot stamping on a human face forever.”

The Fine Edge Between Comedy and Horror: The Millions Interviews Margaret Atwood

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By Claire Cameron

Source: The Millions

The Heart Goes Last Margaret Atwood’s first standalone novel since The Blind Assassin, which won the Man Booker in 2000 — is a novel that teeters on the fine edge between comedy and horror. The writing is full of Atwood’s wry humor, but the dystopian world in which the characters live, whether they are a sleeping in a car and fleeing thugs or under surveillance in a tightly controlled community, is an alternate world that is full of horror.

The novel tells the story of Stan and Charmaine. After a great financial crash, their home is repossessed, their credit is frozen, and they are left to eek out a meager life living in their cramped Honda for shelter. Stan sleeps in the driver’s seat so they can flee quickly during the night if need be. With only Charmaine’s money from a bartending job, they dumpster dive, eat day old doughnuts, and have no viable prospects for their future. When Charmaine sees an ad on TV for Consilience, a suburban utopia and a ‘social experiment,’ she signs them up to take a look. Participants are given a home of their own in exchange for going to prison every other month.

The idea behind Consilience is that a full prison creates full employment and all prosper. While Charmaine and Stan do their month in jail, they swap places with an alternate couple who live their life, drive their scooters, and sleep in their bed until the month is up and they trade places again. In a set up that recalls a Midsummer’s Night Dream-like mix up, unknown to each other both Stan and Charmaine have chance encounters with their alternates. Confusion, obsession, and mistrust turn into revelations about the truth about Consilience.

The more I read, the more I questioned whether I could describe the community of Consilience and the chaos outside its gates as taking place in an alternate world. So much of what happens in this novel, from foreclosed houses to private prisons, is already part of our world. The world of The Heart Goes Last feels more like a twisted version of our current reality. Only small changes would be needed to make it all ‘true.’ Just as Charmaine and Stan’s lives contort when they seek out their alternates, utopian turns dystopian and comedy bends into horror with, as Atwood says, “one small turn of the wrench.”

I interviewed Atwood over the phone from her hotel room in New York. We spoke about not having sex with furniture, Pepper the greeting robot, themes in Victorian literature, and quotas in private prisons.

The Millions: The Heart Goes Last has your trademark humor, but the circumstances that Stan and Charmaine find themselves in are horrifying.

Margaret Atwood: A lot of things are funny to those watching them, but not to the person undergoing them. The person who slips on the banana peel doesn’t think it’s funny as a rule.

TM: Charmaine says near the beginning of the book that, “comedy is so cold and heartless, it makes fun of people’s sadness.”

MA: It does, unfortunately. Sometimes people make fun of themselves, but if you dig down there’s a bit of that too. On the other hand, where would we be if we couldn’t laugh? I think they’ve always been joined at the hip.

TM: At the beginning of the novel, you quote Ovid, William Shakespeare, and a blog post by writer Adam Frucci[1] — who sets out to test an ottoman with a fake vagina. I have to ask: Did you have sex with furniture to research this novel?

MA: I think that piece of furniture is intended only for men?

TM: Frucci warned that it was, “no Kleenex clean up, my friends.” Actually, what he endured to test the ottoman is a good example of something that is funny for the reader, but not so for the person going through the experience.

MA: One of the headlines of that post is “I did this so you don’t have to.” Frucci has probably woken to find himself strangely famous. A lot of people are reading that blog post.

The other thing that has to trouble your mind is — who had this idea for this piece of furniture? And would you have this in your living room? I have many questions.

TM: Maybe you’ve given the ottoman maker a little sales bump?

MA: I have a feeling that a piece of furniture with a sex thing built into it came and went fairly swiftly. If that blog post was written in 2009, the furniture has fairly quickly been superseded by the advances in robotics.

Do you know about Pepper the robot? Pepper is not a sex robot. In fact, Pepper comes with instructions that say explicitly that you are not supposed to use it for sex, though I don’t know how you could.

Pepper is a greeting robot, like one that Stan, the main character in The Heart Goes Last, is working on before he gets fired at Dimple Robotics. Except that Stan’s is a grocery bagging robot. It is supposed to smile at you.

Pepper is supposed to be able to read your emotions. They were installing Pepper as a greeting robot in Japan where greeting is a social custom. And then they put him/her on for private sale and he/she sold out very quickly. Apparently we want someone who can read our emotions.

TM: At Dimple Robotics, Stan’s job, before he looses it, was working on the empathy module of his robot.

MA: Personally, I don’t want someone who can read my emotions, because then you can’t dissimulate, can you? If somebody asks if you are having a nice day and you say yes, but you’re actually not…it spoils your act.

TM: It’s the white lies that get us through.

MA: I’m afraid that’s correct. They do. “That’s a lovely dress! You look wonderful!”

TM: The novel is filled with this kind of joke — your humor is always close to hand. I love a line on writing from Sheila Heti’s How Should a Person Be?: “You have to know where the funny is, and if you know where the funny is, you know everything.” Do you agree?

MA: No, but it’s a good hint. You don’t know everything if you know that, but you know some things. It’s true in a negative way. If something is unintentionally funny, you ought to know. If you intended it to be very serious and dramatic, but actually it’s funny, then you are in trouble.

There is a wonderful book called The Stuffed Owl. It’s an anthology of good, but bad, verse. It’s well worth reading. It is full of writers who were aiming for the heights and tripped on the banana peel.

TM: As I was reading The Heart Goes Last, I kept thinking back to Survival, your thematic guide to Canadian literature that was published in 1972. In it you said: “I read then primarily to be entertained.” Do you still?

MA: Go back to what the ancients used to say, that art should entertain and instruct. They didn’t say to what degree. If it doesn’t entertain, and by entertain I don’t mean just frivolous, I mean engage your attention and keep you going. If that doesn’t happen, you’re not going to turn the page. So there has to be something engaging enough to keep you reading.

That is why first chapters are so important. If you can’t get the reader through the first chapter, they are never going to get to your pithy piece of wisdom on page 85.

On the other hand, if there is nothing serious in it, you may be entertained on a superficial level and it’s a one time read. Or it’s what we call a “beach read.” Or what I sometimes call a “hotel room drawer read.” I leave them there for others to enjoy. I did that in Hong Kong once and they were so screamingly honest that they collected the books and mailed them back to me. I thought that was so sweet.

TM: The Heart Goes Last is about characters who give up their freedom for comfort. When Stan and Charmaine tour Consilience for the first time they both feel reason to worry about how it runs. However, after experiencing the discomfort and fright of life in a car, they opt for comfort, “the bath towels clinched the deal.”

MA: Yes. It’s also about how circumstances cause people to do things that they would otherwise not do. That is a human universal truth. Stan and Charmaine give up their freedom, but of what does their freedom consist? They don’t have a lot of money, they are living in their car, they are subject to every thug and criminal that stumbles across them, so that is maybe “freedom,” but of a very limited kind.

TM: Can we expect a scared or thirsty human to make good decisions?

MA: You can’t. Self-preservation kicks in. A person will make the decision that you think gives him or her the best chance of getting through.

TM: In that way, is The Heart Goes Last a survival story?

MA: A lot of people lived that, or something close to it, when the 2008 crash happened. They were thrown out onto their front lawn or living in their cars. That is ongoing.

There’s a movie that just came out that I must go and see called 99 Homes — it’s the story of a man who evicts people from their houses because they couldn’t pay their mortgages. As I said, the situation is ongoing.

I was listening to the radio in London, England, and there was a show about people who had moved back into their parents’ houses, or parents who have had their kids move back in, because they could not afford to either rent or buy in London. It was too expensive.

TM: The set up of your novel felt so real.

MA: It is real.

TM: But it’s not necessarily your reality. David Mitchell wrote about how he imagines the far past or the far future, that to get in the right mindset he thinks about the things that the characters might take for granted in life.

MA: We did a lot of car travel when I was a child. We also did a lot of camping out. So that wasn’t under duress, but I know what it’s like to sleep in a car.

TM: There are other parts of the book that could be taken as speculative fiction, but aren’t, like private prisons.

MA: There are private prisons in the U.S. The Atlantic just did a huge piece on this. There is nothing in the U.S. constitution that says you can’t make people do enforced labor if they are convicted criminals.

There’s a history of that kind of prison as enterprise. The Australian penal colony was one of them. They would send people to work off their sentence. Someone was making money out of it.

TM: I also read that in Arizona there are three private prisons that require 100 percent inmate occupancy.

MA: You have to keep them full to make them profitable and that is a recipe for creating more prisoners.

TM: In 2008, when you published Payback, a book of non-fiction about the nature of debt, it almost felt like the world of finance had collapsed at your feet. The timing was quite something. Tell me about your crystal ball?

MA: I don’t actually have a crystal ball, but I do read advertisements when I’m sitting on the subway. I was seeing a lot of them that said “let us help you get out of debt.” I thought, boy, if there are all these enterprises doing that, there must be an awful lot of people in debt.

The other thing is that, if you are a student of Victorian literature, as once I was, debt is a big theme. Not only with Dickens, but a number of other writers as well. So is the prison system.

TM: In Survival you wrote, “Literature is not only a mirror; it is also a map.” Can The Heart Goes Last be read as a map?

MA: Maybe a map, but also a door. Open the door and what’s inside? Stan and Charmaine are in a planned prison system, a for-profit enterprise. What they don’t know when they go in is how the enterprise is making its money. The thing to ask about private prisons is who is making the profit? And how much are they making. Maybe it’s time to rethink. What should we have instead?

__

[1] I contacted Adam Frucci, author of “I Had Sex with Furniture: The Shameful (NSFW) Fleshlight Motion Review,” to comment about the honor of becoming an Atwood epigraph: “I didn’t really believe it at first — Ovid, Shakespeare, and my goofy blog post from 2009. I can’t say that of all of the things I’ve ever written that this is the one I want people to remember and attach to my name, but what can you do? All I can really do is be honored and assume that Margaret Atwood is a huge fan of all of my work and looks to me for inspiration all the time. That’s about accurate, right?”

 

 

Arcadian Gates by T.A. Wardrope: Dystopia on the Fringe

51J0Tmr3+IL._SX330_BO1,204,203,200_By Brian Whitney

Source: Disinfo

T.A. Wardrope‘s new novel, Arcadian Gates, tells the story of how ten years ago, the entire nation was struck by a chemical weapon which destroyed most people’s memories. Akiry, a young woman who makes her way smuggling amongst the lower caste of the rebuilt country, is haunted by dreams of a daughter she otherwise does not remember. As civil war erupts in the city around her, she takes the last chance she has to find the truth about her daughter and her past.

We talked to author and Disinfo contributor T.A. Wardrope about his new book.

T.A., Thanks for talking to me. Can you tell me a little bit about what inspired Arcadian Gates and what your process was writing it?

The book began as a short story in a writing workshop. I had fun with it and so I just kept building it forwards and backwards for quite a few years. There was a substantial amount of world building that was a byproduct of writing Akiry’s story. Next thing I knew I had a book with a glossary and a map on the inside cover.

The story itself evolved as I tried to understand Akiry’s relationship to the world around her. I wanted a dystopia that was drawn from the lore and theories that Disinfo readers would recognize. Fringe stuff that you might hear about on Darkness Radio or Art Bell’s classic Coast to Coast AM. There’s kind of a unified conspiracy theory under the whole thing. A substantial amount of Terence McKenna and William Burroughs influence too. I joke that it is my “Streets of Fire”; one book that has everything I enjoy about science-fiction in the mix.

In your book almost an entire nation loses its memory due to a chemical weapon. Memory is always a fight, even in the best of times, it can be tricky and elusive, can you touch on how the loss of a nation’s memory changes everything?

Oh, I think we can just look around. I think that part of the book comes from a place of satire or critique. Americans, in particular, are very good at forgetting the lessons of the not-so-distant past. This bizarre hyper news cycle is a particularly troublesome symptom of this. By making something so very important for a few days, nothing becomes important at all. It’s very Orwellian.

But within the Administrated Republic, the weapon’s effect allows for a constantly shifting narrative of history. It’s the least subtle method of the winner defining history. Practically speaking, families are separated, identities destroyed, and personal empowerment disintegrated. It’s very hard for people to trust who they are if they don’t really know their past. Plus the shared experience allows for national community and a national wound that is easy to use as needed. Again, we can look at our recent history for evidence of that. That Administrated Republic just takes all of this to the next level of control. They had their reasons, though. I wanted them to be much more authentic than your standard dystopic power state. I had as much writing their side of things as I did the roughnecks in Akiry’s world.

You seem to have the chops of someone who has long been a student of the Sci-fi masters. What writer influenced you along your path?

Oh, thank you. There’s a solid foundation of Isaac Asimov, Frank Herbert, Ray Bradbury and David Drake. But the actual authors who had a direct influence on how I thought about the world of Arcadian Gates would be people like Philip K. Dick, William Burroughs, Samuel Delaney, J.G. Ballard, China Mieville, Moebius, Alan Moore, Robert Anton Wilson and Margaret Atwood. My program advisor at Hamline, Lawrence Sutin, is a PKD scholar so his input was especially helpful. I am a student of cinema too, so there’s plenty of influence from that realm. Some folks have asked me to write a screenplay version, but the book seems basically unfilmmable to me. Movies about underdog drug dealers don’t get the kind of budgets it would need to get made correctly.

Are there lessons to be learned from the Dystopian world that we see in Arcadian Gates?

I see it as satire in the tradition of 1984, Brave New World or We, so the lessons available in the story are just as evident in the world around us now. I think that one reason dystopia was so popular with young readers is that the world around them is a dystopia in many ways and fiction just distills that into a less confusing form. Arcadian Gates isn’t a YA book, by any means, but every part of it is drawn from history or historical theory. I didn’t write it for a particular moral, though, I wanted to keep it focused on how one woman navigates this world and how her actions reverberate throughout that world. I suppose the lesson is that history is a collision of millions of stories driven by many more decisions and desires. Akiry’s journey is one of those stories.

What are you up to next?

I am working on a pair of books drawn from the Sirius Business blog that runs here on Disinfo. One of those will actually be in the same continuity of Arcadian Gates. There will be a sequel to Arcadian Gates, as Akiry is just getting started. In between the books there are some short stories written that are both in continuity and some not at all related. Those could wind up in a collection at some point. Finally, I’m doing some more world building for a project that is firmly grounded in the horror side of things. Sometimes I wonder if I love the development stuff too much, even the shorts have considerable background to them.

More info on all of this stuff will pop up on social media. I’ve got more things planned in support of Arcadian Gates, too. Readings and maybe some convention visits. Being an indie author requires a having a finely honed sense of the balance between creative work and promotional work. I’ve still got a lot to learn in both of those aspects, I think. I’ll be learning advanced time engineering. Whiskey, too. Plenty of whiskey.