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Justyna Deszcz-Tryhubczak, „Yes to Solidarity, No to Oppression: Radical Fantasy Fiction and Its Young Readers”, Wrocław: Wydawnictwo Uniwersytetu Wrocławskiego

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Doughty T.

Anglica Wratislaviensia

2017

nr 55

169-176

This review assesses Justyna Deszcz-Tryhubczak’s Yes to Solidarity, No to Oppression: Radical Fantasy Fiction and Its Young Readers. Deszcz-Tryhubczak has two agendas in this volume: first, to explore the capacity of Radical Fantasy fiction to model for young readers the agency of youth forming collaborative, cross-generational, and possibly cross-cultural alliances to address glocal socio-political and/or environmental issues spawned by the injustices and inequities of late-stage capitalism; second, to model a new approach to participatory research, involving child readers not as subjects of study but as collaborative readers of texts. Deszcz-Tryhubczak provides a thorough examination of the problem of adult critics speculating about child readers based on constructed implied child readers rather than on actual children, then proceeds to identify how Childhood Studies may offer some productive means of thinking about and, more important, engaging with real children. She provides a clear definition of Radical Fantasy and brief readings of both core and marginal examples of the genre. This contextualizes her description of her methodology and discussion of results from two research projects collaborating with young readers. Finally, Deszcz-Tryhubczak contends that participatory research is a way to move forward in children’s literature scholarship in a more democratic manner, and moreover that applying this methodology to Radical Fantasy is potentially also a means of engaging children in important debates on issues that are shaping their futures. I find this book a stimulating contribution to our understanding of youth reading that offers intriguing possibilities for further research.

Assessing Steampunk’s Future: The Test Case of The Gaslight Dogs

100%

Doughty T.

Literatura i Kultura Popularna

2014

tom 20

39 - 48

Steampunk as a literary genre is at a key point in its evolution. There is disagreement on the definition of the genre, with prescriptivists insisting that the genre must remain true to its roots in neo-Victorian technological retrofuturism, thereby locating it primarily in the Transatlantic industrial world dominated by imperial Britain, and descriptivists wanting to open up the definition to create space for steampunk to move beyond the boundaries of the nineteenth-century, Europe, and the Industrial Revolution. This paper explores how Canadian author Karin Lowachee’s The Gaslight Dogs (2010), a novel that appears not to contain many of the tropes of steampunk, can be classified as such if the understanding of steampunk technology as technofantasy is permitted to be more fantastic than technical in a Western, scientific sense. This redefinition has significant implications in terms of creating space within the genre for fictions to be set among and articulate the worldview of Indigenous cultures that have developed their own technologies, not industrialised technologies. If steampunk is to continue to be a vital genre rather than becoming stale and formulaic, development of more multicultural steampunk books, like The Gaslight Dogs, is necessary to continue pushing the boundaries of the genre. Multicultural steampunk fiction also continues the genre’s interrogation of imperial power relations by decentring Western imperial powers with their industrialised technologies.