Like nightmares, dystopias have a certain hermetically sealed quality. By their nature, they are inescapable—a dystopia you can escape from is not a dystopia, it is the third hour of Love, Actually. The circumstances that create any brave, new world simultaneously cauterize its edges and destroy memories of the world before. In Nineteen Eighty-Four, as near as Winston can recall, “He had first heard mention of Big Brother… at some time in the sixties, but it was impossible to be certain. In the Party histories, Big Brother figured as the leader and guardian of the Revolution since its very earliest days. His exploits had been gradually pushed backwards in time until already they extended into the fabulous world of the forties and the thirties, when the capitalists in their strange cylindrical hats still rode through the streets of London… ” To an extent, this is also how history works, as unlikely ephemera like Donald Trump fluke their way into awful existence and, in doing so, retroactively annihilate our former, lingering sense of other possibilities. For instance: remember when it seemed inevitable we’d have our first female president? Remember when public racism resulted in an exile from public life? Remember when we still had a functioning EPA? Disasters are amnesiac in nature.
… the best, maybe only, way of resisting dystopias, is to keep in mind that it was not always thus. What has happened is an aberration, and the world worked a different way for a very long time. Dystopias—fictional and real—are perhaps unavoidable, but not irreversible. The cliché goes that those who forget the past are doomed to repeat it. Maybe it would be truer simply to say that those who forget the past are doomed.
Adam O’Fallon Price at The Paris Review. Not entirely sure he isn’t himself somehow relocating an uncritical liberal utopia to the past in this piece — in fact, I’m fairly sure he is doing so, though perhaps unwittingly, and that’s just as big a mistake as dytopianism — but the point about the amnesia of disasters is solid, and says something quietly profound (and profoundly disturbing) about our experience of temporality. Guy Debord might implicate the Spectacle in this phenomenon, and I’d be very willing to back him up on it.