“The Water Cure” is a twisted fairy tale of toxic masculinity.
Like all dystopian narratives, the feminist variety uses stories about how bad the world might become to point out how bad it already is. Not surprisingly, feminist dystopian narratives are now enjoying a boom, from Hulu’s tele vision adaptation of Margaret Atwood’s 1985 novel, “The Handmaid’s Tale”— Atwood recently announced that she is writing a sequel—to several books by both new and established novelists, including Louise Erdrich’s “Future Home of the Living God,” Christina Dalcher’s “Vox,” and Leni Zumas’s “Red Clocks.” These writers depict a range of inventively punitive societies: in one, women are punished for speaking more than a hundred words per day; in another, the government takes pregnant women into custody to manage a fertility crisis. The novels extrapolate from a very real prospect of curtailed rights, especially reproductive rights, to imagine what it would be like to live in a society of forced marriages and pregnancies. The typical dystopian novel is at least as much about the world it’s set in as it is about the characters who inhabit it.
This story is from the January 7, 2019 edition of The New Yorker.
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This story is from the January 7, 2019 edition of The New Yorker.
Start your 7-day Magzter GOLD free trial to access thousands of curated premium stories, and 9,000+ magazines and newspapers.
Already a subscriber? Sign In
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