“I have wanted nothing but to be seen”: In/visibility and Power Dynamics in Suyi Davies Okungbowa’s Lost Ark Dreaming (2024)
In Suyi Davies Okungbowa’s post-apocalyptic speculative novella Lost Ark Dreaming (2024), power dynamics and the notion of in/visibility take centre stage. One could argue that Okungbowa contributes to the development of counter-narratives that challenge deeply-rooted norms mainly related to social...
Wedi'i Gadw mewn:
| Cyhoeddwyd yn: | URI:https://journals.openedition.org/erea, |
|---|---|
| Prif Awdur: | |
| Fformat: | Article ou chapitre numérique |
| Cyhoeddwyd: |
E-rea
2025
|
| Pynciau: | |
| Mynediad Ar-lein: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
| Crynodeb: | In Suyi Davies Okungbowa’s post-apocalyptic speculative novella Lost Ark Dreaming (2024), power dynamics and the notion of in/visibility take centre stage. One could argue that Okungbowa contributes to the development of counter-narratives that challenge deeply-rooted norms mainly related to social class. In order to analyse the stakes behind these counter-narratives, I propose to analyse the Bourdieusian pyramidal social pattern of the society described in the novella before I explore the passage from in/visibility to acknowledgement and recognition for some (socially invisible) characters, who undergo “inhumane conditions”, and who can eventually be considered as transgressive. Finally, I investigate the way the novella makes the reader see otherwise by bringing to the fore a “poetics of attention” as well as a decolonial perspective, which can be said to be intrinsically political, because, to quote from the novella itself, “[t]he stories we carry change the world”. |
|---|