Something old, something blue: bereavement and institutional ageism in The Gigantic Beard That Was Evil

Marissa Lammon

doi:10.1017/s0144686x21001331

Abstract

AbstractThe dystopian fiction genre within Western media has historically highlighted the flaws associated with societal attempts to achieve an unattainable ideal – or utopia. Through storytelling, these texts highlight the present issues in society, and among them, readers find deeply concerning messages about dehumanisation and oppression. The Gigantic Beard That Was Evil by Stephen Collins is uniquely placed within this larger genre due to the exceptional use of negative space; that is, the text communicates multiple meanings through what Collins includes and does not include. The following article engages in a deep reading of The Gigantic Beard That Was Evil through textual analysis to interpret and describe the message Collins communicates highlighting institutional ageism and bereavement. Consideration for the use of both negative and positive space within narrative construction reveals a story that encourages societal and social change to better care for the mentally ill, geriatric population.

Highlights

Western media has historically checked quite a few repetitive boxes in the entertainment industry – intense, climactic and, oftentimes, utopian (McKee et al, 2012: 23)
Authors create visions of the future rife with oppression and dehumanisation that exist as a result of attempted utopian gain; and in this way, readers are often encouraged to challenge their preconceived notions about social and political moments
In some versions, such as The Hunger Games or Nineteen Eighty-Four, the dystopia is immediately identified as an abuse of power. In others, such as The Giver or Divergent, audiences are made to believe that the collective society has chosen the conformity as a means to create an ideal world; and in others, like The Gigantic Beard

Summary

Introduction

Western media has historically checked quite a few repetitive boxes in the entertainment industry – intense, climactic and, oftentimes, utopian (McKee et al, 2012: 23). The trope in Western narrative of a misguided attempt to create utopia by limiting the boundaries of society appears time and again across platforms and occupies its own genre: dystopian fiction In these worlds, authors create visions of the future rife with oppression and dehumanisation that exist as a result of attempted utopian gain; and in this way, readers are often encouraged to challenge their preconceived notions about social and political moments. Authors create visions of the future rife with oppression and dehumanisation that exist as a result of attempted utopian gain; and in this way, readers are often encouraged to challenge their preconceived notions about social and political moments In some versions, such as The Hunger Games or Nineteen Eighty-Four, the dystopia is immediately identified as an abuse of power.

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Conclusion