Abstract

As evidenced by its title, Into the Forest (1996) by Jean Hegland traces the movement of two adolescent girls ever further into the forest in a post-apocalyptic account of the near future. Set in Redwood, California, it depicts a world where trees are gigantic and long-lasting while humans are diminutive and diminishing, while contemporary human technological society has fallen apart. Plants, trees, and the forest, and an increasingly intimate and Indigenous knowledge and relationship with these, play a key and ever-growing role in the novel and illuminate its otherwise dark vision of the future. Ultimately, the sisters’ taking of an increasingly plant-based perspective offers an alternative trajectory and path toward survival, sustenance, and self-sufficiency for the two young women. Although not necessarily written for young adults exclusively, the novel, whose international impact is evidenced by the fact that translated into over a dozen languages, made into a film in Canada, and adapted as a graphic novel in French, focuses on young adult protagonists and tells a post-apocalyptic tale that is both dark and inspiring in its vision of self-sufficiency and reintegration with nature, forest, and plants. It thus shows itself to be a work of young adult literature in many respects, as well as in its implied ecofeminist critique of capitalist society and a more sustainable vision of the future represented by the young. This article examines various plant geographies in Into the Forest and the way in which the forest represents a space of refuge from mankind and society; provides healing and sustenance; serves as an alternative abode; and represents a birthplace of the future. It argues that an increasingly plant-based perspective figures centrally in the book’s narrative arc from beginning to end, from its title and setting to the trajectory of its unfolding plot, and in its conclusion and vision of the future.

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