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• W4205659868 abstract "183 BOOKS IN REVIEW than the sources she cites to support them. Reconfiguring some of this material as endnotes would help to foreground her own points while simultaneously strengthening the study’s readability. There is much to admire about Girls on Fire: the large number of primary texts included, the author’s awareness and generous appreciation of the work of other scholars in the field, and her desire to provide other academics with the ways and means of incorporating her research into an interdisciplinary classroom. But the book does suffer from the author’s seeming desire to write a text that is all things to all people: a primer of cultural theory for undergraduates, a showcase for modern research published on YA dystopian literature, and a resource for academics at all levels and disciplines who wish to incorporate more interdisciplinarity into their classrooms. Readers already well acquainted with intersectionality and interdisciplinary approaches as conceptual tools or who already believe that literature not only reflects but also shapes the world may wish to skim or even skip the introductory chapters and dive into the richer, genuinely insightful later chapters in which Hentges’s close readings of specific texts are well worth attending to.—Nancy St.Clair, Simpson College Worlds of Color. Mark C. Jerng. Racial Worldmaking: The Power of Popular Fiction. New York: Fordham UP, 2018. 284 pp. $30 pbk. In Philip K. Dick’s The Man in the High Castle (1962), there is a scene in which the character Nobusuke Tagomi does not know what reality he currently inhabits—his “real” world or the story-world of The Grasshopper Lies Heavy, a book almost everyone in High Castle has read. It is by noticing and reading the racial norms around him that Tagomi figures out that he has shifted out of his “real” world: a police officer speaks to him differently than expected, there are no Chinese-operated pedicabs, and white restaurant patrons refuse to give up their seats for him. The anti-Japanese racism he experiences is such a stark departure from the world he knows that it allows him to understand he has been transported to an entirely different world. These racial differences are also how readers of High Castle are able to place Tagomi in our world. Grasshopper depicts a reality that functions as an alternate history within High Castle but is recognizable to readers as the world we actually inhabit. This move, by which the universe of High Castle is turned inside out and thereby situated in a new relationship with the reader’s world, should come as no surprise to fans of Dick. What Mark C. Jerng does with this scene in his monograph Racial Worldmaking: The Power of Popular Fiction, however, is refreshingly mind-bending. Jerng points out that one of the key signs that Tagomi reads in this moment is the racial politics of a lunch counter—an especially meaning-laden symbol in American history. Jerng argues that Dick’s use of the lunch counter shows the ways that protest—and alternate history, and racial worldmaking broadly conceived—reorganize time and space. Protests such as the refusal by black activists to leave a lunch counter rewrite the rules of reality because they disrupt our understanding of what is possible—not only legally, but also existentially. They force us to notice what 184 SCIENCE FICTION STUDIES, VOLUME 46 (2019) is permissible at the level of worldbuilding. These kinds of protests therefore have the capacity to disrupt the cohesive, rational (white) self. When defenders of the status quo call for “civility,” it is this disruption to which they object. Their sense of self and of the reality they inhabit is challenged when race is made salient in new ways, when the racial affordances of our world are not taken for granted. They thought they lived in a realist narrative and do not appreciate being shown that they live in genre fiction, where every piece of worldbuilding is up for scrutiny and revision. Racial Worldmaking stages such a shift in the way we understand race. Jerng argues that currently dominant narratives of race and racism are too focused on seeing race in individual bodies and people..." @default.
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• W4205659868 date "2019-01-01" @default.
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• W4205659868 title "Racial Worldmaking: The Power of Popular Fiction by Mark C. Jerng" @default.
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