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A.M. Ellis on Dystopian Literature as a Form of Conversation

By A.M. Ellis

For some, reading Parable of the Sower by Octavia Butler feels like she glimpsed our future and left a warning. Handmaid’s Tale by Margaret Atwood could be a world one law away from our own with the present-day fight for body autonomy. And the increase of protests against broken governments could bring us to a brink where one cruel tyrant can have us living in The Hunger Games by Suzanne Collins.

These are fictional worlds thankfully. But there are lessons to be taken away, conversations to be had, all with the hope that young readers learn from them and hold on tight.

I Feel Your Pain is no different. It tackles themes still present today; classism, race, and systemic issues that dig themselves into the earth with thorny roots that twist and turn and refuse to let go. But before I dive deeper, let me set up a definition.

Systemic racism can begin as a rule or belief meant to openly oppress. Then over time as tides shift and society attempts to change and forget its roots, that rule or belief is rewritten to hide its intentions. Years pass and the original authors are gone, but this rule still exists because it serves as one function or another to a large majority. It’s part of our foundation. There’s no real need to correct it (sarcasm). It’s never truly evaluated (not sarcasm). And it comes with excuses –

Will it though?

No. But it might crumble a few billion-dollar empires.

In I Feel Your Pain, I’m opening the door to have a conversation with readers. It’s a setting so close to our own – minus a cataclysmic solar flare. That solar flare brought with it a painful disease found in the majority of white people. But don’t worry, because scientists have found a way to help the affected through the Freedom System.

With the Freedom System, those with this disease can give away their pain to Pain Carriers, individuals with high pain tolerances who barely feel the ache of it. Of course, those Freedom System scientists have the research to back it up. Those Pain Carriers just happen to be made up of a majority of Black and Brown people.

This is where the conversation begins – the topic of discussion: pain and the stereotypes around tolerances in the Black community. This conversation didn’t come from thin air or a random thought of what-if. It has roots that have refused to dry up.

Did you know that the “father of modern gynecology” achieved his success by – and I’m sugarcoating my words here – perfecting his technique on Black women in a way that ignored their pain? Those women, Lucy, Betsey, and Anarcha, were enslaved and used as variables in a science experiment, their humanity discarded.

I want everyone to know their story.

There’s a nod to them in I Feel Your Pain and I encourage you to look them up. Their survival and endurance are part of medical history. Let me repeat that one word: history. You would think that the disregard of Black pain and the belief of a mythical high tolerance ended here, but it doesn’t.

There are studies within the last ten years that show there are still non-Black medical professionals who believe there is a difference in how various races experience pain. You can find evidence of these beliefs when looking at labor and delivery mortality rates; Black mothers’ accounts of pain being ignored to the point of severe and fatal consequence.

I’ve heard too many accounts of Black voices ignored in the doctor’s office, and have personally experienced it. It left me in shock. It’s 2026. What Lucy, Betsey, and Anarcha endured – that was the 1840s.

The past shows us where these harmful stereotypes began and how they festered, the excuses that continue to be made. So when I wrote of a world with a painful disease and a society believing there are people and communities that can carry that pain with ease – there’s a history behind it. A history and a present I don’t want to see repeated in the next generation’s future.

These are the types of heavy topics dystopian literature allows authors to approach and address within the safe space of fiction. Readers can engage and draw parallels, open their eyes to things that should never happen, never be possible or believed.

Black people don’t have higher pain tolerances. The myth of thicker skin is, at most, likely rooted in a survival tactic required to navigate spaces built against a community that has done nothing to deserve this stereotype other than thrive against the odds. A quick nod to this – the Harlem Renaissance and the Great Depression happened at the same time. We feel, we hurt, we’re human. I need everyone to know and believe the truth.

So let’s have a conversation, and let dystopian literature once again do its thing. I can only hope for readers to take away the lessons to be learned, and hold onto them for as long as they can.

.


They were never meant to share a future – only the pain that connects them. 

 
Ever since a cataclysmic solar flare struck 150 years ago, Helical Disease has plagued the city of Alta Bay. Those infected endure excruciating pain and a blue light that crackles beneath their skin. There is no cure.

However, Dominion Pharmaceuticals has created a revolutionary treatment that transfers the disease to people with unusually high pain thresholds. These Pain Carriers feel little to no pain, and they’re paid generously for their sacrifice.

Nova Williams is too focused on surviving to question the system. Castor Fox, heir to the Dominion empire, is proud of his family’s legacy.

When a chance road accident throws them together, the pair form an unlikely connection. But as they begin to fall for each other, a devastating truth comes to light: Nova is Castor’s Pain Carrier.

As darker secrets about the procedure emerge, Nova and Castor must decide whether to accept a broken world . . . or risk everything to change it.

A.M. Ellis is a speculative fiction author and lover of everything steeped in myth and mystery. Her stories often lean into diverse voices, not only in her identity as a Black woman, but in exploring neurodivergence and mental health. A proud introvert and nostalgic gamer, she lives in Maryland, USA, with her husband and three children.

PaperBound Magazine is an online magazine for the young, and the young at heart. We are dedicated to showcasing authors and illustrators for children’s and young adult fiction and we strive to deliver inspiring content, uplifting stories, and top tips for young and aspiring writers yet to burst on to the literary scene.

All our issues are completely free and run by volunteers, however if you would like to support PaperBound and the work we do, you can help us out by buying us a virtual book. We appreciate any support you can give us!

Don’t forget you can read with the latest issues of PaperBound Magazine – completely free – here.

article, Blog, Blog series, on writing, Writing craft

Guest Blog Post: Author of YA Dystopian novel ‘The Undying Tower’ Melissa Welliver shares her thoughts on Writing Alternate Histories

A lot of people don’t know this but I did a joint-honours degree, and my final year was weighted one quarter towards English Literature, and the other three quarters towards History. That meant I ended up doing my dissertation on the Tudor period, which led me to the works of my favourite Tudor: Sir Thomas More. If you don’t know Thomas More and you love dystopia, well, listen up, because he invented it. Or at least, he coined the entire usage of Utopia in the first place, letting future writers subvert it for their own nefarious needs (read: writing a really cool story).

Thomas More’s Utopia – a falsified account of his journey to a seemingly perfect country named, you guessed it, Utopia – was arguably about an imagined, perhaps hoped for, future about how Tudor England and the world could run if we looked to a fairer, brighter future. The clue is in the title, but the people of Utopia were happy, balanced, had no need for money, and well cared for. So is it any wonder that when we as writers look into these topics, we end up imagining the worst possible scenario instead, to really show a mirror to the world we live in and discover what we truly see as Utopia?

So what does all this have to do with alternate histories? Well, just as Thomas More wrote about an alternate past, we do much the same when worldbuilding our dystopian futures. Most dystopias take route in a big change, something familiar to our own world but knocked off its axis with a cataclysmic event. This can be a change in our own pasts, such as in The Man in the High Castle, which imagines a world in which the Nazis won. The Fallout TV series and games are set in an alternate future where the timeline changes drastically after World War Two, to include vacuum tube electronics as opposed to circuit boards. Despite the diverges in these timelines happening in the past, Dystopias often seek to reflect what many decades of human endeavour past these points looks like in the future – and more importantly to the reader, whether we can stop them coming into being.

In The Undying Tower, I was most interested in exploring overpopulation and its effect on climate change. Because I knew how important these themes were up front, I was able to find SFF ways to incorporate them into the book during the early planning process. My lovely friend Caroline passed away from cancer (Glioblastoma Multiforme) during the writing process, and that made me really quite angry. All I could think about was what it would be like to live in a world where people don’t get sick, cancer was gone, and people lived forever. Caroline was a big believer in the planet we lived on, and I know she too was worried about the effects of overpopulation on climate change. And thus, the central idea of the book was formed. A small sect of society, known as the Undying, that could survive illness and never die from old age – and therefore inadvertently create an even bigger population boom.

I knew I wanted to explore the accelerated effects of climate change after such a catalyst as the discovery of the Undying, so I knew I had to craft an alternate timeline where my book could take place. So despite being set in the future, I wanted it to take place decades into an overpopulation crisis, and see how that affected the world we live in now, to create my future one. I looked up flood maps for melted ice caps and food storage facilities in the UK. I even went on a trip to Chernobyl to fully understand the effects of nuclear power, especially on the environment when things go wrong (TLDR; the environment will eventually grow back, but the human outlook? Not great).

In essence, I truly believe that everything we learn about our history can help shape our futures. And writing alternate history can help writers explore broader themes in an evolved future, plus help readers to see the similarities in the world we live in. Writing alternate histories isn’t just for fiction – I hope it will help in reality, too.

Melissa Welliver is a shortlisted author specialising in YA fiction. In the genre, she has produced two dystopian rom-coms, My Love Life and the Apocalypse and Soulmates and Other Ways toDie.

The Undying Tower is her first book in a trilogy.Melissa writes speculative fiction about how the end of the world is never really the end of the world. After studying Creative Writing at the University of Manchester, she went on to complete Curtis Brown’s Creative Writing for Children course. Her work has listed in Bath Novel Award, Mslexia, the Hachette Children’s Novel Award and the Wells Book for Children Competition.

PaperBound Magazine is an online magazine for the young, and the young at heart. We are dedicated to showcasing authors and illustrators for children’s and young adult fiction and we strive to deliver inspiring content, uplifting stories, and top tips for young and aspiring writers yet to burst on to the literary scene.

All our issues are completely free and run by volunteers, however if you would like to support PaperBound and the work we do, you can help us out by buying us a virtual book. We appreciate any support you can give us!

Don’t forget you can read with the latest issues of PaperBound Magazine – completely free – here.