Literature Review 5
Literature Review: Kim Fifield
Anderson, Jill E. “The Revenge of the Lawn: The Awful Agency of Uncontained Plant Life in Ward Moore’s Greener Than You Think and Thomas Disch’s The Genocides”. Book chapter from Plant Horror: Approaches to the Monstrous Vegetal in Fiction & Film, pp. 129-143. Editors Dawn Keetley and Angela Tenga. New York: Palgrave MacMillian, November 2016.
This essay is written by Dr. Jill E. Anderson, who is an associate professor in English at Tennessee State University. Her research interests include queer theory, ecofeminism and environmental justice, literature of the American suburb, Cold War sci-fi and horror fiction.[1]
Within this text, Anderson explores the interplay between humans and the natural world depicted in two seminal works of fiction; Ward Moore’s Greener Than You Think and Thomas Disch’s The Genocides. Anderson's analysis focuses on the theme of ecological agency, exploring how uncontained plant life serves as a force that challenges human dominance and redefines the ecological narrative.
Anderson begins by discussing the suburban lawn and how it came to symbolise American wealth, security and comfort during the Cold War (1947-1991) and how lawn maintenance was promoted to in advertising in its ideal as “recreation and renewal in the form of keeping up appearances for the neighbours as well as cultivating a postage stamp of “natural” beauty just outside one’s front door”. [2] This means that lawns and their maintenance were promoted as an enjoyable and revitalising pastime which suggested, façade or not, that the homeowner/occupier was living and conforming to an ideal and affluent lifestyle as the neighbours were (or feigning). The quotations around the adjective “natural” speak to the idea that while grass is part of nature, the lawn, as subjectively beautiful as it is, is not naturally occurring in this groomed, manipulated and controlled state. This type of promotion of the lawn made having one a symbol of stability and groomed postwar Americans to be passive and responsible. It seems to me citizens were being as manipulated and controlled as the lawn as they keeping.
Anderson describes how in the postwar era, people were content with lawns “What is important here is how human relationship to the plant world initiate and craft narratives of anxiety and fear during the cold war”.
Anderson goes on how the Green revolution of the 1940’s- 1960’s was supposed to subside anxieties about food scarcity introduced industrial agricultural techniques including synthetic pesticides and fertilisers which were often toxic, in lawn care and in the production of food.
She then situates both novels within their historical context, highlighting the mid-20th-century anxieties surrounding environmental degradation and humanity's relationship with nature. She asserts, “Both Moore and Disch articulate a vision of nature that resists human control, underscoring the inherent unpredictability of ecological systems.” This observation is particularly relevant in Moore's Greener Than You Think, where an invasive grass species emerges as the protagonist of the narrative, leading to a catastrophic societal collapse. Anderson notes, “The grass grows with a vengeance, spreading unchecked and turning manicured lawns into wild landscapes, a stark reminder of nature’s resilience against human order.” This depiction emphasises the tension between human aspirations for maintaining control and the relentless agency of plant life which underscores the futility of attempting to impose order on an everchanging and unpredictable natural world.
In contrast, Anderson's exploration of Disch’s The Genocides reveals a different facet of ecological agency, one that emerges in a post-human world where plant life not only survives but flourishes. She argues that Disch employs this scenario to critique anthropocentrism, stating, “In the end, it is the weeds that inherit the earth,” reflecting a profound shift in the power dynamics between humanity and nature. This assertion encapsulates the central theme of the novel: the inevitability of nature's reclamation in the absence of human intervention. Disch’s work serves as a cautionary tale, illustrating the consequences of ecological neglect and the potential for non-human entities to thrive when left to their own devices.
Anderson adeptly weaves ecological theory into her analysis, particularly the notion of agency in non-human actors. She contends that “The uncontained plant life in both narratives forces a reevaluation of what it means to coexist with nature,” suggesting that both authors invite readers to reconsider their relationship with the environment. By framing plants as active participants in ecological processes, Moore and Disch challenge the traditional view of nature as a passive backdrop to human activity. Anderson writes, “These narratives compel us to acknowledge the autonomy of plant life and its capacity to disrupt human intentions,” a sentiment that resonates deeply in the context of contemporary environmental discourse.
Additionally, Anderson highlights the stylistic and thematic parallels between the two works, emphasising the role of humour and satire in Moore’s narrative compared to the more sombre tone of Disch’s. She observes, “While Moore’s satirical approach highlights the absurdity of human attempts to control nature, Disch’s grim portrayal serves as a cautionary tale about the consequences of ecological neglect.” This provides a framework for understanding the authors' respective critiques of modernity and the dangers of environmental hubris. Moore’s humour engages the reader while simultaneously critiquing societal norms, whereas Disch’s narrative imposes a confrontation with the potential realities of ecological collapse.
Anderson also draws attention to the cultural implications of the narratives, arguing that both authors reflect broader societal anxieties regarding environmental degradation and the consequences of unchecked technological advancement. She states, “The themes of ecological reclamation and the resurgence of plant life resonate with contemporary concerns about climate change and biodiversity loss.” This connection between literature and contemporary environmental issues is crucial, as it underscores the relevance of Moore and Disch’s works in today’s ecological discourse. By presenting plant life as a formidable force, both authors prompt readers to reconsider their role in the environment and the potential consequences of human actions.
In conclusion, Jill Anderson’s literature review explores the themes of agency, resilience, and ecological balance in Ward Moore’s Greener Than You Think and Thomas Disch’s The Genocides. By focusing on the “awful agency” of uncontained plant life, she invites readers to confront the limitations of human control over nature and the urgent need for a more harmonious coexistence. Anderson’s insights not only deepen the understanding of these texts but also contribute meaningfully to the discourse in eco-criticism and reinforce the idea that literature is a powerful medium for environmental awareness and advocacy.
[1] Languages, Literature and Philosophy. n.d. “Faculty Bio: Jill E. Anderson.” Tennessee State University. Accessed August 15, 2024. https://www.tnstate.edu/llp/faculty/Anderson.aspx.
[2] Anderson, Jill E. 2016. “The Revenge of the Lawn: The Awful Agency of Uncontained Plant Life in Ward Moore’s Greener Than You Think and Thomas Disch’s the Genocides.” PDF. In Plant Horror: Approaches to the Monstrous Vegetal in Fiction & Film, edited by Dawn Keetley and Angela Tenga, 129–43. Palgrave MacMillian UK. https://doi.org/10.1057/978-1-137-57063-5_7.
“The Revenge of the Lawn: The Awful Agency of Uncontained Plant Life in Ward Moore’s Greener Than You Think and Thomas Disch’s The Genocides.” Plant Horror: Approaches to the Monstrous Vegetal in Fiction & Film. Ed. Dawn Keetley and Angela Tenga. New York: Palgrave MacMillian, November 2016.
