Professional Documents
Culture Documents
Megan O’Neill
May 4, 2017
Dr. Castellano
ENG 612
“Hope, Maybe”: Island Communities as Refuge from Oil in Oil on Water and Marrow Island
Theorists and literary scholars writing in the age of the Anthropocene continue to knock
against a familiar wall: what comes next? In this newly labeled geological age of ever-rising
push us into actually enacting change. Amitav Ghosh has labeled this mindset as ‘The Great
Derangement,’ where “our lives and our choices are enframed in a pattern of history that seems
to leave us nowhere to turn but towards our self-annihilation” (Ghosh 149). Such a future seems
disenchanting, to say the least, and, perhaps, also counterproductive. Timothy Morton argues that
the common ‘end of the world as we know it’ mentality pervading environmental discourse is
“one of the most powerful facts that inhibit a full engagement with our ecological coexistence
here on earth…[we need] to awaken…from the dream that the world is about to end, because
action on Earth (the real Earth) depends on it” (Morton 7). This awakening needs to occur in
order to push us into an active present bent on formulating an adequate response to living in a
damaged world. However, simply locating this need to be awakened does not formulate a
potential solution to determining how to move forward. We are so steeped in our oil-based
culture and economy that it is incredibly difficult to see a way out. Our relationship to oil, as
Stephanie LeMenager points out, is “ultradeep,” and we spend “every day in oil, living within
oil, breathing it and registering it with our senses” (LeMenager 6). The visceral and global
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effects of oil are inescapable. So, then, the question repeats: what comes next? How do we begin
One potential answer comes, perhaps surprisingly, from two very distinct, separate
novels: Helon Habila’s Oil on Water and Alexis Smith’s Marrow Island. Both of these novels
begin locating a hope for a future, Anthropocenic survival in resilient, local island communities.
However, this hope is not an uncritical one, and these islands do not contain any sort of perfect,
utopic solution to climate change. Though these two novels have rather striking differences—Oil
on Water is a historicist novel about oil corruption Nigeria and Marrow Island is a futuristic
novel set in the US—they hold fundamental similarities: both novels are set within the crime
fiction genre, and their journalist protagonists venture into the local landscapes and witness
moments of resistant sustainability and communal persistence. Both of their islands remain
focused on building their communities despite the continued and surrounding presence of both
slow and spectacular violence on these spaces by the petroleum industry. They exemplify, in a
way, Donna Haraway’s concept of ‘staying with the trouble,’ that she outlines in her book
Staying with the Trouble: Making Kin in the Chthulucene: “Staying with the trouble requires
places, times, matters, meanings” (Haraway 1). Instead, then, of this perfect, hopeful, idyllic,
utopian island paradise, what Habila and Smith demonstrate through Irikefe and Marrow Colony
respectively are spaces of ‘critical utopia,’ aware that in order to fully achieve the sustainable
and remedial actions necessary to begin mitigating the damaged effects of climate change, they
must focus on the present moment and illuminate the conflict and change one must undergo to
Island communities have a long history with utopian ideals, reaching all the way back to
the early 16th century with Thomas More’s Utopia. Chris Ferns’ book Narrating Utopia:
Ideology, Gender, Form in Utopian Literature charts the tradition of utopian narratives, dividing
them into two main categories: dreams of order and dreams of freedom. He argues that despite
the “problems and contradictions which bedevil” utopia as a narrative genre, it has continued to
survive decades of use and critique; it is this survival that remains key, for despite the myriad
ways utopias have been shown to fail, people still purposefully seek them out and attempt to
create them (Ferns 6). Oil on Water and Marrow Island both demonstrate this desire, creating
In the second section of his book, Ferns moves away from the traditional, ordered utopian
form, and moves towards the idea of a ‘critical utopia,’ a term he borrows from Tom Moylan’s
Demand the Impossible. A ‘critical utopia,’ according to Ferns (through Moylan) contains an
preserving it as dream;” in other words, these critical utopias recognize the “conflict between
utopia and reality…in which utopia is neither a static alternative, remote from reality, nor the
inevitable destination of a linear historical process, but rather a disputed territory, to be fought
for in the here and now” (Moylan 10 qtd. in Ferns, Ferns 203). Ferns, though writing nearly two
decades before Haraway, seems to posit critical utopia as a space for ‘staying with the trouble’
because of its qualities as being necessarily in the present and as something for which to be
fought. Both Habila’s Irikefe and Smith’s Marrow Colony embody instances of critical utopia
that do ‘stay with the trouble’ as they fight against the dominant, capitalist narrative put forth by
In Oil on Water, the island community of Irikefe can almost be overlooked, for Habila’s
preoccupation lies prominently with exposing the visceral consequences of the exploitative,
corrupt oil economy in the Niger Delta. Passages on the Irikefe community and its inhabitants
remain relegated chiefly to the margins of the main narrative, living in between these scenes of
oil-driven violence. However, Irikefe’s inclusion remains and remains significantly; it even
arises amidst this violence. Before reaching Irikefe’s location in Habila’s narrative, one first
encounters scene after scene of oil-based destruction. On a quest to find a kidnapped white
woman, Rufus and Zaq, both journalists on assignment to find her and report on her condition,
navigate the intricate river system of the Niger Delta with two local guides, constantly arrested
The atmosphere grew heavy with the suspended stench of dead matter. We
followed a bend in the river and in front of us we saw dead birds draped over tree
branches, their outstretched wings black and slick with oil; dead fish bobbed
What was once, presumably, a thriving, multispecies environment, filled with birds, fish, and
other critters, now exists only as a place of oil-caused death. And as Rufus notes, each “village
was almost a replica of the last,” where what “patch[es] of grass growing by the water” exist,
they do so only to be “suffocated by a film of oil, each blade covered with blotches like the liver
spots on a smoker’s hands” (Habila 10). This environment of the Niger Delta that Rufus
describes has been completely altered by the oil industry; everything is afflicted—every single
blade of grass is bespeckled with oil residue, consequences of the effects of what Rob Nixon
terms ‘slow violence.’ According to Nixon, slow violence consists of “a violence that occurs
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gradually and out of sight, a violence of delayed destruction that is dispersed across time and
space, an attritional violence that is typically not viewed as violence at all” (Nixon 2). These
multispecies casualties of the oil industry’s slow violence, unable to survive decades of
increasing oil pollution, victims that would normally only inhabit the peripheral marginalia of a
narrative, become center-stage in Habila’s narrative. Critics like LeMenager note briefly the
acknowledgement, even she spends the rest of the space devoted to her argument on Habila’s
novel discussing exactly opposite of Habila’s intents: the kidnapping of Mrs. Floode, an
attractive, white, British woman (LeMenager 127). Habila means, instead, to move our focus
beyond this typical, Western concern over the fate of a white woman, and, instead,
oil, depicting us, as noted above, as spending “every day in oil, living within oil, breathing it and
registering it with our senses,” they do present an accurate picture (LeMenager 6). However, that
picture is a privileged one, right down to an examination of LeMenager’s book title: Living Oil:
Petroleum Culture in the American Century; her perspective, history, and commentary all come
from an American (read: white, Western, and privileged) paradigm. In fact, her quotation on
‘living’ and ‘breathing’ oil is prefigured by the phrase “as modern Americans” (LeMenager 6).
Her depictions, then, of a constant immersion in oil ring, if not false, then at least a bit off. As
American citizens, while we are draped in and constantly involved with oil, such involvement
comes mainly in comfortable and comforting forms: clothes, fuel to power cars, smart phones,
and the list goes on. We intrinsically benefit from our oil dependence. On the other hand, an
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opposite narrative exists, one that Habila portrays in Oil on Water, where the people in Nigeria, a
country in the global South far less privileged than the United States, literally and physically
cannot escape oil and its pollutants. The characters in the novel constantly describe their clothing
as oil-drenched, unable in many instances to go from one point in the country to another without
having rancid petrol constantly soak through their shoes and trousers. Habila reveals the
physical, violent, and violating effects such a petroleum-based culture and economy has outside
the Western world. Certainly, petroleum culture is a global occurrence, but, as Habila
demonstrates, the effects of this culture remain negatively disproportionate depending on one’s
positionality or situatedness. It is amidst these descriptions, however, that Habila seeks to put
forth Irikefe as a possible salve. Rufus’ oil-ridden experiences occur both before and after his
stays on Irikefe; these scenes thus surround Irikefe, depicting it, even narratively so, as an island
Naman, one of Irikefe’s inhabitants, describes the island’s origins in language that bears
The shrine was started a long time ago after a terrible war…when the blood of the
dead ran in the rivers, and the water was so saturated with blood that the fishes
died…The land was so polluted that even the water in the wells turned red. That
was when priests from different shrines got together and decided to build this
shrine by the river. The land needed to be cleansed of blood, and pollution.
(Habila 128)
This history of violence, pollution, and death that surrounds the Irikefe community echoes the
continuous, present violence inflicted throughout the rest of the novel. In a way, then, we can
posit that Habila uses this island community to articulate a hopeful future post-oil. This ‘future’
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echoes Bill Ashcroft’s articulation of created utopias within postcolonial literature. Ashcroft
“anti-colonial” effort which moved into a “vision” of “the persistent belief in a transformed
future,” where “hope, anticipation, and future thinking” become “fundamental features of
postcolonial writing” and postcolonial utopia (Ashcroft 4). Like in other utopia narratives, he
notes that the key function of this sort of utopia is to critique the society that causes utopia to
become feasible and desired; for the postcolonial utopia, this involves a critique of the “present,
not just the colonial past” (Ashcroft 8). Irikefe and its origins engage in such a critique, turning
away from their own history of violence and death likely caused, at least in part, by the oil-based,
capitalist industry. By functioning inherently as a critique of the rest of Nigerian society, Irikefe
funnels Haraway’s impulse to ‘stay with the trouble,’ actively demonstrating a more effective
alternative to the corrupt oil economy that runs rampant throughout the rest of the text.
Habila’s inclusion of Irikefe also remains physically and descriptively in stark contrast to
the polluted environments that dot the rest of the Niger Delta. Rufus’ first encounter with Irikefe
is one filled with multispecies life: “[O]utside I could hear the faraway call of roosters
accompanied by insects ushering in the day…it had been years since I’d heard such morning
sounds” (Habila 89). Gone is the silence from the first few pages of Habila’s narrative, the
silence caused by oil death; it is replaced instead by the crooning and buzzing life of an (almost)
healthily inhabited space. This first description of Irikefe paints it as an island oasis, a type of
utopia where the water is “glittering” and the air feels so “pure” that the island worshippers claim
it “alone will heal you” (Habila 90. 92, 91). Irikefe’s setting seems almost unbelievable when
contrasted alongside another of the islands that Rufus visits, one of the most polluted and
industrially-infused landscapes:
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It looked like a setting for a sci-fi movie: the meager landscape was covered in
pipelines flying in all directions, spouting from the evil-smelling, oil-fecund earth.
The pipes crisscrossed and interconnected endlessly all over the eerie field. We
walked inland, ducking under or hopping over the giant pipes, our shoes and
However, this contrast serves to further illustrate and underscore the sort of critique that
postcolonial utopias argue for: why would anyone choose such a pipeline-infested landscape
when the alternative contains such a peaceful, healing, multispecies arena? Irikefe, then, exists as
a potential, hopeful space of communal persistence beyond and despite surrounding oil-based
corruption.
As part of their effort of reparation, healing, and critical engagement, the community
enacts a return to a sustainable lifestyle through both local agricultural efforts as well as through
a strong religiosity. When Rufus travels across the island to leave Irikefe for the first time, he
sees the landscape shift into this local cultivation where “behind every compound was a little
field of vegetables and cassava, their climbers circling over one another, aspiring upward, using
slender sticks stuck into the earth as crutches” (Habila 92-3). Outside of these local gardens,
Habila notes that the “villagers were fisherman, mostly, making their living on the river” (Habila
115). Within these vivid, picturesque scenes, the Irikefe community is engaging in a resilient
survivance, where their main locus of sustenance comes from their own nurturing of local plants
and vegetables, an action that puts them relatively outside the oil-based, capitalist economy of
This divorce from oil dependence is deliberate, for not only is it tied to this local,
agricultural effort, but it is also linked to the island’s religion. Irikefe itself is consistently
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narrated through this connection to religion, characterized centrally through its shrine, sculpture
garden, and seemingly inherent, natural healing properties. Principally, though, are these
sculptures, assemblages linked both to the island’s history and ancestors as well as to the now-
cleansed river. Naman describes how “each day the worshippers go in a procession to the river,
to bathe in it, to cry to it, and to promise never to abominate it ever again” (Habila 128). Rufus
asks how effective such an action is, and Naman responds positively, for they have
“managed to keep this island free from oil prospecting and other activities that contaminate the
water and lead to greed and violence” (Habila 129). These island inhabitants, then, have a
‘environmentalism of the poor.’ Because of Irikefe’s history—a history that, again, reads quite
similar to the rest of Nigeria’s present—the local community decided to push back against the
corruption inherent within an oil-based, capitalist economy; in their very essence, they engage in
a critique of the “present, not just the colonial past”—they continue to “stay with the trouble”
(Ashcroft 8, Haraway 1). Instead, then, this island has created a space of resilience outside the
dominant, global system, enacting efforts of reparation on their island that can also be read
doubly as a potential future for the surrounding Niger Delta—and one that can, possibly, also be
pushed even more widely to encompass a global effort. This future appears perhaps idealistic,
but it occupies the only truly hopeful space within this novel, one Habila seems to suggest can
However, the islanders’ efforts at removal from the global system are not without risk,
and not wholly successful. Naman explains to Rufus that “[they] try as much as possible to keep
out of their [the rebels] way, and they leave us alone. With don’t talk to them, or to the army”
(Habila 137). Though, as Habila reveals later in the novel, the worshippers have had several
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interactions with the rebels, with Mrs. Floode staying on the island for a short time after she’s
initially been kidnapped. Despite these interactions, however, Irikefe’s inhabitants seek, as much
as possible, to distance themselves from the oil industry, the corruption, and the violence
associated with both. They describe themselves as “a holy community, a peaceful people. Our
only purpose here is to bring a healing, to restore and conserve” (Habila 137). They see
sort of remediation and care for a land living in precarity. In Anna Tsing’s The Mushroom at the
End of the World, she follows another precarious move away from a capitalist economy, one that
shows the “cracks in the global political economy,” through the matsutake mushroom industry,
an example of “precarious livelihoods and precarious environments” (Tsing 4). She uses this
industry and its foragers to demonstrate the “knots and pulses of patchiness” that remain
“[u]nencumbered by the simplifications of progress narratives” (Tsing 6). In other words, these
foragers constantly live in a state of precarity; they never know precisely when or from where
their livelihood will come, they function outside of the fictional, grand narrative of capitalistic
progress, and, yet, they continue surviving and persisting. Irikefe, too, exists in a similar way: as
the each of the islands surrounding them slowly becomes an oil wasteland, one gets the sense
that Irikefe cannot remain such an idyllic space forever—and it doesn’t. Towards the end of the
novel, Irikefe is bombed, and destruction reigns on what appeared, at least on the surface, to be
an otherwise uncontaminated place, but, instead of simply giving up and becoming the exact sort
of wasteland Habila describes numerously throughout the rest of the novel, Irikefe rebuilds.
Irikefe’s rebuilding really becomes the central aspect that cements its position as a critical
utopia. Rufus observes the islander’s reassembling the sculpture garden after the bombing and
notes that “an uninformed observer would never be able to guess that only a week ago the figures
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had been knocked down and broken…Even the chips and holes in them only added to their
dignity” (Habila 234). These statues, a symbol of the island’s religiosity, are no longer a perfect
representation; neither is Irikefe an unassailable utopia. One aspect of the critical utopia involves
its “narrative strategy” to “foreground both the connection between utopia and reality, and the
essential conflict between them” (Ferns 209). By having Irikefe bombed, a scene of spectacular
violence that “erupt[s] into instant sensational visibility,” the island is confronted by an
immediate interaction with reality, and must act accordingly (Nixon 2). Rufus notes one of the
results of the bombing, that there “were over a dozen new graves…their mounds rising like
freshly prepared furrows in a field, raw and dark and fecund, waiting for seeding” (Habila 236).
This image, a preparation for new growth and rebirth, illustrates Irikefe’s commitment to its
local, resilient community, continuing to fight—albeit peacefully, with their ‘fighting’ mainly
coming in the form of a refusal to surrender and, thus, perish—against attacks of both
spectacular and slow violence. In choosing to rebuild, Irikefe’s inhabitants both highlight the
instability caused by the conflict between the outside world and this inside community as well as
demonstrate their own determination to continuing to grow and act outside corruption. Irikefe, its
inhabitants, and its sculptures now have cracks and chips on their surface, but their efforts at
rebuilding demonstrate their continued persistence to remain stoically poised against oil-based
Alexis Smith’s Marrow Island occupies a much more privileged space than that of
Habila’s text, with Marrow Colony located off the northwestern coast of the United States. While
not focused on the inherently racialized and disproportionate effects of the oil-based, capitalist
economy, Smith also depicts post-oil disasters, but her central focus shifts instead to the Marrow
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Colony, a self-sustaining, communal effort of reparation on Marrow Island itself. Like Irikefe,
the Marrow Colony enacts its resistant sustainability through a local agriculture linked with a
communal sort of religion; however, while the agriculture and religion on Irikefe are necessarily
overlapping in intent, they remain two separate functions. For the Marrow Colony, their
reparative efforts inextricably link both their religious and agricultural efforts. Such a
comparison, however, between Irikefe and Marrow Colony remains incredibly significant for the
way, despite great distance and vast difference, the two islands still occupy a remarkably similar
space in their actions against the petro-industry and oil-based capitalism: a space of critical
utopia.
Years after an oil disaster that caused the death of Lucie’s father, she returns to Marrow
Island to see her childhood friend Katie and becomes immersed in the Colony’s efforts to
remediate the island that had been considered uninhabitable. Marrow Island also occupies a
space reminiscent of Tsing’s interaction with the matsutake industry, for mushrooms represent
one of few survivors in post-environmental disaster areas. Tsing identifies the primary usage of
landmasses in a capitalistic system in their dependence on a “singular asset,” and when “its
singular asset can no longer be produced, a place can be abandoned” (Tsing 6). For Marrow
Island, that asset, initially, was oil; after the explosion at the oil company, however, the island
was deemed uninhabitable and any attempts to obtain their oil asset were stopped. Tsing, still,
notes that “these places can be lively despite announcements of their death,” and, as Smith
illustrates, Marrow Colony is certainly lively (Tsing 6). Lucie comes to Marrow Island with the
memory of the oil ruins in her mind, expecting to find exactly what has been described: an
uninhabitable wasteland. What she finds instead is a thriving community, where the inhabitants
live sustainably on and with the land. Lucie discovers the unique way that the Colony has
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effected such drastic changes towards the recovery of the island’s environment in mushrooms,
husband Tuck takes Lucie out to see their work, and Lucie’s subsequent experience of viewing
[T]he forest floor was alive; up and down the hillside, ferns, mosses, grasses, and
young trees issued from the singed earth beneath, a vivid chartreuse layer over the
of chocolate caps on slender eggy stems…I could see them everywhere. (Smith
95-6)
Her awed sentiment about these mushrooms mirrors Tsing’s own discovery of the matsutake:
“How could this be possible? There had been nothing there—and then there it was” (Tsing 14).
This sense of wonder and surprise pervades Lucie’s discovery of and subsequent education about
the mushroom’s abilities. Too, this picturesque scene, in a way, echoes back to the gardens of
Irikefe. Here, Marrow Colony enacts its own subsistence-based agriculture, for all of its
inhabitants ingest these mushrooms as part of their daily meals. These mushrooms also work as
medicine for the island’s damaged environment, “inoculating” the soil in a way that breaks down
“petrochemicals, plastics, complex chemical compounds” and “absorb[s] heavy metals so they
can be…removed from the ecosystem” (Smith 96, 106). In this way, the colonists, too, act as
“custodians for the land,” as the worshippers on Irikefe do for their island (Habila 43). The
Colony’s residents are thus engaging in a unique sort of rejuvenation for the island, one in which
they donate their lives—in more ways than one—in order to repair and remediate the land from
For these people, too, like those on Irikefe, their efforts of environmentalism are
intrinsically linked with a sort of spirituality. Sister J., a former nun and the colony’s leader,
celebrates the colony’s accomplishments over one of their collective meals. “Look at what we
have built!” Sister J. applauds, “Could ignorance build this? Could ignorance take this burnt,
poisoned crust of land and make it green again, and make it live again? We have witnessed a
resurrection! We are living a resurrection!” (Smith 144). Sister J.’s words reflect the mentality of
the colony; these people have all congregated on this island in order to engage in a spiritual
environmentalism, where they dedicate their bodies, abilities, and lives to an effort of curing the
island of its oily disease. Lucie describes her feelings upon grasping such an impulse as “hope,
maybe,” perhaps a similar sort of hope that Habila seeks to generate through Irikefe (Smith 164).
It is this uncertain hope that Lucie feels that fully locates for Marrow Colony as space within the
critical utopia. For, as Lucie discovers, this utopic-seeming environment on Marrow Island also
exists between and highlights the conflicting space between utopia and reality, where the
For these colonists, however, their bodily dedication to the island is not merely
metaphoric; it is also literal. Because the mushrooms they ingest are poisonous, the colonists put
themselves at an increasingly high risk of developing terminal cancer, but they have a system in
place for this, too. When one of the colony members dies, they bury the body in a field where
baby mushrooms grow, and the body then becomes a (literal) part of the Marrow Island, aiding,
even after death, the Colony’s reparative efforts: “Most of the graves had the small, wavy-capped
brown mushrooms, but others, the older ones, had only a few shaggy-topped white and brown
fruits” (Smith 177). This grave scene also has a partner scene in Oil on Water, near the end of the
novel when Rufus notes the addition graves as a place for rebirth. Both novels highlight the
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cyclical nature of life and death, and use such a process somewhat to their advantage, opening up
the space as a place for remediation and new growth. Lucie later confronts the colonists about
these actions, “So everything here is part of the project? Even your bodies?” To which Maggie
responds, “We have an opportunity to use the oldest of the earth’s medicines against the newest
of the world’s diseases” (Smith 183). These inhabitants, like those in Irikefe, occupy Haraway’s
space of ‘staying with the trouble;’ they recognize that Marrow Colony is but one example of
many environmentally degraded locations that suffer from the aftereffects of an oil disaster.
They, too, exist in the “truly present” moment, instead of a “vanishing pivot between awful of
edenic pasts and apocalyptic or salvific futures” (Haraway 1). Neither Marrow Colony nor
Irikefe offer visions of a perfect, ‘salvific’ solution for the Anthropocene problem, but they
instead inhabit this space of critical utopia, aware of and critiquing the problematic reality that
surrounds them while simultaneously seeking to effect remedial change to the damaged
Though, for Marrow Colony, Smith likely was not seeking to reproduce the colonists’
exact dedication to the island, she seems to be gesturing towards a similar impulse as Habila—
and, notably, this also isn’t to say that Irikefe, though claiming to be cleansed of blood, isn’t also
an island full of people living in and ingesting their surrounding toxic environment. Rather, what
these two authors seem to locate in their island landscapes is a parcel of hope. Their hope is,
once again, a critical one. According to Ferns, another facet of the critical utopia involves
“stress[ing] not peace and security—the simplified bliss of a utopia to which one might dream of
escaping—but rather the lessons to be learned from a utopia which is more than merely a dream
or an abstraction” (Ferns 210). Both Marrow Colony and Irikefe offer up their communal, local,
subsistence-based lifestyles as examples and, even, lessons for the rest of the global system.
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They occupy spaces of sacrifice, where their inhabitants hold a sort of recognition, either
conscious or unconscious, that living in a toxic environment comes part and parcel with effecting
change in the present environmental moment. Little to no space exists that is truly
demonstrate, our focus needs to hover on these contaminated spaces, recognizing them for what
they are, and moving towards a critical, remedial effort that may involve engaging with the
environment in a way that is not necessarily healthy for a person’s body or livelihood.
For Smith, this hope comes in a different sort of interrogation of grand narratives,
positing that nature does not necessarily equate to health, and that the damaging effects of toxic
environments may even be considered beautiful. Katie writes Lucie a letter before she returns to
Marrow Island for the last time, telling Lucie of the cancer she’s grown inside her body as a
[T]here are so many tumors they won’t be able to find them all. They want to take
thing…the tumors looked like Clavaria—like coral fungi. They are growing in
Going against the traditional narrative of ‘battling’ cancer in the hopes of surviving, Katie all but
embraces hers, calling it beautiful as it connects her back to the earth. She embodies, literally,
Haraway’s model, not only of ‘staying with the trouble,’ but also her concept of sympoiesis.
Haraway begins explaining this term with the simplest of definitions: sympoiesis is “making-
with” (Haraway 58). She sees a system of sympoiesis as being made up of “holobionts,”
“symbiotic assemblages, at whatever scale of space or time” that are like “knots of diverse intra-
active relatings in dynamic complex systems” (Haraway 60). These internal effects on Katie’s
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body are the result and simultaneous continuation of Marrow Colony’s sympoiesis. All of the
Colony’s critters existed as ‘holobionts,’ interacting with one another, feeding off one another,
and they have entered Katie’s body—as they also did to the bodies of all the colony’s members.
Haraway describes the necessity for sympoietic systems in order to continue thriving and
These “decisions and transformations [are] so urgent in our times for learning again…how to
become less deadly, [and] more response-able” (Haraway 98). Haraway, then, sees sympoiesis as
potentially part of a working salve for the continued inaction of people when faced with only
example, albeit fictional, of this salve. For the inhabitants of Marrow Colony, becoming less
destructive and more responsible has to do with the donations of their bodies: they ‘stay with the
trouble’ to the point of bodily degeneration; instead of leaving, they, like the worshippers of
It is not necessarily surprising that both of these novels locate such a potential, future
hope of resilience and persistence in island communities. The isolated nature of the island has a
long history of engagement with utopian ideas and attempts. What remains striking in these two
instances, then, is not the connection to island utopias or their myriad differences, but the manner
in which these two novels illustrate a remarkably hopeful and similar solution despite those
differences. And these differences are key, with Marrow Island as a representative of the
privileged, white, global North, and Oil on Water of the global South, these texts together posit a
solution to the Anthropocene problem that could, theoretically, be applied globally. They both
move against mainstream jargon that necessitates a capitalist, oil-based society. Even more
radical, they both appear to assert that in order to begin a reparative effort, we may need to
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accept that in some instances, nature might not equate to health, that in some of our efforts, we
may be interacting with environments that are inherently toxic to us. But, as Habila and Smith
seem to argue, this does not mean that the world has ended or that all hope is lost. Instead, it
means the opposite; we can, and we need to find a way to hope—as long as that hope remains
critical, for idealistic and unrealistic hope only contributes to the problem—in order to begin
Works Cited
Ashcroft, Bill. Utopianism in Postcolonial Literatures. New York: Routledge, 2017. Print.
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