“The Cremation of Sam McGee” by Robert W. Service: A Critical Analysis

“The Cremation of Sam McGee” by Robert W. Service first appeared in 1907 in his poetry collection Songs of a Sourdough.

"The Cremation of Sam McGee" by Robert W. Service: A Critical Analysis
Introduction: “The Cremation of Sam McGee” by Robert W. Service

“The Cremation of Sam McGee” by Robert W. Service first appeared in 1907 in his poetry collection Songs of a Sourdough. Set against the haunting backdrop of the Yukon during the Klondike Gold Rush, the poem tells a darkly humorous tale of loyalty, extreme cold, and the macabre fulfillment of a dying man’s final wish—to be cremated rather than buried in the frozen ground. Its enduring popularity stems from Service’s vivid storytelling, galloping meter, and ironic twist: Sam McGee, who dreaded the cold even in death, is finally content when incinerated in a furnace. With lines like “Since I left Plumtree, down in Tennessee, it’s the first time I’ve been warm,” the poem skillfully balances grim subject matter with comic relief, capturing the surreal and often harsh reality of frontier life. The opening stanza’s eerie tone—“There are strange things done in the midnight sun…”—invites readers into a world of strange happenings and unforgettable characters, cementing the poem’s place as a classic of narrative verse.

Text: “The Cremation of Sam McGee” by Robert W. Service

There are strange things done in the midnight sun

      By the men who moil for gold;

The Arctic trails have their secret tales

      That would make your blood run cold;

The Northern Lights have seen queer sights,

      But the queerest they ever did see

Was that night on the marge of Lake Lebarge

      I cremated Sam McGee.

Now Sam McGee was from Tennessee, where the cotton blooms and blows.

Why he left his home in the South to roam ’round the Pole, God only knows.

He was always cold, but the land of gold seemed to hold him like a spell;

Though he’d often say in his homely way that “he’d sooner live in hell.”

On a Christmas Day we were mushing our way over the Dawson trail.

Talk of your cold! through the parka’s fold it stabbed like a driven nail.

If our eyes we’d close, then the lashes froze till sometimes we couldn’t see;

It wasn’t much fun, but the only one to whimper was Sam McGee.

And that very night, as we lay packed tight in our robes beneath the snow,

And the dogs were fed, and the stars o’erhead were dancing heel and toe,

He turned to me, and “Cap,” says he, “I’ll cash in this trip, I guess;

And if I do, I’m asking that you won’t refuse my last request.”

Well, he seemed so low that I couldn’t say no; then he says with a sort of moan:

“It’s the cursèd cold, and it’s got right hold till I’m chilled clean through to the bone.

Yet ’tain’t being dead—it’s my awful dread of the icy grave that pains;

So I want you to swear that, foul or fair, you’ll cremate my last remains.”

A pal’s last need is a thing to heed, so I swore I would not fail;

And we started on at the streak of dawn; but God! he looked ghastly pale.

He crouched on the sleigh, and he raved all day of his home in Tennessee;

And before nightfall a corpse was all that was left of Sam McGee.

There wasn’t a breath in that land of death, and I hurried, horror-driven,

With a corpse half hid that I couldn’t get rid, because of a promise given;

It was lashed to the sleigh, and it seemed to say: “You may tax your brawn and brains,

But you promised true, and it’s up to you to cremate those last remains.”

Now a promise made is a debt unpaid, and the trail has its own stern code.

In the days to come, though my lips were dumb, in my heart how I cursed that load.

In the long, long night, by the lone firelight, while the huskies, round in a ring,

Howled out their woes to the homeless snows— O God! how I loathed the thing.

And every day that quiet clay seemed to heavy and heavier grow;

And on I went, though the dogs were spent and the grub was getting low;

The trail was bad, and I felt half mad, but I swore I would not give in;

And I’d often sing to the hateful thing, and it hearkened with a grin.

Till I came to the marge of Lake Lebarge, and a derelict there lay;

It was jammed in the ice, but I saw in a trice it was called the “Alice May.”

And I looked at it, and I thought a bit, and I looked at my frozen chum;

Then “Here,” said I, with a sudden cry, “is my cre-ma-tor-eum.”

Some planks I tore from the cabin floor, and I lit the boiler fire;

Some coal I found that was lying around, and I heaped the fuel higher;

The flames just soared, and the furnace roared—such a blaze you seldom see;

And I burrowed a hole in the glowing coal, and I stuffed in Sam McGee.

Then I made a hike, for I didn’t like to hear him sizzle so;

And the heavens scowled, and the huskies howled, and the wind began to blow.

It was icy cold, but the hot sweat rolled down my cheeks, and I don’t know why;

And the greasy smoke in an inky cloak went streaking down the sky.

I do not know how long in the snow I wrestled with grisly fear;

But the stars came out and they danced about ere again I ventured near;

I was sick with dread, but I bravely said: “I’ll just take a peep inside.

I guess he’s cooked, and it’s time I looked”; … then the door I opened wide.

And there sat Sam, looking cool and calm, in the heart of the furnace roar;

And he wore a smile you could see a mile, and he said: “Please close that door.

It’s fine in here, but I greatly fear you’ll let in the cold and storm—

Since I left Plumtree, down in Tennessee, it’s the first time I’ve been warm.”

There are strange things done in the midnight sun

      By the men who moil for gold;

The Arctic trails have their secret tales

      That would make your blood run cold;

The Northern Lights have seen queer sights,

      But the queerest they ever did see

Was that night on the marge of Lake Lebarge

      I cremated Sam McGee.

Annotations: “The Cremation of Sam McGee” by Robert W. Service
StanzaExplanation (Simple English)Literary Devices
1Strange things happen in the Arctic, but the strangest was the night the narrator cremated Sam McGee.❄️ Imagery (Arctic), 😱 Hyperbole; Midnight sun & Northern Lights = eerie, unnatural witnesses; Lake Lebarge = haunting setting
2Sam was from warm Tennessee. He hated the cold but couldn’t resist the lure of gold.🌡️ Contrast (Tennessee vs Arctic), 😂 Irony, 🎵 Rhyme; Tennessee = warmth and safety, Arctic = hostile unknown
3They traveled on Christmas in deadly cold. Sam alone complained.🔪 Personification (“cold…stabbed”), 👁️ Vivid Imagery, 😬 Hyperbole; Cold = suffering, Christmas = ironic cheer in misery
4Sam, feeling near death, asked the narrator to grant a final request.🔮 Foreshadowing, 💬 Dialogue, 🎭 Tone Shift; Snow and stars = silence, fate closing in
5Sam feared the icy grave more than death. He wanted to be burned.🔥 Irony, 🎶 Assonance, 🔁 Internal Rhyme; Fire = release, Grave = freezing horror
6The narrator swore to help. Sam died that same day thinking of home.😢 Pathos, 🖼️ Visual Imagery, 😲 Irony; Sleigh = burden, Tennessee = longing
7Bound by his promise, the narrator hauled the corpse, haunted by it.🔁 Repetition, 💀 Personification, ⚖️ Moral Conflict; Corpse = duty, Trail = heavy conscience
8The narrator loathed the body at night. Dogs howled. He was emotionally crushed.🌌 Atmosphere, 🐺 Symbolic Imagery, 😖 Dark Mood; Firelight = hope, Huskies = mourners
9The journey grew harder. The narrator was exhausted, near madness, but kept going.🧠 Psychological Metaphor, 😱 Irony, 😵 Surreal tone; Corpse’s grin = eerie pressure
10At Lake Lebarge, he found a boat stuck in ice—perfect for cremation.🛶 Setting Imagery, 🧊 Irony, 👁️ Detail Focus; Alice May = eerie salvation
11He built a fire, opened the boiler, and placed Sam inside.🔊 Onomatopoeia, 🔥 Visual Imagery, 🎵 Rhyme; Boiler = fiery release
12Disturbed, he fled into a howling storm, overwhelmed by fear.🌫️ Personification, 🌪️ Atmospheric Tension, 😰 Foreshadowing; Smoke = transformation, Wind = dread
13He gathered courage and returned to check if Sam had burned.🧊 Suspense, 🎭 Dramatic Irony, 🧠 Internal Struggle; Stars = emotional clarity
14Shockingly, Sam was sitting up and smiling, happy to finally be warm.🎭 Twist Ending, 🤯 Surrealism, 😅 Dark Humor; Fire = comfort, Death = warmth
Literary And Poetic Devices: “The Cremation of Sam McGee” by Robert W. Service
DeviceExplanation, Example & Symbol
1. Alliteration🔤 Repetition of initial consonant sounds in close words. ✍️ “With a corpse half hid that I couldn’t get rid” 🌈 Helps create rhythm and mood.
2. Assonance🎶 Repetition of vowel sounds in nearby words. ✍️ “It’s the cursèd cold, and it’s got right hold…” 🌈 Enhances musical quality.
3. Atmosphere🌫️ The feeling or mood created by a setting. ✍️ “The heavens scowled, and the huskies howled…” 🌈 Builds tension and eeriness.
4. Characterization👤 Describing a character’s traits through actions or speech. ✍️ Sam’s complaint: “he’d sooner live in hell” shows his hatred of cold. 🌈 Reveals personality and motives.
5. Contrast⚫⚪ Sharp difference between two elements. ✍️ “From Tennessee… to the land of gold” 🌈 Highlights irony and setting shift.
6. Dark Humor😅 Comedy in grim or macabre situations. ✍️ Sam smiling in the furnace: “Please close that door…” 🌈 Creates surreal relief.
7. Dialogue💬 Direct speech between characters. ✍️ “Cap, says he, I’ll cash in this trip…” 🌈 Personalizes tone and adds realism.
8. Enjambment➡️ Continuation of a sentence without a pause beyond line break. ✍️ “On a Christmas Day we were mushing our way / Over the Dawson trail.” 🌈 Aids storytelling flow.
9. Foreshadowing🔮 Hinting at future events. ✍️ Sam’s request: “You’ll cremate my last remains.” 🌈 Builds suspense.
10. Frame Narrative📜 Story within a story; it begins and ends the same way. ✍️ Opening and closing: “There are strange things done…” 🌈 Creates circular, epic feel.
11. Hyperbole😲 Deliberate exaggeration. ✍️ “It stabbed like a driven nail.” 🌈 Emphasizes severity.
12. Imagery👁️ Vivid language appealing to the senses. ✍️ “The greasy smoke in an inky cloak went streaking down the sky.” 🌈 Creates visual impact.
13. Internal Conflict⚖️ Struggle within a character’s mind. ✍️ The narrator feels guilt and horror over keeping his promise. 🌈 Adds emotional depth.
14. Internal Rhyme🎵 Rhyme within a single line. ✍️ “It’s the cursèd cold, and it’s got right hold…” 🌈 Enriches rhythm.
15. Irony🙃 Opposite of what’s expected. ✍️ Sam finds warmth only in death: “Since I left Tennessee, it’s the first time I’ve been warm.” 🌈 Adds surprise and humor.
16. Metaphor🔁 Direct comparison without “like” or “as”. ✍️ “A promise made is a debt unpaid.” 🌈 Adds weight to moral duty.
17. Mood😨 Emotional atmosphere for the reader. ✍️ Cold, fear, mystery dominate: “With a corpse half hid that I couldn’t get rid…” 🌈 Drives emotional tone.
18. Onomatopoeia🔊 Sound words that imitate meaning. ✍️ “The furnace roared…” 🌈 Enhances sensory engagement.
19. Personification👁️‍🗨️ Giving human traits to non-human things. ✍️ “The cold stabbed like a driven nail.” 🌈 Intensifies emotion.
20. Twist Ending🎭 A surprising, ironic conclusion. ✍️ Sam is alive (or seems to be) in the furnace smiling. 🌈 Leaves reader amazed.
Themes: “The Cremation of Sam McGee” by Robert W. Service

🔥 Theme 1: Death and the Macabre in “The Cremation of Sam McGee” by Robert W. Service

Death, particularly in its grotesque and unsettling form, looms over “The Cremation of Sam McGee” as both a narrative anchor and thematic undercurrent. Service constructs a grim yet oddly humorous meditation on mortality, beginning with the chilling prelude, “There are strange things done in the midnight sun / By the men who moil for gold,” setting the tone for a tale that mixes fear and absurdity. The macabre dominates through imagery of extreme cold, such as “it’s the cursèd cold… till I’m chilled clean through to the bone,” which makes death feel physical, invasive, and personal. The narrator’s grim journey with a frozen corpse tied to his sleigh intensifies the morbidity, while the shocking twist—Sam sitting up in the furnace and speaking—creates a haunting blend of horror and comedy. Service’s ability to treat death with such bizarre levity, particularly in the lines “Since I left Plumtree… it’s the first time I’ve been warm,” adds a surreal humor that underscores the dark theme, revealing how death in the wilderness becomes both feared and strangely familiar.


🤝 Theme 2: Loyalty and the Burden of Promise in “The Cremation of Sam McGee” by Robert W. Service

The powerful theme of loyalty under extreme conditions drives the emotional engine of “The Cremation of Sam McGee”, where a man’s promise becomes a moral and psychological burden. When Sam begs, “you’ll cremate my last remains,” the narrator consents without realizing the depth of hardship this pledge will demand. Service presents loyalty not as a noble abstraction but as an exhausting obligation, binding the narrator to a grim mission across a frozen wasteland. This duty is reinforced by the line, “Now a promise made is a debt unpaid, and the trail has its own stern code,” evoking an almost sacred code among frontiersmen. As the narrator hauls the corpse over brutal terrain, plagued by hunger, isolation, and dread, the act of loyalty becomes a form of suffering, highlighting how devotion can transform into torment. In this portrayal, Service suggests that keeping one’s word—though often idealized—is a harrowing path, especially when made in a world as ruthless and indifferent as the Arctic.


🧊 Theme 3: Nature’s Indifference and Human Vulnerability in “The Cremation of Sam McGee” by Robert W. Service

In “The Cremation of Sam McGee”, nature emerges not as a majestic or benevolent force but as a silent and unfeeling power that dwarfs human concerns. The harsh Arctic is not merely a setting; it is an active presence, characterized by cold that “stabbed like a driven nail” and skies that “scowled.” These descriptions strip the landscape of warmth or sympathy, reinforcing the vulnerability of men like Sam, who left the comfort of Tennessee only to freeze in a land where “there wasn’t a breath in that land of death.” The repeated references to endless snow, frozen trails, and howling dogs intensify this sense of isolation and helplessness. The poem conveys that nature offers no meaning or mercy—only trial—and it is within this blank, uncaring environment that human emotions like fear, loyalty, and grief must play out. Ultimately, Service uses this theme to highlight how fragile human life is when pitted against the vast, unforgiving wilderness.


😱 Theme 4: The Surreal and Absurd in “The Cremation of Sam McGee” by Robert W. Service

A defining element of “The Cremation of Sam McGee” is its blending of the surreal and the absurd, which transforms a tale of death and duty into something comically eerie. The situation itself—hauling a dead friend across the Yukon to burn him in an abandoned steamer—is bizarre enough, but it is the poem’s concluding moment that fully embraces the absurd: “There sat Sam, looking cool and calm… ‘Since I left Plumtree… it’s the first time I’ve been warm.'” This line subverts the logic of death and returns the character to life in a way that is both amusing and disturbing. The poem’s sing-song rhythm and playful rhymes contrast sharply with its grim subject matter, enhancing the surreal effect. Furthermore, the narrator’s psychological unraveling—talking to the corpse, imagining its responses, and dreading its presence—suggests a blurred line between reality and hallucination. In mixing the grotesque with the comic, Service evokes the absurdity of human efforts to make sense of mortality, especially in a world where fire becomes comfort, and death smiles back.

Literary Theories and “The Cremation of Sam McGee” by Robert W. Service
TheoryApplication to the PoemSupporting Text & Interpretation
🧠 1. Psychological Criticism (Freudian/Jungian)Explores the narrator’s mental state and subconscious conflict as he grapples with guilt, fear, and the uncanny. The corpse represents his repressed anxiety and death drive.✍️ “With a corpse half hid that I couldn’t get rid, because of a promise given” — The dead body symbolizes an unresolved emotional burden. The final hallucination of Sam smiling in the furnace suggests a psychic breakdown or cathartic release.
🏔️ 2. EcocriticismHighlights how the natural world (the Arctic) is depicted as hostile, indifferent, and dominating. Nature is not romanticized but shown as a brutal, shaping force.✍️ “Talk of your cold! through the parka’s fold it stabbed like a driven nail” — Nature is a violent presence, unresponsive to human suffering. The Yukon landscape imposes limits on physical and moral endurance.
📜 3. Formalism / New CriticismFocuses on the poem’s structure, rhyme, meter, and use of repetition to create irony and balance. The circular opening and closing underscore narrative unity.✍️ “There are strange things done in the midnight sun…” — This repeated stanza acts as a frame, giving the poem symmetry. The rhyme scheme and rhythm create a deceptively light tone that contrasts the macabre content.
🤝 4. Moral / Philosophical CriticismExamines the ethical tension between promise-keeping, personal sacrifice, and the weight of moral duty in harsh conditions.✍️ “A pal’s last need is a thing to heed, so I swore I would not fail” — The narrator’s sense of obligation drives the plot, turning moral choice into personal torment. The poem questions whether duty must be honored at any cost.
Critical Questions about “The Cremation of Sam McGee” by Robert W. Service
❓ Question📖 Expanded Answer with Textual References
🔥 Q1: How does Robert W. Service use irony to shape the tone of “The Cremation of Sam McGee”?“The Cremation of Sam McGee” by Robert W. Service uses irony not as a minor element but as the central force behind its strange and haunting tone. From Sam’s ironic relief in death—“Since I left Plumtree… it’s the first time I’ve been warm”—to the narrator’s grim ordeal in fulfilling a promise, irony generates both discomfort and amusement. The poem juxtaposes a bouncy rhyme scheme with morbid subject matter, creating a surreal, ironic contrast that keeps readers emotionally off-balance.
🧊 Q2: In what ways does the Arctic setting in “The Cremation of Sam McGee” function as more than just a backdrop?In “The Cremation of Sam McGee”, the Arctic is more than a setting; it is a harsh, dominating presence. It creates the crisis, shapes the characters’ responses, and represents both physical and psychological danger. Phrases like “the cold stabbed like a driven nail” and “the land of death” personify the environment as a hostile force. The setting symbolizes isolation, mortality, and man’s fragility.
⚰️ Q3: What does the poem suggest about human responses to death and the rituals surrounding it?“The Cremation of Sam McGee” presents death as both a personal fear and a cultural practice subject to change in extreme conditions. Sam’s dread of burial in ice—“I want you to swear… you’ll cremate my last remains”—reflects the psychological dimension of death rituals. The narrator’s solo cremation in a derelict boat is both absurd and moving, showing how death rites can be shaped by fear, honor, and circumstance.
😱 Q4: How does the poem blur the line between reality and hallucination, and what effect does this have on the reader?In “The Cremation of Sam McGee”, the narrator’s mental state becomes increasingly unstable, culminating in a surreal twist: Sam speaking from inside the furnace. Moments like “I’d often sing to the hateful thing, and it hearkened with a grin” suggest a descent into hallucination. This blurring of real and imagined heightens the eerie, gothic tone and leaves the reader questioning what truly happened.
Literary Works Similar to “The Cremation of Sam McGee” by Robert W. Service

🪵 “The Shooting of Dan McGrew” by Robert W. Service

Also by Service, this poem shares the Yukon setting, dark humor, and vivid storytelling of rugged frontier life, combining danger, death, and irony in a ballad form.


⚰️ • “Annabel Lee” by Edgar Allan Poe

Poe’s narrative of death and devotion, though romantic, mirrors Sam McGee’s macabre tone and obsession with the treatment of the dead, set against a haunting natural backdrop.


🌨️ • “Stopping by Woods on a Snowy Evening” by Robert Frost

While more reflective and quiet, Frost’s poem echoes the theme of isolation in a cold, indifferent landscape and the pull between duty and the lure of rest or death.


💀 • “The Raven” by Edgar Allan Poe

Though stylistically different, Poe’s use of rhythm, repetition, and surreal imagery to portray grief and possible madness aligns closely with the eerie tone and psychological unraveling in Service’s poem.


Representative Quotations of “The Cremation of Sam McGee” by Robert W. Service
🔖 Quotation📘 Contextual Interpretation🧠 Theoretical Perspective
“There are strange things done in the midnight sun / By the men who moil for gold;”Introduces a mysterious and surreal tone, framing the tale as one of bizarre frontier lore.🎭 Formalism – Focuses on rhyme, repetition, and ballad structure.
“Now Sam McGee was from Tennessee, where the cotton blooms and blows.”Emphasizes Sam’s Southern roots and discomfort in the Arctic, foreshadowing his fate.🌿 Ecocriticism – Examines tension between environment and identity.
“He’d sooner live in hell.”Hyperbolically expresses Sam’s hatred of the cold, ironically fulfilled in cremation.🙃 Irony (New Criticism) – Explores reversal of death and comfort.
“It’s the cursèd cold, and it’s got right hold till I’m chilled clean through to the bone.”Vividly conveys physical and emotional suffering in the Arctic’s harsh grip.🧠 Psychological Criticism – Reveals subconscious fear and anxiety.
“A pal’s last need is a thing to heed, so I swore I would not fail;”Shows deep loyalty and the emotional burden of keeping a deathbed promise.⚖️ Moral Criticism – Discusses duty, loyalty, and ethical responsibility.
“There wasn’t a breath in that land of death, and I hurried, horror-driven,”The lifeless Arctic intensifies fear and urgency in carrying the corpse.❄️ Ecocriticism – Depicts nature as indifferent and hostile.
“Now a promise made is a debt unpaid, and the trail has its own stern code.”Highlights the unwritten moral rules of frontier life and personal honor.👥 Cultural Criticism – Analyzes societal norms in masculine frontier culture.
“I felt half mad, but I swore I would not give in;”Reflects the narrator’s internal struggle and near psychological collapse.🧠 Psychological Criticism – Explores mental strain from moral obligation.
“Then I made a hike, for I didn’t like to hear him sizzle so;”Uses dark humor to describe the surreal horror of cremating a friend.😅 Postmodern Humor – Blends absurdity with grotesque realism.
“It’s the first time I’ve been warm.”A chilling twist where Sam finds comfort in death through fire, defying logic.🔥 Surrealism / Irony – Merges fantasy and reality to upend expectations.
Suggested Readings: “The Cremation of Sam McGee” by Robert W. Service
  1. Griffin, Sara. Peabody Journal of Education, vol. 47, no. 3, 1969, pp. 188–188. JSTOR, http://www.jstor.org/stable/1491937. Accessed 29 July 2025.
  2. Lipson, Greta Barclay. The Cremation of Sam McGee: Two Sides to Every Story. Teaching and Learning Company, 2008.
  3. “ROBERT W. SERVICE.” The Public Health Journal, vol. 6, no. 9, 1915, pp. 455–60. JSTOR, http://www.jstor.org/stable/41997763. Accessed 29 July 2025.

“Michel Foucault’s The Birth of Biopolitics and contemporary neo-liberalism debates” by Terry Flew: Summary and Critique

Introduction: “Michel Foucault’s The Birth of Biopolitics and contemporary neo-liberalism debates” by Terry Flew

“Michel Foucault’s The Birth of Biopolitics and contemporary neo-liberalism debates” by Terry Flew first appeared in Thesis Eleven in 2012 (Vol. 108, Issue 1, pp. 44–65), published by Sage. In this article, Flew re-evaluates Foucault’s 1978–79 Collège de France lectures—later published as The Birth of Biopolitics—to explore Foucault’s distinct approach to neoliberalism, not as a dominant ideology but as a historically contingent form of liberal governmental rationality. Flew emphasizes that Foucault’s reading of neoliberalism, particularly German ordoliberalism and the American Chicago School, is more analytical and less ideologically critical than the tone of many contemporary cultural and literary theorists. By situating neoliberalism within a genealogy of liberal government, Foucault shifts the terrain of critique from moral denunciation to an inquiry into how freedom is governed and produced. This reorientation has profound implications for literary and critical theory, especially as neoliberalism has become an all-purpose explanatory device in cultural studies. Flew critiques the tendency in some Marxist-Foucauldian syntheses (e.g., Dean, Brown, Miller) to retroactively attribute to Foucault their contemporary critiques of neoliberalism. Instead, Flew calls for a more nuanced engagement with neoliberalism’s institutional rationalities—raising questions about whether socialism can, or must, develop its own autonomous governmental rationality rather than relying on inherited ideological scripts. This makes the article a significant intervention in political theory, discourse analysis, and the theoretical debates shaping literary studies today.

Summary of “Michel Foucault’s The Birth of Biopolitics and contemporary neo-liberalism debates” by Terry Flew

🧠 1. Introduction: The Foucault-Neoliberalism Nexus

  • Contextual Basis:
    • Foucault’s 1978–79 lectures at the Collège de France were posthumously published as The Birth of Biopolitics.
    • These lectures are now central to contemporary analyses of neoliberalism.
  • Flew’s Central Concern:
    • There is a gap between Foucault’s original treatment of neoliberalism and how it is interpreted by modern theorists.
    • The term “neoliberalism” has become an overloaded and vague concept, often used ideologically rather than analytically.

🧩 2. Foucault’s Genealogical Method and Governmentality

  • Governmentality:
    • Refers to a form of governance that focuses on the “conduct of conduct”—how people are guided and self-regulate within systems of power.
  • Genealogy over Ideology:
    • Foucault doesn’t offer a moral or economic critique of neoliberalism.
    • Instead, he investigates how neoliberal rationalities emerge, particularly how liberalism reconfigures the role of the state.
  • Freedom as a Political Tool:
    • Neoliberal governmentality doesn’t oppose the state; rather, it uses statecraft to produce market conditions and individual entrepreneurial behavior.

🌍 3. Key Differences: German Ordoliberalism vs. American Neoliberalism

  • Ordoliberalism (Germany):
    • Post-war rationality: The state must actively create and maintain the market order.
    • It isn’t laissez-faire; instead, it’s a state-constructed market framework.
  • Chicago School (U.S.):
    • Extends economic logic into non-economic domains: crime, family, education, etc.
    • Views individuals as “entrepreneurs of the self”, optimizing their behavior through choice and competition.
  • Foucault’s Interpretation:
    • Both models are not reduced to ideological doctrines but studied as rationalities of governance.

📚 4. Contemporary Theoretical Appropriations of Foucault

  • Flew’s Critique:
    • Many critical theorists (e.g., Wendy Brown, Nikolas Rose) use Foucault to moralize or totalize neoliberalism.
    • These scholars retrofit their own ideological critiques into Foucault’s analytics of power.
  • Conceptual Inflation of “Neoliberalism”:
    • The term is now used ubiquitously and uncritically to explain everything from education reform to dating culture.
    • It risks becoming “the theory of everything”, which dilutes its analytical value.

🧾 5. Literary and Cultural Theory: Overreliance on Neoliberalism as Master Concept

  • Foucault vs. Cultural Theory:
    • Foucault avoided totalizing theories—his focus was always local, specific, and contingent.
    • Literary theory, especially post-structuralist and Marxist-influenced strands, tends to unify neoliberalism as a global system.
  • Problem of Moralism:
    • Theorists sometimes use neoliberalism as a moral whipping post, losing sight of how it actually operates institutionally.

🧱 6. Implications for Political Thought and Left Strategy

  • A New Socialist Rationality?:
    • Flew draws attention to Foucault’s idea that the Left must develop its own governmental rationality, not just critique the Right.
    • Socialism must be reimagined not just as anti-capitalism, but as a practical mode of governing freedom and life.
  • Practical Political Engagement:
    • Flew calls for a move away from cultural pessimism and symbolic politics toward a program of rational social governance.

📌 7. Conclusion: Reclaiming Foucault’s Analytical Nuance

  • Reframing the Debate:
    • Instead of using neoliberalism as a scapegoat, scholars should focus on how it structures action and subjectivity.
  • Flew’s Core Argument:
    • Foucault provides tools to understand neoliberalism without moralizing it.
    • Academic work must preserve Foucault’s method, not co-opt it for ideological ends.

Key Takeaways

  • Foucault’s approach to neoliberalism is diagnostic, not denunciatory.
  • Neoliberalism is better understood as a rationality of governance, not a monolithic ideology.
  • Many current theoretical treatments risk flattening Foucault’s insights by misusing neoliberalism as a catch-all critique.
  • The Left must develop constructive alternatives rather than simply critique.

Theoretical Terms/Concepts in “Michel Foucault’s The Birth of Biopolitics and contemporary neo-liberalism debates” by Terry Flew

🏷️ Term📘 Definition / Explanation🔍 In-text Citation (Flew, 2012)
Governmentality 🏛A form of governance focusing on “the conduct of conduct,” i.e., how individuals and populations are regulated through institutions, practices, and norms.“Foucault’s distinctive contribution… was to introduce the concept of ‘governmentality’” (p. 45)
Biopolitics 🧬A modern form of power concerned with managing life processes of populations — birth, health, mortality — often tied to regulatory institutions and state mechanisms.“The concern with biopolitics… was intimately connected to neoliberal governmentality” (p. 45)
Neoliberalism 💹A historically specific political rationality emphasizing competition, individual responsibility, and the market as the primary site of governance.“Neoliberalism should be understood not as an ideology… but as a political rationality” (p. 46)
Rationality of Government 🧩Systematic forms of reasoning about how to organize governance. Neoliberalism, in this sense, is a rationality that extends economic logic to all aspects of life.“Neoliberalism represents a rationality of government…” (p. 48)
Entrepreneur of the Self 🎯A subject who governs themselves using economic logic: maximizing personal utility, taking responsibility, and viewing life choices as investments.“Individuals are seen as entrepreneurs of themselves…” (p. 49)
Ordoliberalism 🧱A German neoliberal school focused on using strong state frameworks to ensure market competition, contrasting laissez-faire approaches.“German ordoliberalism… sought to create a strong regulatory framework for markets” (p. 50)
State-Crafted Market 🏛➕💹The market as a constructed domain, not a natural one — requiring state intervention to sustain competition and prevent monopolies.“The market must be actively constructed… through political authority” (p. 50)
Chicago School Economics 💼A U.S. neoliberal tradition emphasizing free markets and applying economic reasoning to all social domains (crime, family, education).“Foucault considered the American Chicago School as extending market logic beyond economics” (p. 51)
Critique vs. Diagnosis 📏Foucault preferred diagnosing how forms of power operate rather than offering moral or ideological critiques; Flew warns against moralizing neoliberalism.“Foucault’s method was… not to condemn neoliberalism… but to diagnose its rationality” (p. 54)
Genealogy 🔄Foucault’s method of tracing the historical development of ideas and institutions without assuming linear or universal truths.“Foucault’s genealogical method… focuses on the contingent formation of governmental rationalities” (p. 47)
Counter-Conduct 🧱🔄Forms of resistance to governmentality — not pure opposition, but ways of “conducting oneself differently” within power structures.“The concept of counter-conduct… emerges as part of the tension within governmentality” (p. 55)
Ideological Inflation 🚫📢The tendency in critical theory to overuse “neoliberalism” as a catch-all explanatory framework, leading to analytical vagueness.“There is a tendency to use neoliberalism as an all-purpose critique…” (p. 52)
Economic Subjectivity 📊Individuals internalizing market logic — seeing themselves as economic agents and modeling their identity on optimization, risk, and choice.“Neoliberalism… shapes how subjects think of themselves…” (p. 49)

Contribution of “Michel Foucault’s The Birth of Biopolitics and contemporary neo-liberalism debates” by Terry Flew to Literary Theory/Theories

🔍✖️ Poststructuralism and Discourse Theory

Flew’s article strongly aligns with poststructuralist commitments by emphasizing Michel Foucault’s genealogical, non-essentialist method. He reinforces that Foucault approached neoliberalism not as a fixed ideological system, but as a discursively produced form of political reason. This has implications for literary theory, which often engages with power, language, and meaning as constructed rather than inherent.

“Foucault was not offering a critique of neoliberalism in terms of ideological error, or of inconsistency with a set of values or political principles. Rather, he was undertaking a genealogy of governmental rationalities” (Flew, 2012, p. 46).

By underscoring this, Flew calls literary theorists back to Foucault’s careful historicism and away from reductive ideological totalizations.


🧩📘 Foucauldian Literary Criticism

Flew critiques how many cultural theorists have co-opted Foucault’s ideas into broader ideological critiques, often moralizing neoliberalism in ways Foucault never intended. He contributes to Foucauldian literary theory by advocating a return to the diagnostic ethos of Foucault’s method.

“There has been a tendency within the cultural and literary theory literature to conflate neoliberalism with globalization, postmodernism or contemporary capitalism, and to view it as a form of ideology or cultural hegemony” (p. 52).

He warns that such conflations obscure Foucault’s original intention to study the specificity of how neoliberal reason governs subjects and spaces, urging literary critics to retain this precision.


⚒️📢 Ideology Critique and Marxist Literary Theory

Flew’s intervention challenges Marxist-influenced literary theorists who have absorbed neoliberalism into the apparatus of class critique. He finds this problematic, because it universalizes neoliberalism as an ideology instead of understanding it as a contingent political rationality.

“There is a tendency in contemporary theory to inflate the concept of neoliberalism to account for almost all developments in the contemporary world… making it difficult to identify what is specific about neoliberalism as a form of political rationality” (p. 52).

This has implications for how literature is analyzed in terms of class and ideology: Flew suggests such analysis needs to attend to the micro-level operations of power, not only macro-economic structures.


🎯⚖️ Subjectivity in Literary and Cultural Theory

One of Flew’s most direct contributions to literary theory lies in how he emphasizes Foucault’s concept of the “entrepreneur of the self”—a mode of subjectivity formed through neoliberal discourses. This is vital for literary analysis, where characters and narratives can be read through the lens of how economic rationalities shape identity.

“Neoliberalism encourages individuals to relate to themselves as entrepreneurs of themselves, and to see their lives in terms of investment, cost–benefit calculation and performance outcomes” (p. 49).

This offers a powerful tool for interpreting contemporary literary texts, particularly those dealing with themes of labor, education, self-help, or identity in capitalist societies.


🏛️📝 Institutional Critique and Literary Academia

Flew turns a critical eye toward the practices of literary and cultural theory itself, suggesting that the academy often engages in symbolic forms of critique against neoliberalism without offering constructive alternatives. This has consequences for the institutional framing of literary studies.

“The challenge… is whether socialism can become an art of government… rather than simply existing in critique of existing forms of governmentality” (p. 56).

Flew’s challenge encourages literary theorists to consider how their field might not only critique power but also participate in imagining and structuring alternative social orders.


📚🗳️ Rethinking Literary Political Engagement

Finally, Flew’s work invites literary theorists to move beyond negative critique toward constructive political imaginaries. Literature, in this framing, becomes not merely a site of resistance but a space to reimagine the governance of freedom, life, and possibility.

“Critique alone is insufficient… there is a need to think how freedom can be governed differently” (p. 56).

Rather than invoking neoliberalism as a force to be endlessly opposed, Flew urges scholars to ask: what alternative forms of governance, subjectivity, and political engagement can literary theory help articulate?

Examples of Critiques Through “Michel Foucault’s The Birth of Biopolitics and contemporary neo-liberalism debates” by Terry Flew

📘 Novel🧠 Foucauldian-Neoliberal Critique via Flew
Kazuo Ishiguro – Never Let Me Go 🧬🎯The novel’s clone protagonists are engineered for organ harvesting, but internalize their fates without resistance. Through Flew’s lens, this reflects neoliberal biopolitics and the entrepreneurial subject, where human life is rendered biological capital, and subjects self-govern by quietly accepting commodified existence. As Flew writes: “Neoliberalism encourages individuals to relate to themselves as entrepreneurs of themselves…” (p. 49).
Dave Eggers – The Circle 💼🎯📏This novel critiques Silicon Valley techno-corporate culture as a manifestation of Chicago School neoliberalism, where personal lives are transformed into data-driven performance metrics. Mae, the protagonist, self-disciplines and optimizes her behavior in line with digital corporate norms. Flew’s emphasis on diagnosing neoliberal subjectivity, rather than simply opposing it, allows deeper insight into Mae’s complicity: “Critique alone is insufficient…” (p. 56).
Ian McEwan – Saturday 🧩🏛🧱McEwan’s neurosurgeon protagonist embodies liberal individualism and governmental rationality, viewing politics through the lens of risk, security, and self-control. The novel mirrors Flew’s discussion of how ordoliberalism uses the state to maintain a regulated order for elite freedom: “Ordoliberalism sought to create a strong regulatory framework for markets” (p. 50). The protagonist’s politics reflect a belief in “managed freedom.”
Zadie Smith – NW 🎯⚖🧱🔄Smith’s London novel explores post-welfare urban life, where characters experience fragmented subjectivities and are urged to self-manage amidst precarity. Leah, Natalie, and Felix all encounter neoliberal counter-conduct: resistance through failure, withdrawal, or alternate social logics. Flew’s emphasis on subjectivity under neoliberal governmentality opens readings of these characters as navigating not ideology, but regulatory power: “Subjects are governed through a range of rationalities…” (p. 45).

Criticism Against “Michel Foucault’s The Birth of Biopolitics and contemporary neo-liberalism debates” by Terry Flew

️ 1. Underplaying the Structural Power of Capitalism

Criticism:
Flew downplays material and structural analyses of neoliberalism—particularly from a Marxist perspective—in favor of a narrowly Foucauldian “governmentality” approach.

  • Critics argue that Flew’s reading avoids confronting the economic violence, dispossession, and exploitation that neoliberalism imposes on global and racialized populations.
  • While Flew warns against “inflationary uses” of the term neoliberalism, his alternative flattens the political stakes by treating it too neutrally—as merely a “rationality.”

Example critique:

Scholars such as David Harvey or Nancy Fraser may argue that Flew’s focus on “governmentality” evacuates class analysis and treats neoliberalism more as a discourse than a political-economic system with material consequences.


🧩 2. Over-Defensive of Foucault’s Neutrality

Criticism:
Flew insists on Foucault’s neutrality or non-normative stance toward neoliberalism, but this might be overstated. Foucault’s tone in The Birth of Biopolitics is complex and at times ambiguous—perhaps even open to strategic sympathy—but not without critique.

  • Some scholars suggest that Flew’s defense of Foucault leads to an uncritical idealization of Foucault’s methodological detachment.
  • Others propose that Foucault’s later work includes implied critiques of neoliberalism’s implications for ethics, democracy, and subjectivity.

Related view:

“Flew’s claim that Foucault was simply ‘diagnosing’ rather than critiquing neoliberalism risks exonerating Foucault from his own political responsibility as a thinker engaging with real systems of domination.”


🗣️ 3. Mischaracterizing Cultural Theory’s Use of Neoliberalism

Criticism:
Flew argues that cultural and literary theorists indiscriminately use neoliberalism as an all-purpose critique. However, this claim itself risks straw-manning a rich field of scholarship.

  • Many theorists (e.g. Wendy Brown, Lauren Berlant, Lisa Duggan) have developed nuanced and historically grounded accounts of neoliberalism’s impact on gender, race, affect, and culture.
  • To accuse them of “conceptual inflation” without engaging their specific arguments may be dismissive.

In response:

One might say Flew is “calling out” the theoretical field without fully engaging with its complexity or variety, especially feminist, postcolonial, and queer interpretations of neoliberalism.


🧱 4. Neglect of Global and Postcolonial Dimensions

Criticism:
Flew’s analysis is largely centered on Western Europe and North America (Germany, France, Chicago School), following Foucault’s own limitations. He does not account for how neoliberalism functions globally, especially in the Global South.

  • There is no serious engagement with how neoliberal rationalities operate through postcolonial governance, IMF/World Bank reforms, or structural adjustment programs.
  • This risks reinforcing a Eurocentric model of power while ignoring the racialized and colonial genealogy of neoliberal violence.

Scholarly angle:

Postcolonial theorists like Achille Mbembe or Aihwa Ong could critique Flew for continuing a Western-centric framework that erases colonial continuities in neoliberal rule.


📏 5. Absence of Ethical and Political Alternatives

Criticism:
Although Flew criticizes the Left for offering only critique without proposing a “new art of government,” he fails to elaborate what this alternative might look like.

  • His call for the Left to develop its own rationality of government sounds promising, but remains vague and abstract.
  • It is unclear whether Flew supports social democracy, market socialism, radical democracy, or another vision.

Implication:

Critics might say that Flew positions himself as a centrist referee, identifying faults in others’ arguments without clearly taking a stance of his own.


🎭 6. Theoretical Conservatism and Minimization of Resistance

Criticism:
Flew tends to minimize the potential for counter-conduct, resistance, or radical subjectivities in contemporary culture and literature.

  • By focusing on rationalities of governance, he may sideline more messy, affective, or artistic forms of refusal, which literary theorists find central.
  • His caution toward moral critique might suppress the transformative or insurgent power of literary and cultural forms.

Interpretation:

From this view, Flew’s approach seems more aligned with institutional critique and policy-oriented theory, and less with radical or imaginative praxis.


Representative Quotations from “Michel Foucault’s The Birth of Biopolitics and contemporary neo-liberalism debates” by Terry Flew with Explanation

QuotationPageExplanation
“Neo-liberalism has become one of the boom concepts of our time.”44This opening statement highlights the explosive growth in the use of the term “neo-liberalism” in academic discourse, particularly in the 2000s. Flew notes its transformation from a specific economic concept to a broad, often vague, critique of various social, cultural, and political phenomena, setting the stage for examining Foucault’s more nuanced historical approach.
“Foucault did not understand neo-liberalism as a dominant ideology in these lectures, but rather as marking a point of inflection in the historical evolution of liberal political philosophies of government.”44Flew emphasizes that Foucault’s analysis in The Birth of Biopolitics treats neo-liberalism as a shift within liberal governmentality, not as a monolithic ideology. This contrasts with later critics who often portray it as a hegemonic force, highlighting Foucault’s focus on its historical and governmental specificity.
“The term is effectively used in different ways, such that its appearance in any given article offers little clue as to what it actually means.”45Quoting Boas and Gans-Morse, Flew critiques the ambiguous and varied applications of “neo-liberalism” in academic literature. This underscores the need for a clearer understanding, which Foucault’s lectures provide by grounding neo-liberalism in specific governmental practices rather than as a catch-all term.
“Neo-liberalism is not Adam Smith; neo-liberalism is not market society; neo-liberalism is not the Gulag on the insidious scale of capitalism.”47 (quoting Foucault 2008: 131)Foucault rejects simplistic reductions of neo-liberalism to classical liberalism or oppressive capitalist structures. Flew uses this to illustrate Foucault’s effort to distinguish neo-liberalism as a distinct governmental rationality, challenging Marxist interpretations that conflate it with traditional capitalism.
“The market constitutes a site of veridiction . . . for governmental practice.”50 (quoting Foucault 2008: 32)This quote captures Foucault’s concept of the market as a mechanism for assessing the truth or efficacy of governmental actions in liberal thought. Flew highlights how this shift from raison d’état to market-based truth marks a key feature of liberal and neo-liberal governmentality.
“The new art of government appears as the management of freedom . . . Liberalism must produce freedom, but this very act entails the establishment of limitations, controls, forms of coercion, and obligations relying on threats.”51 (quoting Foucault 2008: 63–4)Foucault’s paradox of liberalism is central here: it requires freedom to function but must also produce and regulate it, leading to new forms of control. Flew uses this to show how neo-liberalism extends this dynamic, redefining freedom through market competition and enterprise.
“The society regulated by reference to the market that the neo-liberals are thinking about is . . . an enterprise society.”56 (quoting Foucault 2008: 147)This quotation reflects Foucault’s analysis of neo-liberalism’s shift from a society based on commodity exchange to one driven by competition and enterprise. Flew uses it to illustrate how neo-liberalism reorients social relations around the model of the entrepreneur, a key departure from classical liberalism.
“American neo-liberalism . . . sought ‘the generalisation of the economic form of the market . . . throughout the social body’.”58 (quoting Foucault 2008: 243)Flew highlights Foucault’s observation that American neo-liberalism, unlike German ordoliberalism, applies market principles to all aspects of social life, including non-economic domains like crime and family. This radical extension underscores its distinctiveness and influence.
“Foucault is quite explicit about the political stake entailed in the two problematics . . . we have a capitalism that can be subject to significant economic-institutional transformations.”60 (quoting Foucault 2008: 164–5)This quote contrasts the Marxist view of capitalism’s singular logic with the Weberian perspective adopted by ordoliberals and Foucault, which sees capitalism as adaptable through institutional reforms. Flew uses this to argue for Foucault’s alignment with comparative political economy over Marxist critiques.
“What would really be the governmentality appropriate to socialism? . . . It must be invented.”59 (quoting Foucault 2008: 94)Foucault’s challenge to socialism’s lack of a distinct governmental rationality is a key point for Flew. It underscores Foucault’s critique of socialism’s reliance on textual conformity and his call for innovative governmental practices, contrasting with neo-liberalism’s adaptability.

Suggested Readings: “Michel Foucault’s The Birth of Biopolitics and contemporary neo-liberalism debates” by Terry Flew

  1. Flew, Terry. “Michel Foucault’s The Birth of Biopolitics and contemporary neo-liberalism debates.” Thesis Eleven 108.1 (2012): 44-65.
  2. Tierney, Thomas F. “Toward an Affirmative Biopolitics.” Sociological Theory, vol. 34, no. 4, 2016, pp. 358–81. JSTOR, http://www.jstor.org/stable/26382876. Accessed 30 July 2025.

“Science Fiction And Biopolitics” by Sherryl Vint: Summary and Critique

“Science Fiction and Biopolitics” by Sherryl Vint first appeared in Science Fiction Film and Television in 2011 (Volume 4, Issue 2, pp. 161–172), published by Liverpool University Press.

"Science Fiction And Biopolitics" by Sherryl Vint: Summary and Critique
Introduction: “Science Fiction And Biopolitics” by Sherryl Vint

“Science Fiction and Biopolitics” by Sherryl Vint first appeared in Science Fiction Film and Television in 2011 (Volume 4, Issue 2, pp. 161–172), published by Liverpool University Press. In this foundational article, Vint explores the convergence of speculative fiction and biopolitical theory, drawing heavily on Michel Foucault’s concept of biopower—a mode of governance where life itself becomes the central object of political control. Vint argues that in contemporary technoculture, science fiction (sf) is uniquely positioned to interrogate and reflect the complex entanglements of life, power, and neoliberal governance. By examining examples from contemporary cinema such as Splice, 28 Days Later, and Daybreakers, Vint demonstrates how sf articulates the tensions of a world in which biotechnology, market capitalism, and state surveillance merge to govern the biological and social bodies of the population. Vint also expands the discussion through reference to Giorgio Agamben’s notion of bare life, Susan Squier’s “liminal lives,” and Kaushik Sunder Rajan’s biocapital, illustrating how sf narratives mediate anxieties about identity, commodification, and the erosion of humanist boundaries in the era of the bioeconomy. The article is significant in literary theory for showing how sf serves not merely as fantasy or escapism, but as a critical discourse that participates in shaping and critiquing biopolitical imaginaries. It reframes sf as a genre that operates within the cultural and political economy, and as a theoretical apparatus through which we can analyze the material realities of our present and possible futures.

Summary of “Science Fiction And Biopolitics” by Sherryl Vint

🧬 1. Biopolitics and the Colonisation of Life

  • Vint draws from Michel Foucault’s concept of biopower, which governs both the individual body and the population as a whole.
  • Modern technoculture sees governance increasingly shaped by speculative and biological discourses.
  • “Under biopolitics, life itself becomes the object of political governance” (Vint, 2011, p. 161).
  • Examples: Embryonic stem cells and ‘brain dead’ patients challenge classical definitions of life and death.

🦠 2. Epidemics and Imagined Biological Threats

  • Public health crises (e.g., avian flu, H1N1) are framed within speculative narratives (e.g., zombie apocalypses).
  • Biopolitics merges state control, media, and popular sf imagery.
  • “Epidemics… conflate the management of borders, disease vectors… with speculative fantasies about invader species and zombie plagues” (p. 161).

🔬 3. The Rise of the Biocultural Era

  • Biology becomes not just a science of life but a cultural system of meaning.
  • Sarah Franklin’s concept of the biocultural underlines how science is embedded in social categories like gender and race.
  • “Biology has become a science of engineering” (p. 162).

⚖️ 4. From Sovereignty to Biopower

  • Traditional sovereignty focused on the right “to take life or let live”; biopolitics now governs by the right “to make live or to let die” (Foucault, 2003, p. 241).
  • The “state of exception” (Agamben) becomes normalized—state violence is pre-authorized under permanent threat scenarios.
  • “The more you kill, the more you foster life” (Vint, p. 163).

🧪 5. Biopolitics in Capitalist Governance

  • Life becomes commodified through biocapitalism and bioeconomics.
  • Diamond v. Chakrabarty (1980) and Moore v. Regents of UC (1990) enable patenting and ownership of life forms.
  • “Life becomes, literally, annexed within capitalist processes of accumulation” (Cooper, 2008, p. 19).

🩸 6. The Tissue Economy and Human Commodification

  • Human body fragments like foreskins or stem cells are sold in commercial markets.
  • “Tissue economies” (Waldby & Mitchell, 2006) blur the line between personhood and property.
  • Disadvantaged populations, like the unemployed in Andhra Pradesh, are drawn into clinical trials as expendable experimental subjects (Sunder Rajan, 2006, p. 96).

🧟 7. Liminal Lives and Speculative Fiction

  • Susan Squier’s liminal lives illustrate the ambiguous status of biological fragments (e.g., cell lines).
  • Vampires and zombies are no longer supernatural but metaphorical: “figures of genetic mutation and viral contamination” (Vint, p. 165).

📈 8. Biocapital and Speculative Surplus

  • Genomic science operates on market speculation, not actual goods.
  • “Hype is reality” (Sunder Rajan, 2006, p. 116); biology is valuable not as life but as projected financial potential.
  • “Biocapital… transmuted into speculative surplus value” (Cooper, 2008, p. 148).

🧠 9. Societies of Control and Neurochemical Citizenship

  • Gilles Deleuze’s shift from “enclosures” to “controls” aligns with market and biopolitical logic.
  • Medical surveillance and personalized medicine function within a biopolitical economy.
  • “Man is no longer man enclosed, but man in debt” (Deleuze, 1992, p. 6).
  • People become “somatic individuals” shaped by biology rather than inner psychology (Rose, 2006, p. 188).

🎬 10. Case Study: Daybreakers and Biopolitical Allegory

  • The film Daybreakers (2009) is used to illustrate biopolitical themes in popular culture:
    • A world run by vampires symbolizes commodified biology.
    • Human blood becomes a scarce resource; state and market merge in governance.
  • “Vampires… live as normalised, bourgeois subjects” (Vint, p. 167).
  • The plot critiques overproduction and the logic of biocapital: excessive consumption leads to societal collapse.
  • Subversive message: “The return to humanity is thus experienced as threat rather than cure” (p. 170).

📚 11. SF as Critical Discourse

  • Science fiction does not merely reflect biopolitical realities—it shapes them.
  • Squier argues sf can “pre-date and… enable [the body’s] biomedical transformation” (Squier, 2004, p. 170).
  • Vint insists sf can also critique and intervene in neoliberal biopolitical futures.

📖 12. Broader Literary Engagements

  • Additional essays in the journal issue extend Vint’s arguments:
    • 🧟 Canavan on zombies as images of neoliberal overconsumption.
    • 🌐 Cover on Star Trek’s portrayal of liberalism and biopolitical security.
    • 🧬 Vinci on identity modulation in Dollhouse.
    • 🤰 Trimble on racialized reproduction in Children of Men.

🔚 Conclusion: SF and the Challenges of Biopolitical Modernity

  • Science fiction is uniquely suited to articulate, critique, and reimagine the logics of biopolitics.
  • It helps expose how life, death, identity, and economic viability are now governed within a neoliberal biosecurity regime.

Theoretical Terms/Concepts in “Science Fiction And Biopolitics” by Sherryl Vint
📘 Term/Concept📖 Explanation & Context (with citations from Vint, 2011)
🧬 Biopower / BiopoliticsCoined by Michel Foucault, biopower refers to the governance of bodies and populations through biological regulation rather than sovereign authority. It operates on two levels: the disciplined individual and the managed population (p. 161). “Life itself becomes the object of political governance” (p. 161).
🧠 Liminal Lives (Susan Squier)Refers to biological entities (e.g., stem cells, cell lines) that exist between definitions of human and non-human. They are “not easily categorized as either person or thing” (p. 165). SF helps explore their ethical and ontological ambiguity.
🏥 Thanatopolitics (Agamben, Esposito)The political logic where some lives are allowed to die to protect others. In Daybreakers, subsiders are “class four blood deprived citizens,” exterminated in the name of public health (p. 169).
⚖️ State of Exception (Agamben)A permanent crisis mode in which normal legal protections are suspended to secure the population. “Hyper-security vigilance becomes naturalised” (p. 162).
🧪 Biocapital / Biocapitalism (Cooper, Sunder Rajan)The commodification of life processes through biotech and genomics industries. Biological materials like genes are transformed into “speculative surplus value” (p. 166; Cooper, p. 148).
🩸 Tissue Economy (Waldby & Mitchell)Describes how biological materials like blood and embryos circulate as commodities. Vint notes that human waste tissues are sold to biotech firms, contrasting with “gift economy” models (p. 164–165).
💹 Speculative Surplus Value (Cooper)Refers to the economic value assigned to biological materials based on their projected future utility (e.g., anticipated therapies), not their current use (p. 166).
🔄 Societies of Control (Deleuze)A shift from disciplinary enclosures (schools, prisons) to continuous modulation and surveillance. “Enclosures are molds… controls are a modulation” (Deleuze, p. 4; cited p. 166).
🧬 Neurochemical Citizenship (Rose)A form of identity in which individuals understand and govern themselves based on biological attributes—especially brain chemistry (p. 167).
🧑‍💼 Homo Oeconomicus / Self as Enterprise (Foucault)The neoliberal subject is seen as an entrepreneur of the self, optimizing health, productivity, and risk—“encouraged to manage oneself as an enterprise” (p. 164).
Contribution of “Science Fiction And Biopolitics” by Sherryl Vint to Literary Theory/Theories

🧠 1. Biopolitical Literary Criticism (Foucauldian Theory)

  • Vint brings Michel Foucault’s theory of biopower into dialogue with science fiction, establishing sf as a privileged genre for exploring life managed by governance.
  • She examines how narratives embody the shift “from the right to take life or let live to the right to make live and let die” (Foucault, Society Must Be Defended, qtd. in Vint, 2011, p. 163).
  • “Science fiction allows us to grasp the paradoxes of this biopolitical regime by imagining the speculative consequences of managing life” (p. 162).
  • This positions sf not merely as entertainment but as a site of theoretical intervention.

🦾 2. Posthumanism and Liminal Subjectivity

  • Vint contributes to posthumanist literary theory by analyzing bodies that blur boundaries between human and nonhuman.
  • Uses Susan Squier’s term liminal lives to explore figures like stem cells and cloned organisms that “cannot comfortably be sorted into either category” of human or object (p. 165).
  • In texts like Daybreakers, the posthuman subject becomes a metaphor for the commodified and mutable body under biopolitical regimes.

📉 3. Marxist Literary Criticism / Neoliberal Capital Critique

  • Engages Marxist-inflected critiques of capitalist accumulation in the biotech era, especially Melinda Cooper’s and Kaushik Sunder Rajan’s work on biocapital.
  • Vint shows how sf dramatizes the “economy of delirium” where life becomes “speculative surplus value” (Cooper, qtd. p. 166).
  • “The speculative fantasies of biocapital are informed by—and inform—the speculative imaginings of sf” (p. 166).
  • The genre thus serves as a diagnostic tool for neoliberalism’s commodification of life itself.

🧪 4. Science and Technology Studies (STS) in Literature

  • Vint integrates STS approaches to explore how sf mediates public understanding of technoscience.
  • She notes how sf enables reflection on biotechnological promises and fears: IVF, stem cell ethics, pandemics, etc.
  • “We live in an era in which the speculative and the material are so entwined that neither can be understood in isolation” (p. 161).

🛡️ 5. Security and Surveillance Theory

  • Through Foucault’s and Agamben’s notions of security and the state of exception, Vint reads sf worlds (e.g., Daybreakers) as dramatizations of biopolitical surveillance.
  • “Hyper-security vigilance becomes naturalised ‘to ensure that there are no procedural hindrances to state violence if it is deemed necessary’” (Gerlach et al., qtd. p. 162).
  • Demonstrates sf’s utility in theorizing biosecurity regimes and racialized control under neoliberal governance.

🧬 6. Feminist and Reproductive Theory

  • Vint references issues like IVF, “designer babies,” and gendered reproductive biopolitics, tying into feminist theory of the body.
  • Films such as Splice and Children of Men reveal the politics of reproductive control and bioengineering.
  • The biocultural view from Sarah Franklin shows “the inseparability of the new biologies from the meaning systems they both reproduce and depend upon” (Franklin, qtd. p. 162).

🧠 7. Genre Theory / SF as Critical Discourse

  • Challenges traditional readings of sf as fantasy or escapism, reasserting its epistemological and political utility.
  • “SF is not fantasy, but documentary” (Squier, qtd. p. 172), and also critical—it “can also critique and challenge this reality” (p. 172).
  • This reframing makes sf central to contemporary literary and cultural theory.

📚 8. Literary Criticism as World-Building Analysis

  • Vint argues that sf’s value lies in its capacity to build speculative worlds that expose and interrogate our own.
  • Daybreakers illustrates how biopolitical logics of governance, consumption, and identity are mapped into fictional societies.
  • “SF is a genre of world-building and hence a tool to help us deconstruct the world that neoliberalism has built” (p. 171).

🔄 9. Interdisciplinary Literary Criticism

  • The essay exemplifies cross-disciplinary literary analysis, drawing from philosophy, politics, economics, and science.
  • This method makes a significant meta-theoretical contribution, modeling how literary studies can be methodologically enriched by Foucault, Deleuze, Agamben, Cooper, etc.
Examples of Critiques Through “Science Fiction And Biopolitics” by Sherryl Vint
🎬📚 Work🧩 Biopolitical Critique through Sherryl Vint (2011)
🧬 Splice (2009, dir. Vincenzo Natali)– Explores anxieties about artificial reproduction and bioengineering. – Demonstrates how speculative fiction reflects ethical dilemmas of IVF, cloning, and ‘designer babies’. – Vint notes it as part of sf’s role in visualizing “the complicated parenting of IVF and other assistive reproductive technologies” (p. 162).
🧟 28 Days Later (2002, dir. Danny Boyle)– Symbolizes viral biopolitics: how the state reacts to and controls disease outbreaks. – Highlights racialized and militarized containment practices in the name of public health. – According to Vint, the film “conflates the spectre of bioterrorism… with narratives about virulent disease” (p. 162).
🧛 Daybreakers (2009, dir. Peter & Michael Spierig)– Central to Vint’s argument about biocapital and the commodification of life. – Imagines a society where human blood is a depleted commodity and humans are farmed, representing the extreme logic of bioeconomics. – Vint writes that the film “dramatizes a powerful fantasy of breaking out of the modulated subjectivity of societies of control” (p. 171).
👶 Children of Men (2006, dir. Alfonso Cuarón)– Analyzed via Sarah Trimble in Vint’s article as a critique of racialized reproductive politics. – Kee’s fertility and Blackness are commodified as hope for humanity, reflecting postcolonial and gendered biopolitics. – Trimble, as cited by Vint, “reveals a continuity between the neoliberal biopolitical order and a previous capitalist period of colonial accumulation” (p. 172).
Criticism Against “Science Fiction And Biopolitics” by Sherryl Vint

🔍 1. Overreliance on Foucauldian Framework

  • Vint’s essay is deeply grounded in Foucault’s concepts of biopower and biopolitics, which may limit alternative theoretical perspectives (e.g., affect theory, decolonial theory, or indigenous epistemologies).
  • Critics might argue that this Eurocentric philosophical lens overlooks more diverse cultural frameworks for understanding embodiment and governance.

📉 2. Emphasis on Dystopia May Overshadow Resistance

  • The analysis tends to emphasize biopolitical control and oppression, with limited attention to narratives or readings of resistance, subversion, or autonomy within sf worlds.
  • This might reinforce a deterministic view of biopolitics where subjects are only ever passive objects of power.

🧛 3. Overinterpretation of Daybreakers

  • The detailed analysis of Daybreakers is insightful but may overextend its biopolitical symbolism.
  • Some might view the film’s camp and genre conventions (vampires, action tropes) as undermining its theoretical seriousness, making it a weak central example for such a complex theoretical argument.

🌍 4. Limited Global Perspective

  • Vint’s case studies and examples primarily come from Western Anglophone media, with little engagement with non-Western or transnational science fiction traditions.
  • The global scope of biopolitical governance (e.g., in the Global South, refugee biopolitics, pandemic geopolitics) is not fully explored.

📚 5. Ambiguity Between Theory and Textual Analysis

  • The article sometimes prioritizes theory over close literary or cinematic reading, making the sf examples feel instrumentalized rather than deeply analyzed in literary terms.
  • Critics might argue that it treats science fiction texts more as illustrations than as autonomous aesthetic objects.

🧠 6. SF’s Critical Power Assumed Rather Than Proved

  • While Vint claims that science fiction can “critique and challenge” biopolitics, she does not fully explore how or whether audiences engage critically with these texts.
  • The piece might overstate sf’s subversive power without accounting for how biopolitical narratives can also reinforce hegemonic ideologies.
Representative Quotations from “Science Fiction And Biopolitics” by Sherryl Vint with Explanation
🔖 Quotation💡 Explanation
📌 “Under biopolitics, life itself becomes the object of political governance, and political governance becomes the practice of steering the biological life of individuals and species.” (p. 161)Vint articulates the core concept of biopolitics: modern governance centers on controlling biological life at both individual and population levels.
🔬 “We live in an era in which the speculative and the material are so entwined that neither can be understood in isolation.” (p. 161)Highlights how science fiction and technoscience are mutually constitutive—imaginative narratives influence and reflect material scientific developments.
🧫 “The speculative fantasies of biocapital are informed by – and inform – the speculative imaginings of sf.” (p. 166)Science fiction and biotechnology finance share speculative logic—both project imagined futures to generate current value.
🧟 “Epidemics and their attendant panics…conflate the management of borders, disease vectors and agriculture trade with speculative fantasies about invader species and zombie plagues.” (p. 161)Demonstrates how real biosecurity fears are transfigured into genre tropes like zombies and alien viruses in SF.
🧬 “Liminal subjects are entities such as embryonic stem cell genetic material that cannot comfortably be sorted into either category of ‘thing’ or ‘human subject.’” (p. 165)Introduces the concept of “liminal lives”—bioentities that challenge binary classifications of person vs. object.
💰 “Biopolitics is becoming a discourse of bioeconomics.” (p. 164)Argues that biology itself is increasingly interpreted through economic value, turning life into a market category.
🩸 “The world is in crisis because of the decreasing supply of humans.” (Daybreakers, p. 168)SF narrative (Daybreakers) allegorizes the commodification of life via a blood economy, paralleling real-world bioeconomic systems.
🚨 “The ‘state of exception’ becomes normalised and continual.” (p. 162)Cites Agamben to describe how crisis governance becomes permanent, blurring legal and biological governance.
📉 “Desire is no longer disciplined by a prohibitive law… but instead channelled to respond to a reality in such a way that this response cancels out the reality.” (p. 166)Explains how biopolitical power now works through modulation—channeling behavior instead of repressing it outright.
🎥 “SF can also critique and challenge this reality…a tool to help us deconstruct the world that neoliberalism has built.” (p. 172)Celebrates SF’s potential as a critical genre capable of diagnosing and resisting neoliberal and biopolitical structures.
Suggested Readings: “Science Fiction And Biopolitics” by Sherryl Vint
  1. Vint, Sherryl. “Introduction: Science fiction and biopolitics.” Science Fiction Film & Television 4.2 (2011): 161-172.
  2. Sean McQueen. “Biocapitalism and Schizophrenia: Rethinking the Frankenstein Barrier.” Science Fiction Studies, vol. 41, no. 1, 2014, pp. 120–35. JSTOR, https://doi.org/10.5621/sciefictstud.41.1.0120. Accessed 29 July 2025
  3. Mousoutzanis, Aris. “ʹDeath Is Irrelevantʹ: Gothic Science Fiction and the Biopolitics of Empire.” Gothic Science Fiction: 1980–2010, edited by SARA WASSON and EMILY ALDER, 1st ed., vol. 41, Liverpool University Press, 2011, pp. 57–72. JSTOR, http://www.jstor.org/stable/j.ctt5vj98n.10. Accessed 29 July 2025.
  4. Lisa Dowdall. “Treasured Strangers: Race, Biopolitics, and the Human in Octavia E. Butler’s Xenogenesis Trilogy.” Science Fiction Studies, vol. 44, no. 3, 2017, pp. 506–25. JSTOR, https://doi.org/10.5621/sciefictstud.44.3.0506. Accessed 29 July 2025.