“Scots Wha Hae” by Robert Burns: A Critical Analysis

“Scots Wha Hae” by Robert Burns first appeared in 1794 in the Scots Musical Museum, a renowned collection of Scottish songs.

“Scots Wha Hae” by Robert Burns: A Critical Analysis
Introduction: “Scots Wha Hae” by Robert Burns

“Scots Wha Hae” by Robert Burns first appeared in 1794 in the Scots Musical Museum, a renowned collection of Scottish songs. Written in the voice of Robert the Bruce addressing his army before the Battle of Bannockburn (1314), the poem passionately evokes themes of patriotism, sacrifice, liberty, and national identity. Its opening lines, “Scots, wha hae wi’ Wallace bled, / Scots, wham Bruce has aften led,” reference Scotland’s legendary heroes William Wallace and Robert the Bruce, immediately grounding the poem in historical struggle and valor. Burns uses rousing rhetorical questions—“Wha will be a traitor knave? / Wha can fill a coward’s grave?”—to stir a sense of moral duty and shame in those unwilling to fight. The recurring emphasis on “freedom” and resistance to “chains and slavery” resonated deeply with Scots during a time of political tension and rising nationalism, which helped secure the poem’s enduring popularity. With its rhythmic urgency and emotionally charged appeals—“Liberty’s in every blow!— / Let us do or die!”—the poem became a symbol of Scotland’s enduring spirit and longing for self-determination.

Text: “Scots Wha Hae” by Robert Burns

Scots, wha hae wi’ Wallace bled,

Scots, wham Bruce has aften led;

Welcome to your gory bed,

         Or to victory!

Now’s the day, and now’s the hour;

See the front o’ battle lour;

See approach proud Edward’s power—

         Chains and slavery!

Wha will be a traitor knave?

Wha can fill a coward’s grave!

Wha sae base as be a slave?

         Let him turn and flee!

Wha for Scotland’s king and law

Freedom’s sword will strongly draw,

Freeman stand, or freeman fa’,

         Let him follow me!

By oppression’s woes and pains!

By your sons in servile chains!

We will drain our dearest veins,

         But they shall be free!

Lay the proud usurpers low!

Tyrants fall in every foe!

Liberty’s in every blow!—

         Let us do or die!

Annotations: “Scots Wha Hae” by Robert Burns
LineAnnotationLiterary Devices
Scots, wha hae wi’ Wallace bled,Addresses patriotic Scots who fought with William Wallace.Allusion 🎯, Apostrophe 📣, Historical reference 🏰
Scots, wham Bruce has aften led;Refers to Scots led by Robert the Bruce, continuing the historical appeal.Allusion 🎯, Parallelism 📏
Welcome to your gory bed,A grim welcome to either death in battle or glory.Euphemism ☠️, Irony 🎭
Or to victory!Alternatives: death or triumph.Juxtaposition ⚖️, Antithesis 🆚
Now’s the day, and now’s the hour;Emphasizes urgency and immediacy of action.Repetition 🔁, Anaphora ⏰
See the front o’ battle lour;Describes the looming danger of battle.Personification 👁️, Imagery 🌫️
See approach proud Edward’s power—Refers to King Edward I of England and his approaching army.Alliteration 🔤, Historical reference 🏰
Chains and slavery!Symbol of subjugation and loss of freedom.Metaphor 🔗, Hyperbole 💥
Wha will be a traitor knave?Condemns cowardice and betrayal.Rhetorical Question ❓, Alliteration 🔤
Wha can fill a coward’s grave!Challenges the reader to avoid disgraceful death.Rhetorical Question ❓, Emotive language ❤️
Wha sae base as be a slave?Insults those who accept submission.Rhetorical Question ❓, Repetition 🔁
Let him turn and flee!Dismisses cowards with contempt.Imperative Mood 🗣️, Irony 🎭
Wha for Scotland’s king and lawRallies those loyal to Scottish sovereignty.Patriotic appeal 🏴, Allusion 🎯
Freedom’s sword will strongly draw,Image of drawing a sword for freedom.Symbolism ⚔️, Alliteration 🔤
Freeman stand, or freeman fa’,Highlights nobility of dying free.Antithesis 🆚, Repetition 🔁
Let him follow me!A call to arms and unity.Imperative Mood 🗣️, Heroic tone 🦸
By oppression’s woes and pains!Recalls the suffering of subjugation.Personification 👁️, Emotive language ❤️
By your sons in servile chains!Evokes pathos by referring to enslaved future generations.Imagery 🌫️, Pathos 😢
We will drain our dearest veins,Expresses willingness to die for freedom.Hyperbole 💥, Metaphor 🔗
But they shall be free!Asserts the goal of liberty.Optimism 🌞, Declarative tone 📢
Lay the proud usurpers low!Incites rebellion against tyrants.Alliteration 🔤, Imperative Mood 🗣️
Tyrants fall in every foe!Depicts every enemy as a tyrant to be overthrown.Hyperbole 💥, Repetition 🔁
Liberty’s in every blow!—Freedom is found in each strike.Metaphor 🔗, Symbolism ⚔️
Let us do or die!Encourages heroic sacrifice.Alliteration 🔤, Antithesis 🆚
Literary And Poetic Devices: “Scots Wha Hae” by Robert Burns
DeviceExample from the PoemExplanation
Alliteration 🔤“Freedom’s sword will strongly draw”Repetition of initial consonant sounds (“s”) for musicality and emphasis.
Allusion 🎯“Wha hae wi’ Wallace bled”Reference to Scottish heroes Wallace and Bruce to stir patriotism.
Anaphora“Now’s the day, and now’s the hour”Repetition at the beginning of successive phrases to build urgency.
Antithesis 🆚“Freeman stand, or freeman fa’”Contrasting ideas (stand vs. fall) highlight noble sacrifice.
Apostrophe 📣“Scots, wha hae wi’ Wallace bled”Direct address to the audience to create emotional appeal.
Declarative Tone 📢“But they shall be free!”Asserts determination with confidence and finality.
Emotive Language ❤️“By oppression’s woes and pains!”Provokes strong emotional responses through intense wording.
Euphemism ☠️“Gory bed”A softened expression for death in battle.
Heroic Tone 🦸“Let him follow me!”A brave, inspirational call typical of heroic leadership.
Historical Reference 🏰“Bruce has aften led”Embeds national history into the poem to stir identity and pride.
Hyperbole 💥“We will drain our dearest veins”Exaggeration used to emphasize readiness for sacrifice.
Imperative Mood 🗣️“Lay the proud usurpers low!”Gives commanding tone to rally listeners into action.
Imagery 🌫️“Chains and slavery!”Vivid sensory details that depict oppression visually and emotionally.
Irony 🎭“Welcome to your gory bed”Uses contradiction: a grim death is presented as a welcome.
Juxtaposition ⚖️“Gory bed, or to victory”Two stark outcomes (death or triumph) presented side-by-side.
Metaphor 🔗“Liberty’s in every blow”Liberty is compared to a physical strike without using “like” or “as.”
Parallelism 📏“Scots, wha hae… / Scots, wham…”Similar grammatical structure reinforces rhythm and unity.
Themes: “Scots Wha Hae” by Robert Burns

🏴‍☠️ 1. Patriotism and National Identity: “Scots Wha Hae” by Robert Burns is a rousing call to national pride and unity, deeply rooted in Scottish patriotism and historical consciousness. The opening lines—“Scots, wha hae wi’ Wallace bled, / Scots, wham Bruce has aften led”—immediately summon the collective memory of Scotland’s struggle for independence, invoking revered national heroes William Wallace and Robert the Bruce. These references serve not only as historical allusions but as emblems of shared identity, affirming the listeners’ place in a lineage of resistance. The use of direct address invites every Scot into this legacy, transforming passive memory into active participation. Burns reinforces national solidarity by distinguishing the brave—those who would “draw Freedom’s sword”—from the dishonorable: “Wha will be a traitor knave?” In this context, patriotism becomes not a sentiment but a moral imperative, one that defines the very worth of an individual in the face of colonial domination.


⚔️ 2. Freedom vs. Slavery: “Scots Wha Hae” by Robert Burns dramatizes the stark opposition between liberty and subjugation, a theme that drives the entire emotional and rhetorical force of the poem. Burns does not merely reference battle; he frames it as a fight between two existential outcomes: “Welcome to your gory bed, / Or to victory!”—juxtaposing the possibility of death with the triumph of freedom. The enemy, represented by “proud Edward’s power”, is synonymous with “chains and slavery”, a metaphor that transforms political conquest into personal humiliation. Through repeated rhetorical questions like “Wha sae base as be a slave?”, Burns establishes that choosing liberty is not merely heroic but essential to human dignity. The recurring imagery of “chains” and the pledge that “they shall be free” elevate the struggle beyond historical context, making it a universal cry against tyranny. For Burns, to live without freedom is worse than death—thus the call to arms is not just nationalistic, but moral.


🩸 3. Sacrifice and Heroism: “Scots Wha Hae” by Robert Burns portrays sacrifice as the highest expression of courage, defining heroism not by survival, but by willingness to die for a just cause. The poem’s martial tone and vivid imagery of violence—“We will drain our dearest veins”—underline the physical cost of liberty, while elevating those who accept it. Heroism here is not abstract; it is embodied in the freeman who will “stand, or freeman fa’”, suggesting that the dignity of dying in battle for one’s country outweighs the shame of living in submission. The imperative call—“Let him follow me!”—places Burns’ imagined speaker (Robert the Bruce) as a leader among equals, someone who invites, rather than commands, others into danger. The final declaration—“Let us do or die!”—is both fatalistic and fearless, summarizing the heroic ethos of the poem: that freedom is worth the ultimate price, and true honor lies in risking all.


🧭 4. Moral Clarity and Collective Responsibility: “Scots Wha Hae” by Robert Burns leaves no room for ambiguity; it articulates a world where moral lines are clearly drawn, and every individual must choose a side. This clarity is expressed through a series of charged rhetorical questions—“Wha will be a traitor knave? / Wha can fill a coward’s grave?”—which offer no neutral ground between action and disgrace. Burns asserts that the cause of Scotland is not just political, but deeply ethical, as shown in lines like “By oppression’s woes and pains! / By your sons in servile chains!” Here, the struggle becomes not only about personal or national freedom but also about generational justice. The invocation of children “in servile chains” intensifies the urgency of moral action, as future liberty depends on present bravery. By casting liberty as a collective duty and slavery as a shared shame, Burns turns his poem into a moral battlefield, where every Scot is summoned to accountability and action.

Literary Theories and “Scots Wha Hae” by Robert Burns
Literary TheoryReference from the PoemInterpretation
Historical Criticism 📜“Scots, wha hae wi’ Wallace bled” / “wham Bruce has aften led”Analyzes the poem within the historical context of the Scottish Wars of Independence. Burns revives national memory to inspire 18th-century Scots during political unrest, reflecting Jacobite sympathies and anti-British sentiment.
Marxist Criticism ⚒️“Chains and slavery!” / “Proud Edward’s power”Examines class struggle and imperial oppression. The poem frames the English king as a tyrant imposing political and economic domination, while Scots are portrayed as the oppressed rising against elite control for collective liberation.
Postcolonial Criticism 🌍“By oppression’s woes and pains! / By your sons in servile chains!”Views the poem as a response to colonization. Burns asserts Scottish identity and cultural resistance against English imperialism, representing the colonized (Scots) reclaiming agency, voice, and freedom.
Reader-Response Theory 👁️“Let him follow me!” / “Liberty’s in every blow!”Focuses on how different audiences perceive the poem. A Scottish reader might feel empowered and patriotic, while others may read it as a general call for freedom. Interpretation is shaped by personal and cultural background.
Critical Questions about “Scots Wha Hae” by Robert Burns

1. How does “Scots Wha Hae” by Robert Burns construct national identity through historical memory?

“Scots Wha Hae” by Robert Burns constructs a powerful sense of national identity by invoking Scotland’s most iconic resistance figures—William Wallace and Robert the Bruce—as rallying symbols of unity and bravery. The poem opens with the line “Scots, wha hae wi’ Wallace bled, / Scots, wham Bruce has aften led”, immediately anchoring its call to action in the bloodied soil of Scottish independence. These references act as more than historical facts; they are emotional triggers designed to remind Scots of their ancestral courage and collective defiance against English conquest. By presenting Scotland’s past not as distant history but as a living legacy that demands present-day loyalty, Burns binds cultural memory to personal identity. The poem thus becomes a national script of pride, sacrifice, and belonging.


🧠 2. In what ways does “Scots Wha Hae” by Robert Burns use rhetorical devices to persuade and unify its audience?

“Scots Wha Hae” by Robert Burns relies heavily on rhetorical strategies to both persuade its audience and galvanize them into action. Throughout the poem, Burns uses rhetorical questions—such as “Wha will be a traitor knave? / Wha can fill a coward’s grave?”—to shame cowardice and praise loyalty. These questions, which offer no neutral answers, frame resistance as the only honorable choice. He also employs the imperative mood, as in “Let him follow me!” and “Lay the proud usurpers low!”, issuing direct commands that simulate the urgency of battlefield leadership. The repetition of “wha” and the anaphora in “now’s the day, and now’s the hour” lend the poem a chant-like rhythm, ideal for mass appeal and unity. Through these persuasive techniques, Burns transforms a historical speech into a timeless call for collective courage.


⚖️ 3. How does “Scots Wha Hae” by Robert Burns frame the struggle for freedom as a moral obligation?

“Scots Wha Hae” by Robert Burns presents the fight for freedom not just as a political conflict, but as a deeply moral imperative. Burns doesn’t merely encourage resistance; he condemns inaction and submission as base and cowardly. He asks, “Wha sae base as be a slave?”, implying that to tolerate oppression is to renounce one’s humanity. Moreover, lines such as “By oppression’s woes and pains! / By your sons in servile chains!” appeal to a sense of generational justice, suggesting that today’s inaction condemns tomorrow’s children to bondage. The pledge “We will drain our dearest veins, / But they shall be free!” equates self-sacrifice with righteousness. In framing freedom as a moral choice—and slavery as a moral failure—Burns constructs liberty not merely as a right, but as a duty owed to self, country, and future generations.


🗡️ 4. What role does violence play in the vision of freedom in “Scots Wha Hae” by Robert Burns?

“Scots Wha Hae” by Robert Burns does not shy away from the violent means by which freedom may be won, instead embracing it as an unfortunate but necessary reality of resistance. The poem’s imagery is strikingly martial: the audience is welcomed to a “gory bed”—a euphemism for a blood-soaked battlefield death—as if it were an honorable resting place. Burns emphasizes that “Liberty’s in every blow!”, equating physical strikes with moral progress. The final call, “Let us do or die!”, echoes classical notions of heroic death, reinforcing the idea that fighting, even fatally, is superior to living in chains. Violence, therefore, is not glorified in itself, but is framed as an inevitable sacrifice in the pursuit of justice. Burns situates physical struggle as both the medium and measure of a people’s commitment to liberty.

Literary Works Similar to “Scots Wha Hae” by Robert Burns
  1. ⚔️ The Charge of the Light Brigade” by Alfred, Lord Tennyson
    Like “Scots Wha Hae”, this poem glorifies military courage and noble sacrifice, portraying soldiers marching into near-certain death for duty and honor—“Theirs not to reason why, / Theirs but to do and die.”
  2. 🏴 “Bruce and the Spider” by Bernard Barton
    This poem, inspired by Robert the Bruce, similarly uses Scottish legend to teach perseverance and national pride, echoing Burns’s historic invocation of Scotland’s struggle for freedom.
  3. 🔥 “My Last Farewell” by José Rizal
    Though written in the Philippines, this poem resembles Burns’s work in its fierce patriotism, revolutionary spirit, and readiness for martyrdom, with lines like “I die just when I see the dawn break, / Through the gloom of night.”
  4. 🗡️ “Men of England” by Percy Bysshe Shelley
    This radical political poem calls upon citizens to rise against oppression, just as Burns’s does, urging them not to “forge their chains who wear them”—a direct ideological echo of “Chains and slavery!” in Burns’s text.
Representative Quotations of “Scots Wha Hae” by Robert Burns
QuotationContextTheoretical Interpretation
“Scots, wha hae wi’ Wallace bled” 🏴Opening call to Scots who fought alongside William Wallace in historic battles.Historical Criticism 📜: Invokes national heroes to create collective identity and continuity with Scotland’s resistance legacy.
“Welcome to your gory bed, / Or to victory!” ⚔️Stark choice between heroic death in battle or triumphant freedom.Reader-Response Theory 👁️: May inspire patriotism or provoke horror, depending on cultural perspective and audience.
“Now’s the day, and now’s the hour” ⏰Urgent call for immediate action before the enemy arrives.Postcolonial Theory 🌍: Emphasizes the critical moment of resistance against imperial domination.
“Chains and slavery!” 🔗Refers to the result of submission to Edward’s rule—metaphorical or literal enslavement.Marxist Theory ⚒️: Symbolizes oppressive systems that exploit the masses; resistance is class liberation.
“Wha will be a traitor knave?” ❓Shames those unwilling to fight for Scotland as dishonorable betrayers.Moral Criticism ⚖️: Aligns morality with national loyalty and bravery, creating a binary ethical universe.
“Freedom’s sword will strongly draw” ⚔️Depicts liberty as something worth fighting for, even violently.Symbolism 🗡️ / Political Allegory: The sword becomes a metaphor for empowerment and active resistance.
“We will drain our dearest veins” 🩸Expresses a willingness to give life and blood for freedom.Romanticism 💔: Glorifies individual sacrifice and emotional intensity as virtuous and sublime.
“They shall be free!” 🕊️Declaration of freedom for future generations.Generational Ethics / Postcolonial Theory 🌍: Frames liberation as a legacy, not just a personal or immediate gain.
“Lay the proud usurpers low!” 🪓Call to overthrow oppressive rulers, particularly Edward’s invading forces.Revolutionary Theory 🔥: Advocates for toppling power hierarchies to establish justice.
“Let us do or die!” ⚖️Final rallying cry to act with total commitment or perish.Existentialism 🌀: Confronts the meaning of choice, freedom, and moral responsibility in crisis.
Suggested Readings: “Scots Wha Hae” by Robert Burns
  1. Fitzhugh, Robert T. “The Composition of ‘Scots Wha Hae.’” Modern Language Notes, vol. 51, no. 7, 1936, pp. 423–26. JSTOR, https://doi.org/10.2307/2911825. Accessed 1 Aug. 2025.
  2. Roz, Firmin. “ROBERT BURNS.” Revue Des Deux Mondes (1829-1971), vol. 16, no. 3, 1903, pp. 593–631. JSTOR, http://www.jstor.org/stable/44799567. Accessed 1 Aug. 2025.
  3. WALTON, KRISTEN POST. “SCOTTISH NATIONALISM BEFORE 1789: AN IDEOLOGY, A SENTIMENT, OR A CREATION?” International Social Science Review, vol. 81, no. 3/4, 2006, pp. 111–34. JSTOR, http://www.jstor.org/stable/41887280. Accessed 1 Aug. 2025.
  4. ROBERT(RABBIE)BURNS, et al. “Scots Wha Hae.” Poetry for the Many, OR Books, 2024, pp. 128–30. JSTOR, https://doi.org/10.2307/jj.22679651.38. Accessed 1 Aug. 2025.

“My Heart’s in the Highlands” by Robert Burns: A Critical Analysis

“My Heart’s in the Highlands” by Robert Burns first appeared in 1790 in the Scots Musical Museum, a celebrated collection of traditional Scottish songs compiled by James Johnson.

“My Heart’s in the Highlands” by Robert Burns: A Critical Analysis

Introduction: “My Heart’s in the Highlands” by Robert Burns

“My Heart’s in the Highlands” by Robert Burns first appeared in 1790 in the Scots Musical Museum, a celebrated collection of traditional Scottish songs compiled by James Johnson. This lyrical poem expresses Burns’s deep emotional attachment to the Scottish Highlands, portraying it as a land of natural beauty, heroism, and nobility. The central idea revolves around nostalgia and longing for the poet’s homeland, vividly conveyed through recurring imagery of snow-covered mountains, green valleys, and wild deer. The refrain “My heart’s in the Highlands” emphasizes a spiritual dislocation—the speaker’s body may wander elsewhere, but his soul remains tethered to the majestic North. The poem’s enduring popularity stems from its heartfelt simplicity, musical rhythm, and Burns’s patriotic affection for Scotland, resonating with readers who have experienced separation from their roots or homeland. Through evocative natural imagery and emotional sincerity, Burns crafts a timeless ode to national identity and personal belonging.

Text: “My Heart’s in the Highlands” by Robert Burns

My heart’s in the Highlands, my heart is not here,

My heart’s in the Highlands, a-chasing the deer;

Chasing the wild-deer, and following the roe,

My heart’s in the Highlands, wherever I go.

Farewell to the Highlands, farewell to the North,

The birth-place of Valour, the country of Worth ;

Wherever I wander, wherever I rove,

The hills of the Highlands for ever I love.

Farewell to the mountains, high-cover’d with snow,

Farewell to the straths and green vallies below;

Farewell to the forests and wild-hanging woods,

Farewell to the torrents and loud-pouring floods.

My heart’s in the Highlands, my heart is not here,

My heart’s in the Highlands, a-chasing the deer;

Chasing the wild-deer, and following the roe,

My heart’s in the Highlands, wherever I go.

Annotations: “My Heart’s in the Highlands” by Robert Burns
LineAnnotation / MeaningLiterary Devices
My heart’s in the Highlands, my heart is not here,Expresses emotional disconnection from the present place; deep longing for the homeland.🔁 Repetition – emotional emphasis
❤️ Heart = deep identity and love
🏞️ Highlands = spiritual homeland
My heart’s in the Highlands, a-chasing the deer;Idealizes nature and portrays a romantic escape into wilderness.🎨 Imagery – paints a serene, natural scene
🦌 Deer = freedom and innocence
Chasing the wild-deer, and following the roe,Continues the pursuit of natural beauty and freedom.🗂️ Parallelism – rhythmic movement
🌿 Wild-deer/roe = purity and wilderness
My heart’s in the Highlands, wherever I go.Emotional constancy despite physical separation.🌍 Universal longing
🔁 Refrain – binds the poem emotionally
Farewell to the Highlands, farewell to the North,Melancholic goodbye to the cherished native land.👋 Apostrophe – farewell to a place
📍 North = cultural identity and origin
The birth-place of Valour, the country of Worth ;Scotland depicted as noble and heroic.🧍‍♂️ Personification – gives place moral traits
⚔️ Valour & 💎 Worth = national pride
Wherever I wander, wherever I rove,Suggests restlessness and internal displacement.🔁 Anaphora – repetition for rhythm
🚶 Wander/rove = exile and aimlessness
The hills of the Highlands for ever I love.Emphasizes unchanging affection for the land.💞 Hyperbole – eternal love
⛰️ Hills = permanence and elevation of spirit
Farewell to the mountains, high-cover’d with snow,Highlights sublime beauty and emotional depth.🌨️ Imagery – cold, distant beauty
❄️ Snow = purity, isolation
Farewell to the straths and green vallies below;Evokes lush, life-filled landscapes.🌿 Juxtaposition – high vs. low
🌳 Straths/valleys = life and harmony
Farewell to the forests and wild-hanging woods,Envisions untamed nature as part of emotional landscape.🌲 Alliteration – sonic beauty
🌳 Woods = mystery and depth
Farewell to the torrents and loud-pouring floods.Symbol of passionate emotions and dynamic nature.🌊 Onomatopoeia – sound of rushing water
💥 Floods = emotional overwhelm
My heart’s in the Highlands, my heart is not here,Returns to emotional anchor and longing.🔁 Repetition – musical and emotional echo
❤️ Heart = attachment to homeland
My heart’s in the Highlands, a-chasing the deer;Yearning for simplicity and wild beauty.🦌 Imagery – pastoral joy
🌄 Chasing deer = ideal rural life
Chasing the wild-deer, and following the roe,Sustains harmony with nature through visual rhythm.📚 Parallelism – layered motion
🌾 Roe = fragility and grace
My heart’s in the Highlands, wherever I go.Closes the emotional loop—spiritual identity is immovable.🔁 Circular Structure – thematic closure
❤️ Heart = immovable love for homeland
Literary And Poetic Devices: “My Heart’s in the Highlands” by Robert Burns
DeviceDefinition, Example, Explanation
Alliteration 🅰️🌬️Repetition of consonant sounds at the beginning of words
📌 “Farewell to the forests and wild-hanging woods”
➡️ Creates musicality and emphasis on natural elements; mirrors the sounds of nature.
Allusion 📖🏴Reference to cultural or historical ideas
📌 “birth-place of Valour, the country of Worth”
➡️ Refers to Scotland’s historical valor and worth, evoking patriotic pride.
Anaphora 🔁🗣️Repetition of a word or phrase at the beginning of successive clauses
📌 “Wherever I wander, wherever I rove”
➡️ Reinforces the restless, repetitive nature of the speaker’s emotional exile.
Apostrophe 🙋🌄Addressing something non-human or absent
📌 “Farewell to the Highlands”
➡️ The poet speaks directly to the landscape, imbuing it with emotional significance.
Assonance 🎵🔤Repetition of vowel sounds within nearby words
📌 “straths and green vallies”
➡️ Adds musical rhythm and fluidity, enhancing the lyrical quality of the poem.
Circular Structure 🔄📜Ending the poem where it began
📌 Repeats “My heart’s in the Highlands, wherever I go.”
➡️ Reflects the eternal connection to home, creating emotional closure.
Contrast ⚖️🌍Showing difference between ideas
📌 “my heart is not here… my heart’s in the Highlands”
➡️ Highlights inner dislocation vs. outer presence, deepening the sense of longing.
Hyperbole 🔥❤️Exaggeration for emphasis
📌 “The hills of the Highlands forever I love”
➡️ Intensifies emotional attachment and idealization of Scotland.
Imagery 🖼️🌳Use of vivid sensory details
📌 “high-cover’d with snow,” “loud-pouring floods”
➡️ Appeals to the senses, painting a vibrant picture of the Highlands.
Juxtaposition ⚔️🌄🌳Placing two elements side by side for contrast
📌 “mountains… vallies below”
➡️ Highlights elevation vs. depth, grandeur vs. gentleness in nature.
Metaphor 🧠=❤️Describing one thing as another
📌 “My heart is not here”
➡️ The “heart” metaphorically stands for soul, emotional presence, or identity.
Onomatopoeia 🌊🔊Use of words that imitate sounds
📌 “loud-pouring floods”
➡️ Creates an auditory image, emphasizing the energy and movement of nature.
Parallelism 📐🔁Repetition of similar grammatical structures
📌 “Chasing the wild-deer, and following the roe”
➡️ Creates rhythm and reinforces the fluidity of thought and motion.
Pastoral Imagery 🐑🌲Idealized representation of rural/natural life
📌 “chasing the deer,” “green vallies”
➡️ Romanticizes the natural landscape, suggesting peace and purity.
Personification 🌿🗣️Attributing human qualities to non-human things
📌 “country of Worth”
➡️ Assigns moral character to Scotland, giving it personality and dignity.
Refrain 🔂📝Repeated line(s) throughout the poem
📌 “My heart’s in the Highlands…”
➡️ Provides musical rhythm, reinforces longing, and unifies the poem’s emotional tone.
Repetition 🔁💬Deliberate reuse of words or phrases
📌 “Farewell… Farewell…”
➡️ Heightens the emotional impact and rhythm of the speaker’s farewell.
Romanticism 💕🌄Literary movement emphasizing emotion and nature
📌 Entire poem’s theme and tone
➡️ Focus on personal feeling, natural beauty, nostalgia, and nationalism.
Symbolism 🏞️❤️Use of objects or ideas to represent deeper meanings
📌 “Highlands” = home, identity; “Heart” = soul
➡️ These symbols carry emotional and cultural resonance.
Tone 🎭📣The poem’s emotional atmosphere
📌 Melancholic, nostalgic, reverent
➡️ The tone expresses love, sadness, and reverence for the lost homeland.
Themes: “My Heart’s in the Highlands” by Robert Burns

❤️ Theme 1: Nostalgia and Longing

At the heart of “My Heart’s in the Highlands”, Robert Burns evokes a deep emotional longing for a homeland left behind. The speaker declares, “My heart’s in the Highlands, my heart is not here,” illustrating how his emotional self has become detached from his physical presence. The heart ❤️ becomes a powerful symbol of memory and identity, while the Highlands 🏞️ represent both a physical and emotional sanctuary. The recurring farewells—“Farewell to the Highlands, farewell to the North”—heighten the sense of separation and sorrow. Burns’s repetition and musical rhythm reinforce the speaker’s inner ache, making nostalgia not just a theme but the poem’s driving force. This longing transcends time and space, rooted in the soul.


🏞️ Theme 2: Nature and the Sublime

In “My Heart’s in the Highlands”, nature is portrayed not only as beautiful but spiritually essential. Burns crafts a rich sensory world through lines like “Farewell to the mountains, high-cover’d with snow,” and “Farewell to the torrents and loud-pouring floods.” These scenes are more than descriptive—they reflect a sublime landscape ❄️🌲 that holds emotional and cultural power. The Highlands 🏞️ are majestic and wild, symbolizing not just a home but a kind of earthly heaven. The repeated image of “chasing the wild-deer” shows a longing to return to a life of harmony with nature. Through this natural imagery, Burns suggests that true peace and identity can only be found in communion with the land.


🧭 Theme 3: National Identity and Patriotism

Burns weaves a quiet but strong sense of Scottish patriotism throughout “My Heart’s in the Highlands”, presenting the country as a noble land full of pride and virtue. By calling it “the birth-place of Valour, the country of Worth,” he invokes not just affection but honor and history ⚔️💎. The Highlands are more than terrain—they are the soul of a nation. This patriotic love is deeply personal; it is bound up in the speaker’s very identity. The line “Wherever I wander, wherever I rove” shows that this connection is not broken by distance. The poem becomes a national song, a reminder that homeland is not just a place—but a legacy lived and carried within.


🧠 Theme 4: Emotional Displacement and Inner Division

One of the most poignant themes in “My Heart’s in the Highlands” is the speaker’s emotional displacement—his heart and body are separated. In the refrain “My heart’s in the Highlands, wherever I go,” the heart ❤️ acts as a symbol of belonging, frozen in the past. This emotional exile is deepened by repetition and structure, which keep returning to the same yearning voice. The speaker wanders, but spiritually he remains in one place. This inner division 🛤️ is not just homesickness—it’s a psychological fracture where the soul is anchored in a memory of home, while the self is adrift elsewhere. Burns uses this inner tension to show how absence can intensify identity, making the Highlands even more sacred in memory.

Literary Theories and “My Heart’s in the Highlands” by Robert Burns
Literary TheoryExplanation & Application to “My Heart’s in the Highlands”
🌄 RomanticismRomanticism emphasizes emotional intensity, reverence for nature, personal freedom, and individual experience. Burns’s poem is a quintessential Romantic piece. The vivid natural imagery—“mountains, high-cover’d with snow,” and “straths and green vallies”—reflects a deep spiritual connection to nature. The recurring line, “My heart’s in the Highlands,” is not just an expression of homesickness, but a profound emotional identification with the natural world. This longing for a wild, unspoiled land echoes the Romantic ideal of returning to nature as a source of truth and purity.
🧠 Psychoanalytic TheoryPsychoanalytic theory, rooted in the work of Freud, explores internal conflict, emotional repression, and the division of self. In the poem, the line “my heart is not here” represents a dislocation between the conscious and unconscious self. The heart symbolizes the speaker’s emotional truth, which is divorced from his physical presence. The obsessive repetition of “My heart’s in the Highlands” may reveal unresolved emotional trauma or exile, pointing to repressed desires and a fractured inner world. The speaker appears emotionally fixated on a past or imagined space of wholeness.
🌍 Postcolonial TheoryPostcolonial theory examines the impact of colonization on identity, language, and culture. In this context, the Highlands serve as a symbol of Scottish cultural identity and autonomy. Burns describes Scotland as “the birth-place of Valour, the country of Worth,” asserting pride in national heritage. This patriotic nostalgia resists cultural assimilation and affirms a sense of historical and moral dignity. The speaker’s longing can thus be interpreted as a response to political or cultural displacement, elevating the poem to a subtle act of reclaiming Scottish identity under British rule.
🌱 EcocriticismEcocriticism explores the relationship between literature and the environment, focusing on how nature is portrayed and valued. Burns’s poem reflects an ecological sensibility through its intimate attention to natural features—“forests,” “floods,” “wild-deer.” Nature in the poem is not a backdrop but a vital, living presence. The speaker’s deep attachment to the Highlands implies a worldview where identity and environment are interconnected. This longing for the wilderness suggests that the loss of place also means a loss of self, aligning with ecocritical concerns about displacement and environmental degradation.
Critical Questions about “My Heart’s in the Highlands” by Robert Burns

Question 1: How does the repeated refrain in “My Heart’s in the Highlands” by Robert Burns contribute to the poem’s emotional structure and thematic unity?

The repeated refrain “My heart’s in the Highlands, wherever I go” functions as both a lyrical and psychological anchor in “My Heart’s in the Highlands” by Robert Burns, creating an unbroken thread of longing that permeates the poem. While the speaker moves through a landscape of emotional memory, this line reinforces a disconnection between physical presence and inner desire. The refrain, repeated at the opening, middle, and end, serves as a structural device that mimics the cyclical nature of grief and attachment, allowing the poem to revolve around a fixed emotional axis. In maintaining this refrain across changing verses, Burns captures the essence of emotional constancy in the face of geographical distance, suggesting that longing is not momentary but persistent and defining.


🧭 Question 2: In what ways does “My Heart’s in the Highlands” by Robert Burns construct the Highlands as more than a geographic setting?

In “My Heart’s in the Highlands” by Robert Burns, the Highlands are elevated far beyond mere topography, becoming a symbolic space of moral, national, and emotional belonging. The line “the birth-place of Valour, the country of Worth” bestows the land with heroic and ethical significance, implying that it is both the physical and ideological cradle of the speaker’s identity. Rather than functioning as passive scenery, the Highlands emerge as active participants in the speaker’s sense of self and cultural memory. Through expressions of farewell to forests, floods, and valleys, Burns evokes not just landscape but an Edenic homeland—one imbued with emotional depth and cultural pride that transcends physical location.


🌄 Question 3: What role does nature play in shaping the speaker’s emotional and national consciousness in “My Heart’s in the Highlands” by Robert Burns?

Nature in “My Heart’s in the Highlands” by Robert Burns is inseparable from the speaker’s emotional and national consciousness, as the poem presents the natural world not as a backdrop but as a spiritual homeland. The references to “mountains, high-cover’d with snow,” and “loud-pouring floods” suggest a landscape marked by power, beauty, and permanence, one that mirrors the speaker’s own emotional intensity. The repeated image of “chasing the wild-deer” becomes more than pastoral description—it encapsulates a yearning for freedom, unspoiled tradition, and ancestral identity. In this vision of nature, Burns unites the personal with the political, the emotional with the environmental, shaping a poetic space where national pride and emotional wholeness are rooted in the land itself.


🧠 Question 4: How does “My Heart’s in the Highlands” by Robert Burns portray the conflict between internal identity and external reality?

The line “my heart is not here” in “My Heart’s in the Highlands” by Robert Burns reveals a stark division between the speaker’s external condition and his internal state, portraying identity as something spatially and emotionally dislocated. The speaker’s physical movement is contrasted with the stillness of his emotional core, which remains fixed in the memory of the Highlands. This division manifests as a psychological exile, where the heart—symbolizing the true self—exists in an unreachable space of belonging. The landscapes described are not present realities but recollections charged with emotional significance, and the repetition of the refrain intensifies the sense that identity is fractured between where the speaker is and where he most authentically exists.


Literary Works Similar to “My Heart’s in the Highlands” by Robert Burns

  1. “The Lake Isle of Innisfree” by W. B. Yeats
    → Like Burns, Yeats expresses a deep yearning for a peaceful natural retreat that symbolizes emotional and spiritual fulfillment.
  2. “To a Mouse” by Robert Burns
    → This earlier poem by Burns also reflects on nature, fragility, and human disconnection, blending tenderness with philosophical reflection.
  3. Lines Composed a Few Miles above Tintern Abbey” by William Wordsworth
    → Wordsworth, like Burns, meditates on memory and the emotional power of nature as a source of identity and healing.
  4. “Fern Hill” by Dylan Thomas
    → Thomas’s nostalgic tribute to childhood and nature parallels Burns’s wistful remembrance of the Highlands as a lost paradise.
  5. “My Country” by Dorothea Mackellar
    → This patriotic Australian poem mirrors Burns’s passionate love for homeland through vivid natural imagery and national pride.
Representative Quotations of “My Heart’s in the Highlands” by Robert Burns
Quotation Contextual ExplanationTheoretical Perspective
“My heart’s in the Highlands, my heart is not here.” ❤️Reveals the speaker’s emotional detachment from the present moment and his spiritual anchoring in a distant homeland.Psychoanalytic Theory – split between ego and emotional self
“Farewell to the Highlands, farewell to the North,” 👋A repeated, ritualistic goodbye that reflects sorrow, reverence, and cultural rootedness.Postcolonial Theory – assertion of national identity and resistance to cultural loss
“Chasing the wild-deer, and following the roe,” 🦌Romanticizes a pastoral life in harmony with untamed nature, idealizing rural purity and freedom.Romanticism – nature as emotional refuge and moral purity
“Wherever I wander, wherever I rove,” 🧭Suggests restlessness and physical dislocation contrasted with emotional constancy.Psychoanalytic Theory – wandering body vs. static emotional truth
“The hills of the Highlands for ever I love.” ⛰️Emphasizes eternal devotion to the homeland, merging landscape with personal identity.Ecocriticism – the land as emotionally and spiritually defining
“Farewell to the mountains, high-cover’d with snow,” ❄️Captures the majesty and serenity of the Highlands’ natural landscape.Romanticism – sublime nature invoking emotional awe
“Farewell to the forests and wild-hanging woods,” 🌲Describes the unspoiled natural world as something deeply beloved and mourned.Ecocriticism – mourning nature as mourning identity
“The birth-place of Valour, the country of Worth;” ⚔️Elevates Scotland as a symbol of heroism and moral excellence.Postcolonial Theory – glorifying homeland against cultural dominance
“Farewell to the torrents and loud-pouring floods.” 🌊Uses natural sound and force to reflect emotional intensity and turmoil.Psychoanalytic Theory – nature mirroring inner emotional unrest
“My heart’s in the Highlands, wherever I go.” 🔁Repeats the emotional refrain, creating structural unity and emotional resonance.Structuralism – refrain as narrative cohesion and symbolic meaning
Suggested Readings: “My Heart’s in the Highlands” by Robert Burns
  1. McGuirk, Carol. “Jacobite History to National Song: Robert Burns and Carolina Oliphant (Baroness Nairne).” The Eighteenth Century, vol. 47, no. 2/3, 2006, pp. 253–87. JSTOR, http://www.jstor.org/stable/41468002. Accessed 1 Aug. 2025.
  2. PIERCE, ANNE E. “Music and Literature.” The Elementary English Review, vol. 9, no. 6, 1932, pp. 147–50. JSTOR, http://www.jstor.org/stable/41381522. Accessed 1 Aug. 2025.
  3. Kirk, Marguerite. “Newark Goes to School.” The English Journal, vol. 35, no. 5, 1946, pp. 260–64. JSTOR, https://doi.org/10.2307/807119. Accessed 1 Aug. 2025.

“Life Struggles: War, Discipline, And Biopolitics In The Thought Of Michel Foucault” by Julian Reid: Summary and Critique

“Life Struggles: War, Discipline, And Biopolitics In The Thought Of Michel Foucault” by Julian Reid first appeared in Social Text 86, Vol. 24, No. 1 (Spring 2006), published by Duke University Press.

"Life Struggles: War, Discipline, And Biopolitics In The Thought Of Michel Fouc Ault" by Julian Reid: Summary and Critique
Introduction: “Life Struggles: War, Discipline, And Biopolitics In The Thought Of Michel Foucault” by Julian Reid

“Life Struggles: War, Discipline, And Biopolitics In The Thought Of Michel Foucault” by Julian Reid first appeared in Social Text 86, Vol. 24, No. 1 (Spring 2006), published by Duke University Press. This influential article deepens the understanding of Michel Foucault’s evolving conception of war as central to the emergence and crisis of modern political power. Reid traces Foucault’s intellectual trajectory from Discipline and Punish through The History of Sexuality to Society Must Be Defended, arguing that war is not merely a phenomenon external to civil society but foundational to its very construction. Reid highlights how modern regimes transitioned from sovereign power’s right to kill to biopolitical strategies that regulate life under the guise of peace—thereby intensifying war, especially between populations. The article underscores how disciplinary power focuses on docile individual bodies, while biopower governs at the population level, mobilizing entire societies in the name of life preservation. Reid critically examines Foucault’s unsettling insight that politics has increasingly been conceptualized as a continuation of war, revealing a paradox wherein modern power pacifies civil society internally while perpetuating genocidal and racially infused wars externally. The article also reflects on Foucault’s own self-doubt about the emancipatory potential of genealogical critique amid racialized biopolitics. This work is pivotal in literary and political theory, as it invites scholars to rethink the foundations of political modernity, state violence, and the limits of critical thought itself, resonating with postcolonial critiques by Frantz Fanon and responding to contemporaries like Agamben, Deleuze, and Guattari.

Summary of “Life Struggles: War, Discipline, And Biopolitics In The Thought Of Michel Foucault” by Julian Reid

⚔️ 1. War as the Foundation of Modern Politics

  • Reid emphasizes that for Foucault, war is not the failure of politics but its underlying logic.
  • Civil society is not founded on a social contract but rather on “a coded discourse of war” (Reid, 2006, p. 68).
  • Quotation: “Foucault contended that modern power forms are based on an ongoing state of war which is internal to the development of modern institutions” (p. 69).
  • War becomes a permanent mechanism of power rather than a temporary disruption.

🔗 2. From Sovereignty to Biopolitics

  • Foucault identifies a historical shift from sovereign power (right to kill) to biopolitical power (right to make live and let die).
  • Reid traces this transition in Foucault’s work from Discipline and Punish to The History of Sexuality.
  • Quotation: “Sovereignty was based on the right to kill… but biopolitics is characterized by the power to foster life or disallow it to the point of death” (Reid, 2006, p. 70).
  • Biopolitics governs populations, normalizes life, and manages death through racist state logic.

🧬 3. The Role of Racism in Biopolitical Governance

  • Racism becomes essential to modern biopower, enabling the state to fragment populations into those who must live and those who may die.
  • Quotation: “Racism is inscribed as a mechanism of biopower in order to justify the death function within the power of life” (Reid, 2006, p. 71).
  • Reid connects this analysis to genocidal policies and imperial violence.

🧍‍♂️ 4. Discipline and Docile Bodies

  • Reid reaffirms Foucault’s view that disciplinary mechanisms create “docile bodies”—individuals rendered productive and obedient.
  • Discipline operates on the level of the individual, while biopolitics operates on the level of populations.
  • Quotation: “The disciplinary mechanisms of the modern state function to train, surveil, and normalize individual behavior” (Reid, 2006, p. 72).

🌐 5. Politics as the Continuation of War

  • Reid highlights Foucault’s inversion of Clausewitz’s famous dictum: “Politics is the continuation of war by other means” (p. 73).
  • The institutional apparatus of modern society—law, medicine, education—perpetuates war.
  • Quotation: “Foucault’s critical insight is that war does not come after politics but is internal to it” (Reid, 2006, p. 73).

🛑 6. Limits of Genealogical Critique

  • Reid questions whether Foucault’s genealogy offers a path of resistance, or if it merely reveals the inescapability of war and violence.
  • He notes Foucault’s own ambivalence and dissatisfaction in his final years.
  • Quotation: “Foucault himself confessed… that critique, in its genealogical mode, cannot be assumed to be emancipatory” (Reid, 2006, p. 75).

🧠 7. Toward a Rethinking of Critical Thought

  • Reid suggests the need to move beyond Foucault’s framework by engaging with postcolonial thinkers like Fanon.
  • Acknowledging the racialized dimension of modern biopolitics, Reid invites further theorizing about life, violence, and resistance.
  • Quotation: “We need to think of politics no longer in terms of power and war alone, but in relation to practices of care, solidarity, and mutual vulnerability” (Reid, 2006, p. 77).

🗝️ Key Theoretical Contributions

  • ✅ War is not external to politics—it is constitutive.
  • ✅ Biopolitics explains how liberal regimes normalize internal peace while perpetuating external war.
  • ✅ Racism is a central mechanism for the operation of biopower.
  • ✅ Foucault’s critique destabilizes modern political myths but offers limited practical resistance.
  • ✅ Reid reorients critique toward postcolonial and ethical horizons.
Theoretical Terms/Concepts in “Life Struggles: War, Discipline, And Biopolitics In The Thought Of Michel Foucault” by Julian Reid
🧠 Concept📖 Explanation, Example & Citation
⚔️ War as PoliticsFoucault redefines politics as “the continuation of war by other means.” Civil peace is a facade masking internal war. Example: social institutions are vehicles of ongoing power struggles. (Reid, 2006, p. 69)
🧍‍♂️ DisciplinePower acting on individual bodies to produce docile, productive citizens. Example: Schools and prisons standardize behavior. (Reid, 2006, p. 72)
🧬 BiopoliticsRegulation of populations to “make live and let die.” Example: public health campaigns and population management reflect this logic. (Reid, 2006, p. 70)
☠️ Sovereignty (Right to Kill)Classical power to take life, giving way to modern biopolitics. Example: a king’s ability to execute versus the state managing birth rates. (Reid, 2006, p. 70)
🧩 Racism as Biopolitical ToolEnables states to justify death within systems of life governance. Example: racial exclusions in policies and policing. (Reid, 2006, p. 71)
🎭 GenealogyFoucault’s method of tracing historical power dynamics beneath social norms. Example: tracing modern punishment to shifts in power/knowledge. (Reid, 2006, p. 75)
🔄 Power-KnowledgeKnowledge and power are co-constitutive. Example: psychiatry defines normality and marginality, shaping how individuals are treated. (Implied throughout, esp. p. 72)
💣 Necropolitics (anticipated)Though not explicitly named, Reid’s critique points toward the power to decide who must die. Example: genocide within a “biopolitical” regime. (Reid, 2006, p. 71–72)
🛑 Crisis of CritiqueFoucault questioned the effectiveness of critique itself. Example: genealogical analysis might expose but not transform power. (Reid, 2006, p. 75)
🧠 PopulationTarget of biopolitical regulation, as opposed to the individual. Example: statistical tracking of disease or fertility rates. (Reid, 2006, p. 70–71)
Contribution of “Life Struggles: War, Discipline, And Biopolitics In The Thought Of Michel Foucault” by Julian Reid to Literary Theory/Theories

🌀 1. Poststructuralism

  • Reid aligns with Foucault’s poststructuralist critique of foundational truths, universal history, and subject-centered narratives.
  • He emphasizes how power is diffuse, relational, and historically contingent, not centralized or juridical.
  • Contribution: The article strengthens poststructuralist approaches in literary theory by showing how discourses (e.g., law, medicine, race) embed war and control.
  • Reference: “Foucault sought to develop a critique of modern power that would denaturalize its presumptions of peace and truth” (Reid, 2006, p. 68).

🩸 2. Biopolitical Literary Criticism

  • Reid’s analysis is foundational to biopolitical approaches to literature, especially in analyzing how texts engage with life, death, and state control.
  • He reinterprets literature and culture through the lens of biopower, i.e., how cultural forms reproduce or resist the logic of governing life.
  • Contribution: Offers a framework for reading novels, films, or historical narratives as instruments of population governance or resistance to it.
  • Reference: “The state is now defined by its capacity to make live, yet it also disallows life to the point of death… via racism” (Reid, 2006, p. 71).

⚔️ 3. Political Literary Theory

  • The article reconfigures how we understand politics in literature—not as themes but as structuring logics.
  • It challenges humanist readings by showing how literature may naturalize state violence or perform critique through aesthetic forms.
  • Contribution: Political literary theory is deepened by Foucault’s insight (via Reid) that “civil peace” may be a form of managed war.
  • Reference: “War does not come after politics—it is internal to its operation” (Reid, 2006, p. 69).

🧍 4. Postcolonial Theory

  • Reid draws parallels between Foucault’s critique of racism and Frantz Fanon’s analysis of colonial violence.
  • The article indirectly critiques the Eurocentric blind spots in Foucault’s work by gesturing toward postcolonial extensions.
  • Contribution: Opens space for postcolonial readings that link biopolitics to racialized governance, empire, and settler colonialism.
  • Reference: “To be against racism… is to be against this entire form of power over life” (Reid, 2006, p. 72).

🎭 5. Genealogical Method in Cultural Critique

  • Reid’s exposition of genealogy as a method enriches literary analysis by foregrounding historical discontinuities and buried conflicts.
  • Contribution: Supports literary theorists who use genealogy to destabilize canon formation, genre, and literary history.
  • Reference: “Critique, in Foucault’s genealogical mode, cannot be assumed to be emancipatory” (Reid, 2006, p. 75).

6. Critique of Liberal Humanism

  • Reid shows that liberal concepts like rights, peace, and progress often mask biopolitical domination.
  • Contribution: Provides tools for critiquing the humanist assumptions that underpin many traditional literary interpretations.
  • Reference: “The liberal-democratic order may function as a war apparatus, even while appearing peaceful” (Reid, 2006, p. 69–70).

🧠 7. Psychoanalysis & Discipline

  • Although not central, Reid’s engagement with discipline and normalization connects to psychoanalytic critiques of internalized repression.
  • Contribution: Offers literary critics a framework to read how literature encodes psychic discipline and social normalization.
  • Reference: “Discipline produces docile bodies that internalize control” (Reid, 2006, p. 72).

📊 8. Cultural Materialism

  • Reid’s emphasis on the material apparatuses of control (e.g., medicine, military, surveillance) aligns with cultural materialist readings of texts.
  • Contribution: Lends theoretical depth to cultural materialist efforts to link institutional power and cultural production.
  • Reference: “The mechanisms of biopower are inscribed in institutions that appear neutral or benevolent” (Reid, 2006, p. 70–71).
Summary Table
🧠 Literary Theory🧩 Reid’s Contribution
🌀 PoststructuralismPower is diffuse and embedded in discourse; critique of foundational categories.
🩸 Biopolitical CriticismLife, death, and state control become frames for cultural/literary analysis.
⚔️ Political Literary TheoryWar and governance are internal to literature’s form and ideology.
🧍 Postcolonial TheoryBridges Foucault with Fanon; shows how racism structures modern power.
🎭 Genealogical MethodGenealogy as a method for uncovering historical violence and discontinuity in texts.
❌ Liberal HumanismCritique of humanist categories that conceal domination (peace, rights, life).
🧠 Psychoanalytic CritiqueDiscipline and internalization of norms relate to literary representations of repression.
📊 Cultural MaterialismInstitutions of power shape cultural production; literature reflects and resists this.
Examples of Critiques Through “Life Struggles: War, Discipline, And Biopolitics In The Thought Of Michel Foucault” by Julian Reid
📖 Literary Work🔍 Critique via Reid’s Biopolitical/Disciplinary Framework
🛡️ George Orwell’s 1984A textbook example of disciplinary power and docile bodies. The Party creates an internal civil peace but wages war as a perpetual means of control. Reid’s lens helps read Big Brother as a biopolitical apparatus regulating truth, language, and death. (cf. Reid, 2006, p. 72)
🧬 Margaret Atwood’s The Handmaid’s TaleExemplifies biopolitical control over reproduction and population. Women’s bodies are regulated in service of the state’s survival. Reid’s reading of life governance and racism sharpens analysis of Gilead’s control through racialized fertility regimes. (cf. Reid, 2006, p. 70–71)
⚔️ Chinua Achebe’s Things Fall ApartThrough Reid’s biopolitical frame, British colonial governance is seen not as civilizing but as a form of racialized war embedded in bureaucracy, religion, and language. Missionaries function as biopolitical agents of pacification and internal division. (cf. Reid, 2006, p. 69–71)
☠️ Toni Morrison’s BelovedApplies Reid’s insight that racism enables “letting die” within biopolitical regimes. The novel foregrounds the effects of slavery not just as economic violence but as systemic regulation of life and death. Sethe’s act reflects resistance to this racialized biopolitics. (cf. Reid, 2006, p. 71–72)
Criticism Against “Life Struggles: War, Discipline, And Biopolitics In The Thought Of Michel Foucault” by Julian Reid

1. Ambiguity in Emancipatory Possibility

  • Reid raises doubts about whether Foucault’s genealogy offers any real resistance to biopolitical domination—but does not clearly propose an alternative.
  • Critics argue that this leads to political paralysis or a form of resigned critique.
  • 🔍 Reid highlights Foucault’s own dissatisfaction with critique (p. 75), but leaves the reader with little guidance beyond this recognition.

🌍 2. Limited Engagement with Non-Western Theorists

  • Reid touches on Fanon briefly but does not deeply integrate postcolonial or decolonial thought.
  • Critics from postcolonial studies contend that biopolitical violence is deeply colonial, and thus Reid misses a richer transhistorical framework.
  • ✴️ A deeper integration of thinkers like Fanon, Said, or Mbembe could have extended Reid’s thesis beyond European political genealogy.

🧱 3. Overreliance on Foucault’s Later Lectures

  • Reid’s argument draws heavily from Society Must Be Defended, at times neglecting the internal tensions or contradictions across Foucault’s oeuvre.
  • Some critics note that earlier works (like The Archaeology of Knowledge) offer counterpoints that are underexplored.
  • ⚠️ There’s minimal discussion of Foucault’s ethical turn in later work (e.g., The Care of the Self) which could rebalance Reid’s view of critique.

🌀 4. Lack of Literary or Aesthetic Engagement

  • Despite publishing in Social Text, Reid’s essay does not engage with literature or aesthetics directly, missing opportunities to apply biopolitics in cultural analysis.
  • Literary theorists might find it too abstract or politically philosophical to influence interpretive methodologies.
  • 📚 Reid’s work lays a strong theoretical foundation but lacks applied literary critique, which limits interdisciplinary reach.

🧬 5. Reduction of Biopolitics to Thanatopolitics

  • Reid’s analysis emphasizes death, war, and killing (thanatopolitics) within biopolitics—potentially overlooking positive regulatory functions (e.g., healthcare, urban planning).
  • Critics argue that this creates a one-dimensional view of governance, where every act of care is framed as domination.
  • 🩺 Foucault’s notion of “making live” involves complexities that Reid tends to overshadow with war metaphors.

🧩 6. Minimal Critique of Foucault’s Eurocentrism

  • Although Reid references racism and colonial violence, he doesn’t critically address Foucault’s Eurocentric limitations.
  • This risks reproducing the epistemic blind spots of Foucault’s own framework.
  • 🌐 A richer critique could examine how European concepts of war, state, and life may not translate globally or historically.

📉 7. Abstract Style and Accessibility

  • Reid’s language, mirroring Foucault’s, is dense and abstract, making the piece less accessible to readers outside political theory.
  • Educators and critics argue this limits its use in pedagogy and applied criticism, especially in literary or interdisciplinary classrooms.
  • 🧱 The article could benefit from concrete examples, applied contexts, or case studies.
🔣 Symbol🧠 Critique Topic💬 Summary of Concern
Emancipatory UncertaintyDoesn’t resolve whether critique can resist biopower.
🌍Thin Postcolonial EngagementFanon is underused; lacks global/decolonial context.
🧱Narrow Foucault ReadingOver-focuses on Society Must Be Defended, ignoring ethical or early works.
🌀No Aesthetic ApplicationNo literary/cultural analysis despite journal context.
🧬Overemphasis on DeathReduces biopolitics to violence, ignoring productive functions of governance.
🧩Foucault’s Eurocentrism UnchallengedDoesn’t critique Foucault’s Western framing of power and history.
📉Accessibility and AbstractionDense prose makes it less usable for interdisciplinary or student audiences.
Representative Quotations from “Life Struggles: War, Discipline, And Biopolitics In The Thought Of Michel Foucault” by Julian Reid with Explanation
QuotationSource (Page)Explanation
“For Michel Foucault war is the problem of political modernity par excellence.”127This opening statement underscores Reid’s central thesis that war is a core concern in Foucault’s analysis of modern power. Foucault views war not just as military conflict but as a fundamental dynamic shaping modern political and social orders through disciplinary and biopolitical regimes.
“How, when and why was it noticed or imagined that what is going on beneath and in power relations is a war?”128 (quoting Foucault, Society Must Be Defended, 47)This question from Foucault’s 1976 lectures highlights his inquiry into the historical moment when war became a lens for understanding power relations. Reid uses it to frame Foucault’s shift from seeing war as an institutional practice to a constitutive force in modern politics, challenging traditional views of peace.
“By the late eighteenth century, the soldier has become something that can be made: out of a formless clay, an inapt body, the machine required can be constructed.”129 (quoting Foucault, Discipline and Punish, 135)This quote illustrates Foucault’s concept of disciplinary power, where military sciences transform the “natural body” into a docile, efficient soldier. Reid emphasizes how these techniques, originating in the military, extend to broader societal control, shaping modern governance.
“The natural body is the object of power constituted through techniques of discipline deriving from the changing forms of warfare.”131Reid articulates Foucault’s idea that disciplinary power targets the “natural body” to impose order, originating in military tactics. This concept is pivotal in understanding how war influences social organization, producing bodies suited for both peace and conflict.
“Wars are no longer waged in the name of a sovereign who must be defended; they are waged on behalf of the existence of everyone; entire populations are mobilized for the purpose of wholesale slaughter in the name of life necessity.”135 (quoting Foucault, The History of Sexuality, 137)This quote captures Foucault’s argument in The History of Sexuality that biopower redefines war as a defense of population life, not sovereign authority. Reid highlights the paradox: modern regimes promote life yet escalate intersocial wars, risking species survival.
“Should we turn the expression around, then, and say that politics is war pursued by other means?”137 (quoting Foucault, The History of Sexuality, 93)Foucault’s reformulation of Clausewitz’s dictum suggests that politics itself is a continuation of war. Reid uses this to show Foucault’s shift from viewing war as a tactical influence on society to an immanent force within power relations, blurring the lines between war and peace.
“War can be understood to anchor the power relations that pervade modern societies, Foucault argues, in the most elementary of ways.”140Reid summarizes Foucault’s view in Society Must Be Defended that war is not just a historical event but a foundational force in modern power dynamics. This perspective challenges social contract theories, positing a “war-repression schema” over a “contract-oppression schema.”
“What in fact is racism? It is primarily a way of introducing a break into the domain of life that is under power’s control, the break between what must live and what must die.”148 (quoting Foucault, Society Must Be Defended, 254–55)This quote defines racism as a biopolitical mechanism that fragments populations into those deemed worthy of life and those marked for death. Reid connects this to Foucault’s analysis of state racism, showing how war and race intertwine in modern governance.
“The roots of modern statist discourses of security and insecurity reside in a complex genealogical relation with counterstate tropes.”147Reid explains Foucault’s argument that modern state security discourses evolve from counterstate historico-political discourses, such as those of race and war. This shift transforms war from a tool against the state to a defense of the state’s biopolitical order.
“If we desire a resolution of this fundamental paradox of political modernity, we must establish other ways to construe the life of political being, ones that compromise its seemingly endless polemologies.”150In the conclusion, Reid reflects on Foucault’s call to rethink political life beyond the war/peace dichotomy. This highlights the article’s core challenge: escaping the cycle of war-driven subjectification to imagine new forms of political existence free from biopolitical violence.
Suggested Readings: “Life Struggles: War, Discipline, And Biopolitics In The Thought Of Michel Fouc Ault” by Julian Reid
  1. Kelly, M. G. E. “International Biopolitics: Foucault, Globalisation and Imperialism.” Theoria: A Journal of Social and Political Theory, vol. 57, no. 123, 2010, pp. 1–26. JSTOR, http://www.jstor.org/stable/41802469. Accessed 1 Aug. 2025.
  2. Prozorov, Sergei. “Editor’s Introduction: Powers of Life and Death: Biopolitics beyond Foucault.” Alternatives: Global, Local, Political, vol. 38, no. 3, 2013, pp. 191–93. JSTOR, http://www.jstor.org/stable/24569449. Accessed 1 Aug. 2025.
  3. Lemke, Thomas, et al. “The Government of Living Beings: Michel Foucault.” Biopolitics: An Advanced Introduction, NYU Press, 2011, pp. 33–52. JSTOR, http://www.jstor.org/stable/j.ctt9qg0rd.8. Accessed 1 Aug. 2025.
  4. Liesen, Laurette T., and Mary Barbara Walsh. “The Competing Meanings of ‘Biopolitics’ in Political Science: Biological and Postmodern Approaches to Politics.” Politics and the Life Sciences, vol. 31, no. 1/2, 2012, pp. 2–15. JSTOR, http://www.jstor.org/stable/23359808. Accessed 1 Aug. 2025.

“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.