The Giver von Lois Lowry. Textanalyse und Interpretation. Königs Erläuterungen Spezial. Lois Lowry

Chicago (USA) Newbery Award for the novel Number the Stars. 53 1993 Boston (USA) The Giver is published. 56 1994 Chicago (USA) Second Newbery Award for The Giver. 57 1995 Spangdahlem Air Base/ Rheinland-Pfalz (Germany) Her second son Grey, a pilot in the US Air Force, is killed when his plane crashes. Lois describes this event as the most difficult day of her life. 58 2014 New York Film adaptation of The Giver. 77 2018 Massachusetts and Maine (USA) Lowry currently lives in the US states of Massachusetts and Maine. 81

2.2	Contemporary Background

      ZUSAMMENFASSUNG

      Lois Lowry wrote The Giver in the early 1990s. She had already been a professional writer for nearly 20 years by that time. It is maybe surprising for a writer to have their most famous and critically acclaimed work come in the middle of their careers, rather than in an explosion of energy at the beginning or as a crowning achievement towards the end.

The 1990s and the “end of history”

      The early 1990s were a strange time in history. Following the end of the Cold War, the collapse of the Soviet Union and the reunification of Germany, many people thought that the world had reached what was called “the end of history”. This was a philosophical idea made popular by Francis Fukuyama 1992 in his bestselling book The End of History and the Last Man. Fukuyama’s idea, very basically, is that Western-style liberal democracy had “won” the competition between different political and social systems, and that from this point on all people and countries would be increasingly on the same path to shared enlightenment, progress, peace and security. Formerly competing ideologies like Communism and extreme nationalism would become weaker and would vanish into history.

      But this view of the world turned out to be premature and optimistic. Within just a couple of years it was clear that rampant nationalism was still widespread, China’s capitalist-Communist hybrid system was becoming an increasing concern for Western nations, and globalised terrorism had a historic comeback in the public eye with al Qaeda’s 9/11 attacks. By the turn of the millennium Fukuyama’s theories seemed quaint and lost to history.

      What is true of the period, however, is that with the end of the Cold War a universal sense of dread and doom was suddenly gone – the world no longer seemed to be a potential battlefield between nuclear-armed superpowers representing capitalism and Communism. This sense of dread and monolithic antagonism had fuelled a lot of pop culture, from British pop band Frankie Goes to Hollywood’s song Two Tribes (1984) to the spy novels of John le Carré and successful, but deeply chauvinistic America = good / Russia = bad films like Red Dawn (1984) and Rocky IV (1985). With the collapse of the Russian “evil empire” (a term used by US President Ronald Reagan in 1983 to describe the Soviet Union[2]) and the apparent “end of history”, pop culture changed as well.

      It became much less political: the eras of Margaret Thatcher, Prime Minister of Great Britain from 1979–1990, and Ronald Reagan, US president from 1981–1989, were both very conservative and pro-capitalism. Their administrations were both extremely polarising in their respective countries, and triggered energetic subcultural and alternative culture movements, including punk, US hardcore punk, the social-realist cinema of filmmakers like Mike Leigh and Ken Loach, and a general willingness and need for art and pop culture to engage actively and confrontationally with politics. With the end of the era of the Cold War and Cold Warriors like Thatcher and Reagan, this political energy vanished from pop culture, and an era of curiosity, fusion, and non-political hedonism began.

      Movie scene from Rocky IV (1985) with Dolph Lundgren as Soviet boxer Ivan Drago. © picture alliance/Everett Collection

Pop culture: Hybridisation and self-awareness

      In pop culture, the 1990s saw the beginning of a widespread process of fusion and hybridisation. This occurred in cinema, music and literature. Previously underground or subcultural musical genres became increasingly mainstream – this was most dominantly and lastingly true of hip hop, which in the 1980s was seen by the mainstream as being a gimmick or an underground phenomenon, and is now possibly the single most popular pop music genre in the world. But various forms of heavy metal/hard rock and techno/electronic music were also crossing over into mainstream awareness, creating the alternative rock boom and the rise of techno-pop crossover dance music. Bands like Nine Inch Nails hybridised almost everything that had come before, combining pop and the experimental underground of Industrial and electronic music with heavy metal, punk and dance music. Nirvana borrowed from punk, the Red Hot Chili Peppers, Jane’s Addiction and Faith No More mixed metal, funk and pop, and hip hop acts like Public Enemy, Cypress Hill and Ice-T became hugely popular outside the world of hip hop, attracting millions of predominantly white rock fans.

      In cinema as well genres were being increasingly tested and manipulated by filmmakers like Quentin Tarantino, David Lynch and Joel and Ethan Coen, who would often create refreshingly original mash-ups of several different genres in one single film, with unmistakably personal styles and techniques. Tarantino in particular has had an enormous influence on the way mainstream filmmakers would combine humour, violence, irony, and thriller/crime plots and use references to pop culture to display an ironic, knowing tone to their films. Being a huge fan of pop culture and cinema from all around the world and from all possible genres and styles, Tarantino seemed almost like a DJ at a nightclub who knew how to mix up different elements to keep the party going. His genius lay in offering new perspectives on traditions and pop cultural elements by combining and juxtaposing them in new contexts with an educated, ironic eye.

      If it can be argued that the 1980s was the decade in which pop culture genres were young, excited and full of energy, then the 1990s was the decade in which these children grew up and married each other to create new children. The hybridisation going on in the world of pop music and the increasingly sophisticated treatment in cinema of cinema’s own history, in particular embracing its trashier elements, pretty much defined the pop culture of the 1990s.

“Sameness” in the book business

      In literature, too, the 1990s were a time of change, but in a maybe less healthy manner. The growth of chain bookstores (like Waterstone’s in the UK and Barnes & Noble in the US), which centralised the marketing opportunities for publishers and concentrated potential readers and book buyers in more focussed environments, was one development which changed the book trade. But by the end of the 1990s the Internet was here and Amazon in particular had changed the rules completely. This commercial focus of retail outlets for books made the available market space for publishers and authors more high-profile – the big chain bookstores were in every city, and could reach a huge potential customer base – but at the same time more limited. The arena for new books was growing smaller, as the big chains tended to promote and sell