Abstract: Sketching possibilities for planetary futurity, the first pages of Octavia E. Butler’s Parable of the Sower (1993) unveil an illusive dreamscape where earthly remembrance and intercosmic imagination merge. Butler’s protagonist, Lauren Olamina, is “learning to fly” as she sleeps, but drifting further from the safety of her imagined doorway, she becomes engulfed by flames (4). “[G]rabbing handfuls of air and fire” as she “kick[s]” to safety, Lauren’s reverie exposes a climatic anxiety that inundates her subconscious (4). Lauren obtains respite once she “fade[s] into the second part of the dream” she describes “as ordinary and real,” a memory from years ago (4). The incinerated environment becomes illuminated by stars whose “cool, pale, glinting light” offers cosmic shelter from the heat of the day (5). Figuring stars and celestial bodies as evocations of distinct memories, Lauren’s dream echoes throughout Sower as a representation of astronomical potentiality. Her reverie, unearthed in a half-conscious state, serves to inspire otherworldly and emphatically material hope of survivance amidst Earth’s collapse, as “life alone is enough” to invite promise for remote planets free from ecological disruption (83). By presenting the stars as a common space distant from the violent environs of a burning dreamscape, Sower invites readings where potential life-worlds are corporeal sanctuaries compared to the blaze violently spreading in her dream, in her community, and on Earth. Lauren’s imagining within a dire future lends itself to a spatial intimacy where the stars, in their vast remoteness, are also a tangible source of refuge.



Abstract: This article examines settler militarism and how it is mobilized through affective practices that ultimately bolster the settler colonial project. With this intent, it develops the concept of ‘militarized atmosphere’ defined as a staged environment where war is positioned outside politics and critical scrutiny through a series of affective manoeuvres and aesthetics. A militarized atmosphere operates through military aesthetics to attune people’s bodies to a position of uncritical validation of a given discourse of war. This article argues that a militarized atmosphere crucially sustains the settler colonial project by removing or reducing contestation around the theme of war, which is a pillar of settler colonialism. In settler societies, numerous Indigenous individuals perceive themselves as embattled and seek acknowledgement of the history and legacy of colonial violence and warfare. In contrast, settler governments have a vested interest in concealing this history and its enduring legacy, and they do so by exalting military warfare as the foundation of the modern nation and creating affective attachments to the military. The article uses the case of Australia to elucidate the argument. It examines how the aesthetics of war commemoration at the Dawn Service, Australia’s major commemorative event, contributes to producing a militarized atmosphere that sustains the Australian settler colonial project. It proposes a framework that links the feminist concept of affective militarism to settler colonialism and contributes to the emerging literature on settler colonialism and militarism.