The Private Sector: The Dystopian Everyman
About The Private Sector:
The world of corporate greed runs rampant after the government collapses, leaving police, fire, and social services in the hands of the wealthy. Debtor prisons for the lower and middle classes overflow and quarantine camps have filled to capacity, turning the streets into a personal battleground for terrorists fighting against a world headed toward ruin as resources run dry and civilization becomes ruled by The Private Sector.
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In a dystopian world, finding a happy medium between hero and hapless victim can be a delicate balancing act. The protagonists typically are not heroes, and their battles are often internal struggles rather than physical journeys. Their stories aren’t about finding themselves or overcoming great evils; they’re about survival in a future that very easily could be, one we can only hope or pray remains in the realm of fiction.
Most of the characters in The Private Sector are inherently flawed: Dianne is an artist refusing to admit that, in times of limited resources, her profession has become obsolete; John is honest to a fault in his job as a building inspector but selfish and deceitful in his home life; Jenny, Dianne’s sister, is a drug addict who’s willing to lie, cheat, and steal to get her next fix; Dianne’s parents are apathetic, stingy members of the 1% who blame everyone but themselves for their discontent; and even Dianne and John’s son, “Junior,” who is smart, good natured, and innocent, succumbs to a terrible force beyond the family’s control.
Why strive so hard for imperfection? The answer lies in the necessary nature of dystopian literature, where realism must often delve into extremes. When we speculate these corrupt futures, we must see them through to their dirty ends. Their characters must reflect such realities. People are, at least in part, products of the societies they live in. In The Private Sector, they are conditioned into desperation. Every man is out for himself simply because no one else—not even the police—is going to cover his back.
This book was inspired by American rhetoric, extremist views that taxes are an evil that does little more than enable the “lazy poor.” As an American, I can only imagine what we look like from an outside point of view, especially those who fall either to the far right or the far left. As a dystopian writer, it’s my job to look at these extremes and predict the potential realities that could result from those views taking hold. From where I stand, the future of my country is a scary and unforgiving place. I can only hope to offer readers a slice of life from this place, one that is as down to earth as possible. By using characters who aren’t heroes, characters who reflect the common person, I can at least hope that the reality I present comes through as genuine.
As a real possibility.
You see, if I can paint reality as a type of horror, then maybe those who read it will think about the part they might be playing in bringing that reality to light.
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About the author:
Leigh M. Lane has been writing for over twenty years. She has ten published novels and dozens of published short stories divided between different genre-specific pseudonyms. She is married to editor Thomas B. Lane, Jr. and currently resides in the outskirts of Sin City. Her traditional Gothic horror novel, Finding Poe, was a 2013 EPIC Awards finalist in horror. Her other novels include World-Mart (currently unavailable due to an upcoming second-edition re-release), a tribute to Orwell, Serling, and Vonnegut, and the dark allegorical tale, Myths of Gods.
You can read more at http://www.cerebralwriter.com.