Lois Lowry’s The Giver—a version of which is coming soon to your local movieplex very soon—starts out on a chilling note, as the sight and sound of a plane—just one plane—completely freaks out a young boy named Jonas and for the first time, introduces him to fear. Because it is a deviation, and any deviation from normal, in this world, is wrong and terrifying. It is, after all, a planned and structured world, where everyone is carefully placed in the correct job, with the correct family and correct spouse, with no more than two children who must be carefully applied for and then cared for, with rituals for talking about feelings and interacting with peers, where the absolute precision of language is insisted on, a world of still evolving genetic engineering. Oh, and drugs.
Like the best of dystopian novels, The Giver is less about a future world than about our own. Lowry considers some of the solutions for managing an ever increasing world population and decides, with cold and clear logic, to see exactly what type of community such solutions would create.