Dystopian novels are not predictions but projections: they imagine what the world will become if a current trend continues uninterrupted. The difference between prediction and projection is vital but often overlooked. The former is a call to fatalism, the latter a call to action.
In a sense, dystopian novels are both optimistic and conservative. They are optimistic in that they do not hold the future they describe to be inevitable and unavoidable. They are conservative in that they imagine a world very much worse than our own, and therefore are an encouragement to political virtues such as prudence and realism. They remind us that, short of extermination camps or other complete disasters, we always have something to lose as well as to gain and that progress often has a dark—even a very dark—side. Perfection is not of this world.
In 1973, Jean Raspail, who died aged 94 in 2020, published his dystopian novel The Camp of the Saints, for which he is now mostly remembered (certainly outside of France, though he was the author of many other well-considered novels and travelogues, and narrowly missed election to the Académie française). The Camp of the Saints is a book that refuses to lie down, so to speak, despite attempts to render it invisible or make it go away.
