The Uncanny, Heterotopia, and Space in Timothy Findley’s Headhunter (1993) and Emily St. John Mandel’s Station Eleven (2014)

Abstract

Masterpieces of Canadian fiction, Timothy Findley’s Headhunter (1993) and Emily St. John Mandel’s Station Eleven (2014) are dystopian novels set in a pandemic-ravaged Canadian environment. These thematically rich works explore complex questions, such as what the aftermath of a deadly pandemic would look like for society and how to hold onto one’s humanity amid difficult circumstances. This paper offers a comparative analysis of the two novels, focusing especially on how Canadian space functions as both the setting for the unfolding action and the locus of revelations. This article will argue that, while differing in theme and narrative style, both novels offer complementary conceptualisations of space and valuable insight into the symbolic potential of the Canadian setting.