In Dispatches from Dystopia, Brown wanders the Chernobyl Zone of Alienation, first on the Internet and then in person, to figure out which version-the real or the virtual-is the actual forgery. She also takes us to the basement of a hotel in Seattle to examine the personal possessions left in storage by Japanese-Americans on their way to internment camps in 1942. In Uman, Ukraine, we hide with Brown in a tree in order to witness the annual male-only Rosh Hashanah celebration of Hasidic Jews. In the Russian southern Urals, she speaks with the citizens of the small city of Kyshtym, where invisible radioactive pollutants have mysteriously blighted lives. Finally, Brown returns home to Elgin, Illinois, in the midwestern industrial rust belt to investigate the rise of “rustalgia” andÂ the waysÂ her formative experiences have inspired her obsession with modernist wastelands.
Dispatches from Dystopia powerfully and movingly narrates the histories of locales that have been silenced, broken, or contaminated. In telling these previously unknown stories, Brown examines the making and unmaking of place, and the lives of the people who remain in the fragile landscapes that are left behind.