THE MATH OF THE DYSTOPIAN LOVE TRIANGLE

A lesson in the geometry of YA’s favorite shape.

Words by Sophie Davis

Art by Lindsey Smiles

Dismantling systems of oppression, coming to terms with being a “chosen one,” and... trying to decide which generic-looking white boy to kiss. Somehow these have all become defining traits of dystopian Young Adult Fiction, a genre that seems to stick with us. But are all these elements really created equal? Should leading uprisings and grappling with the inevitable death of the old, wise mentor really be given the same (if not less) weight than which romantic partner the main character will end up with?

And yet, the love triangle, in which two people are pursuing a romantic relationship with one person, has become a mainstay of this particular type of literature. Many attribute this popularity to the commercial success of the love triangle in the Twilight saga and the “cumulative cultural force of major titles of the 2000s that established this type of plot format as a trend,” as literary critic Michelle Gaseor puts it (the “Team Jacob” throw blanket this author’s mother still uses seems sufficient evidence of this theory).

Tom Spanbauer, author of the gay love triangle romance novel I Loved You More, uses a psychological approach to shed some light on why audiences buy into love triangles time and time again.

“With three you go directly back to the father and the mother and the child. Or this: a parent and two children. In either case, you’re back to what’s most fundamental about you: who has the love and who’s going to get it,” he said.

There’s no doubt that love triangles sell, but they can also result in a reductive portrayal of what is, in many cases, poignant socio-political commentary. Regardless of the complexity of the subjects covered in the rest of the novel, YA dystopian fiction is reduced to cheesy romance as a result of the prominence of love triangles. Think about how much Peeta vs. Gale (although Peeta is 10000000% the right choice) dominated the conversation surrounding “The Hunger Games,” despite all the legitimately valuable societal critiques presented in the books and movies! This also feeds into a larger conversation about how literature that’s directed at young people — once again, especially young women — continues to be deemed unintelligent and shallow, often regardless of the actual material.

Not to mention these love triangles have a history of being extremely heteronormative and lacking diversity. These stories are overwhelmingly white and embarrassingly heterosexual in their presentation of “true love” as more or less something that strictly happens between one girl and one boy. Perhaps this is what makes Spanbauer’s I Loved You More feel just so impactful and pioneering in its depiction of a queer love triangle.

To make matters worse, continued reliance on this trope undoubtedly perpetuates the myth that a protagonist (often a girl) needs to be in a monogamous romantic relationship in order to be happy despite whatever else they may accomplish over the course of the story. What if the main character decided they simply wanted two partners and the others making up the triangle were totally cool with it? Imagine The Hunger Games ending with Katniss, Peeta, and Gale operating as Panem’s most angsty, damaged throuple.

If publishers are going to continue to insist on including romance in the dystopian YA genre, it is crucial that they incorporate diversity among their characters. But they should also have faith that their audiences can handle a more interesting shape than a love triangle. Next time, why not opt for a love octagon? Or a love tetrahedron? Or maybe sometimes just a regular old line would suffice.