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Acknowledgments | ix | ||
Permissions | xi | ||
Introduction. Dystopia and Histories | 1 | (12) | |
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1. Utopia in Dark Times: Optimism/Pessimism and Utopia/Dystopia | 13 | (16) | |
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2. Genre Blending and the Critical Dystopia | 29 | (18) | |
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3. The Writing of Utopia and the Feminist Critical Dystopia: Suzy McKee Charnas's Holdfast Series | 47 | (22) | |
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4. Cyberpunk and Dystopia: Pat Cadigan's Networks | 69 | (22) | |
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5. Posthuman Bodies and Agency in Octavia Butler's Xenogenesis | 91 | (22) | |
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6. "A useful knowledge of the present is rooted in the past": Memory and Historical Reconciliation in Ursula K. Le Gum's The Telling | 113 | (22) | |
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7. "The moment is here ... and it's important": State, Agency, and Dystopia in Kim Stanley Robinson's Antarctica and Ursula K. Le Gum's The Telling | 135 | (20) | |
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8. Unmasking the Real? Critique and Utopia in Recent SF Films | 155 | (12) | |
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9. Where the Prospective Horizon Is Omitted: Naturalism and Dystopia in Fight Club and Ghost Dog | 167 | (20) | |
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10. Theses on Dystopia 2001 | 187 | (16) | |
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11. Concrete Dystopia: Slavery and Its Others | 203 | (22) | |
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12. The Problem of the "Flawed Utopia": A Note on the Costs of Eutopia | 225 | (8) | |
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Conclusion. Critical Dystopia and Possibilities | 233 | (18) | |
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Notes on Contributors | 251 | (4) | |
Index | 255 |
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