- Upcoming Tour Dates
- Greg Russell & Ciaran Algar: Utopia And Wasteland (and Video Premiere)
- The Capitalocene: – China Miéville and the Limits of Utopia
- Greg Russell & Ciaran Algar: Utopia And Wasteland | FRUK
The presence of an adversarial strain of violent, hypermasculine authoritarianism makes for some chilling parallels to the present moment. But in his prime, Card captured a range of emotions with a power and immediacy seldom seen in sci-fi. Imagine British boarding school, complete with arbitrary games that determine your future, taking place in the grimy workaday spacecraft of the Alien series.
With the help of Janson and Varley, the great comics auteur Frank Miller crafted a story about Batman returning to active duty in middle age, seeking to re-conquer a Gotham that looks suspiciously like Times Square circa , writ large. The dystopian aspects of the story are deliberately over the top: talk shows fawning over serial killers, street gangs dressed like Johnny Rotten in a German porno, televised talking heads grinning through the madness, and so on. Told from multiple perspectives, the book frequently evokes the onset of the AIDS crisis, but magnified and transposed to a few years from now.
Plenty of tales of dystopian futures focus on everyday people trying to live out their lives even as sinister forces prey upon them.
Hint: not good. Ryman is the sort of novelist who reinvents himself with each work, covering a vast amount of emotional and intellectual territory along the way. In the case of The Child Garden , the setting is a futuristic world in which advances in medicine have resulted in a cure for cancer — which has the side effect of dramatically shortening the human lifespan. Despite being a product of the U. First introduced in , this long-running series of comic books explores a vicious future city where the streets are a war between motley crazies and brutal law-enforcement officers called Judges.
Dredd himself only appears peripherally; the joy here is in seeing the world he defines. Many of the works on this list have been overshadowed by cinematic adaptations, but arguably none more so than The Children of Men. After the cyberpunk movement made its mark on science fiction in the s, Stephenson came along and took a crack at the genre with this novel of a futuristic world in which virtual spaces coexist with the physical, and dangers can arise within each. Its tone is brisk and occasionally over-the-top: this is, after all, a novel in which the main character is literally named Hiro Protagonist.
As in his subsequent works — including The Diamond Age and the Baroque Cycle series — the nature and dangers of language play a significant role here. Depicting a Southern California beset by fires, drought, mass unemployment, and the slow collapse of social services, Parable of the Sower brought the ways race, gender, and community could alter survival strategies into the sci-fi imagination.
Lauren Olamina, a young black girl afflicted with a painful psychosomatic empathy condition, is forced to flee the gated community in which her family eked out a precarious stability. A full Earthseed saga is one of the great lost works of science fiction.
The Giver is the prototypical example of a utopia with a dark side — perhaps the prime example in young-adult literature of a seemingly perfect society that had to sacrifice something to become that way. Jonas lives in a structured community in which marriages, careers, and families are all chosen for citizens by a preternaturally wise group of capital-E Elders. Perhaps the sparsest dystopia is the bleakest one of all.
For all that Infinite Jest is hailed as a towering work of American fiction, and for its numerous literary innovations and digressions Footnotes! Circular structures! Infinite Jest is a loud, ambitious, perniciously unsettling book. There are plenty of advantages to having the lead character in a story of a strange future be a journalist.
For starters, you can show a bunch of different aspects of the world and have a character with a vested interest in exploring them.
Upcoming Tour Dates
While there are clear parallels intended to, say, the rise of Tony Blair in the s, Transmetropolitan remains deeply and uncomfortably relevant to contemporary politics as well. The drama plays out in a Toronto in which infrastructure has collapsed; the affluent have fled to the suburbs, and danger remains for those who have persevered. At times, the setup for the novel reads like a half-dozen urbanist trends accelerated at a frenzied rate.
Some dystopian fiction focuses on the terror that can emerge; Hopkinson leaves room for everyday joys and hope. In The Elementary Particles , the apocalypse has already hit in the form of the cultural revolutions of the s. Raised by a psychotically vain and feckless hippie mother, the two main characters — half-brothers Michel and Bruno — wander through life utterly lonely and unhappy, in complementary ways. Michel is isolated in his mind and his work as a geneticist; Bruno is saturnine and compulsively seeks out sex.
We follow the brothers and those around them across various humiliations, betrayals, and occasional horror, a forced march through the highlights of lateth century European ennui. The characters conclude that the misery of the human condition is so all-encompassing, only a root-and-branch genetic reconstruction of humanity — one that reproduces asexually and has neurologically disassociated sexual pleasure and reproduction — could possibly improve things.
The Elementary Particles is a late classic of the European reactionary literary tradition, both in terms of its unflinching evocation of the failures of modernity and in its cheap and seethingly horny provocations. Trying to describe the work of the French writer who writes under the name of Antoine Volodine among several others is nearly impossible. His fiction often features futuristic settings and ventures down metaphysical pathways: Post Exoticism in Ten Lessons, Lesson Eleven is set in a future where artists and writers run afoul of an oppressive government. Volodine focuses on a number of fictional writers and imagined literary movements; even as he chronicles the grim clashes between state power and artistic freedom, he also creates a sense of delight at how different creative communities affect one another, and how artistic movements transform themselves and those who participate in them.
Lord of the Flies contrasted polite British society with the Hobbesian state of nature and asked whether the two might not be so different; Battle Royale insists that the war of all against all was always already there — the scenario just formalizes the rules. But Takami makes clear that the everyday violence of family and school primed the kids for taking on roles as victims or victimizers.
Prepare to be equal parts disgusted and enthralled. Plenty of dystopian fiction makes memorable use of cities. Feed might have been the darkest dystopia I read as a child because the villain is amorphous and unbeatable — there is no single sinister overlord or town to escape. Anderson makes consumerism and vanity look unbearable and shallow, but also unavoidable.
Greg Russell & Ciaran Algar: Utopia And Wasteland (and Video Premiere)
Here, though, one man survives, and so do all of the women. How exactly does the world fall apart? What nations become powerful? What skills become rare? What resources become valuable? Like most dystopias, the series is also a product of its particular moment — some of its political gestures already feel a touch out of place. But it is still remarkable for how thoroughly it imagines its new world, and how well it executes its epic survival quest.
In it, a group of youngsters befriend one another and their idealistic ambitions get the better of them, leading to extremely well-intentioned destruction that makes this both a dystopia and a great postapocalyptic tale. Why this collection of short stories flew so low under the radar is a mystery. Derby is one of the masters of surrealist dystopia, weaving together big ideas and raw emotions to create a tapestry of depression and alienation that spans decades. Despite the fact that the stories are framed as being the tales of humans long lost to time, retold by a monkish order in the distant future, each tale stands on its own as a document of fallen-world—building.
Women are forced to harvest so many eggs that their hips crack, food crises lead to everyone eating just meat, children start mysteriously floating, warriors fight with sound guns … the level of imagination is staggering, but the book remains grounded in the dismal fact of human adaptation or is it resignation? Reading The City of Ember is an experience tinged with a constant, low-grade anxiety, like the moment before a jump scare in a horror movie.
Lina Mayfleet lives in a world of scarcity, with food supplies depleting and no means of getting more. Even more terrifying, she lives in a world of encroaching darkness — the sky and world beyond her underground city are black and, like the food supply, the light bulbs are running out. When the book begins, flickers and power shortages are commonplace, and Lina never knows when an outage might be permanent. Of course, we get the standard dystopian tropes: career assigned to you in this case by picking out of a bag , no strong parental figures, a younger sibling to care for.
But what makes it unique among the bevy of early aughts young-adult books is how visceral her fear is. There is a clock running out, and we have no idea how much time is left.
With the self-centeredness of just about any high-school-aged kid, narrator Kathy details the drama of a love triangle and the sexual awkwardness that comes with being young and curious. But as she grows older, it becomes apparent that Kathy and her schoolmates are meant for a different life: to be cogs in the wheel of a larger system that is so dominant, so all-consuming, that mere thoughts of rebellion never even emerge.
Here, she finds state-of-the-art fitness equipment, art and cultural materials, and a friendly staff. It all seems decidedly pleasant — except for the mandatory nature of it, and the fate of all of the residents there. The result is a powerful meditation on questions of societal obligations, families or the lack thereof , and how one best leaves a mark on the world. Instead, he zeroes in on essential questions: What does it mean to be part of a family as the world reverts to a state of nature?
The Capitalocene: – China Miéville and the Limits of Utopia
Is it more important to uphold some remnant of morality and idealism in this broken world, or does survival take precedence over everything else? This is not the kind of dystopian narrative that extrapolates contemporary events far into the future, or uses fantastical or uncanny elements to heighten a mood. The novel follows the title character as she escapes from a totalitarian nation and finds herself in a series of nightmarish scenarios, from grotesque industries to urban violence. As she ventures north, she joins up with a group of like-minded women living on a farm called Carhullan. Algar and Russell have produced another compelling, wise, youthful statement; they are currently one of the most exciting duos not just in folk but in any genre.
Thomas Blake lives in the West Country with his wife and his son. He writes things down and looks things up for a living. He likes wine, cricket and modernism. And lots of black coffee. Explore More. Danny Pedler and Greg Russell: Field and The Best Folk Albums of Part Rachel Newton to co-curate mini-festival at Kings Gardening as war. Nick Land as a neo-traditionalist in a recent essay Reactionary Horror explicates:. The tacit science fiction narrative that corresponds to projected social evolution is stripped of its optimism, and two alternative genres arise in its place. The first, as we have fleetingly noted, is mild and nostalgic, rebalancing the tension of time towards what has been lost, and tending to an increasingly dreamlike inhabitation of ancient glories.
Tolkien exemplifies this tendency in its most systematic expression. The future is gently obliterated, as the good dies within it. It does not hesitate in its voyage to the end of the river, even as smoke-shrouded omens thicken on the horizon. As the devastation deepens, its futurism is further accentuated.
Greg Russell & Ciaran Algar: Utopia And Wasteland | FRUK
Historical projection becomes the opportunity for an exploration of Hell. Numerous consequences are quite rapidly evident. One special zone of significance concerns the insistent question of popularization , which is substantially resolved, almost from the start. The genre of reactionary populism is already tightly formulated, on the side of horror fiction, where things going to Hell is an established presupposition.
Zombie Apocalypse is only the most prominent variant of a far more general cultural accommodation to impending disaster. When, as VXXC points out on the blog,. As the dream perishes, the nightmare strengthens, and even — hideously — invigorates. That we could also call an apocalypse. Apocalypse and utopia: the end of everything, and the horizon of hope.