This book presents an extended account of the language of dystopia, exploring the creativity and style of dystopian narratives and mapping the development of the genre from its early origins through to contemporary practice. Drawing upon stylistic, cognitive-poetic and narratological approaches, the work proposes a stylistic profile of dystopia, arguing for a reader-led discussion of genre that takes into account reader subjectivity and personal conceptualisations of prototypicality. In examining and identifying those aspects of language that characterise dystopian narratives and the experience of reading dystopian fictions, the work discusses in particular the manipulation and construction of dystopian languages, the conceptualisation of dystopian worlds, the reading of dystopian minds, the projection of dystopian ethics, the unreliability of dystopian refraction, and the evolution and hybridity of the dystopian genre.

This book offers an insightful history of dystopian literature, integrating it within the conceptual schemas of Deleuze and Guattari. Unlike earlier examples of dystopia which depict representations of a possible future that is remarkably worse than present society, contemporary dystopia often tends to portray an almost allegorical re-presentation of present society. Tracing dystopia’s shift from transcendence towards immanence with the rise of late neoliberal capitalism and control-societies, Çokay Nebioğlu skilfully constructs a new taxonomy of dystopian fiction to address this changing dynamic. Accompanied by a subtle exploration of earlier and later examples of the genre by George Orwell, Aldous Huxley, Suzanne Collins, Veronica Roth, William Gibson, Max Barry, Dave Eggers, Cindy Pon, and Tahsin Yücel along with rich and nuanced analysis of China Mieville’s Perdido Street Station and Margaret Atwood’s MaddAddam trilogy, the book seeks not only to track the transformation of dystopia in light of worldwide cultural, political and economic transformation, but also to conduct a schizoanalytic reading of dystopia, thus opening up an exciting field of enquiry for Deleuzian scholars.

The volume is divided into two parts, separated by an Intermezzo. The first part, “Dystopia Matters”, benefits from the contribution of reputed scholars of the field of Utopian Studies, who were asked to make a statement explaining why dystopia is important. The Intermezzo completes this part and offers the reader an informed discussion of the concepts of utopia, dystopia and anti-utopia whilst providing ground for the case studies presented in the second part, in the sections devoted to literature, film, and theatre. In one way or another, despite the variety of approaches, all contributors argue for the idea that, if dystopia has invaded most forms of contemporary discourse, its sibling, utopia, has not been eradicated from the scene. Furthermore, the studies show that the tension between the two concepts is instrumental to our cautious, conscious, and tentative construction of the future.

This is the first extended study to specifically focus on character in dystopia. Through the lens of the "last man" figure, Character and Dystopia: The Last Men examines character development in Yevgeny Zamyatin’s We, Anthony Burgess’s A Clockwork Orange, Kazuo Ishiguro’s Never Let Me Go, Fyodor Dostoevsky’s Notes from Underground, George Orwell’s Nineteen Eighty-Four, Nathanael West’s A Cool Million, David Mamet’s Glengarry Glen Ross, Octavia Butler’s Parable of the Sower, Lois Lowry’s The Giver, Michel Houellebecq’s Submission, Chan Koonchung’s The Fat Years, and Maggie Shen King’s An Excess Male, showing how in the 20th and 21st centuries dystopian nostalgia shades into reactionary humanism, a last stand mounted in defense of forms of subjectivity no longer supported by modernity. Unlike most work on dystopia that emphasizes dystopia’s politics, this book’s approach grows out of questions of poetics: What are the formal structures by which dystopian character is constructed? How do dystopian characters operate differently than other characters, within texts and upon the reader? What is the relation between this character and other forms of literary character, such as are found in romantic and modernist texts? By reading character as crucial to the dystopian project, the book makes a case for dystopia as a sensitive register of modern anxieties about subjectivity and its portrayal in literary works.

AFTER THE END Dystopia Box Set: 34 Dystopias and Post-Apocalyptic Works presents an unparallelled assembly of speculative fiction that probes the darkest corners of the human psyche and society. Including seminal works from Edgar Allan Poe to George Orwell, and Mary Shelley to Aldous Huxley, this collection offers a comprehensive exploration of dystopian literature's evolution. It showcases a range of literary styles, from the gothic horror of Poe to the sharp social satire of Swift, encapsulating the genre's ability to reflect societal anxieties and critique contemporary issues through imagined, often starkly grim futures. The inclusion of less universally recognized pieces alongside these towering works enriches the collection, inviting readers to delve into the multifaceted landscape of dystopian narrative. The authors represented in AFTER THE END - Dystopia Box Set are not only luminaries in their own right but also pioneers who shaped and defined the contours of dystopian literature and speculative fiction. From H.G. Wells' scientific romances to Orwell's prescient visions of surveillance states, each author contributes to a rich tapestry that maps the psychological and sociopolitical terrains of their times. Collectively, they reflect a variety of cultural and historical contexts, incorporating critiques on imperialism, technology, authoritarianism, and human resilience. Their diverse backgrounds and periods provide a panoramic view of how dystopian visions have evolved, offering insights into the universal human condition and the perennial quest for utopia amidst dystopia. AFTER THE END Dystopia Box Set is essential reading for those who wish to navigate the complexities of future imaginings and their implications on the present. It promises an enlightening journey through the labyrinth of fear and hope that characterizes humanity's relationship with its potential futures. Scholars, students, and general readers alike will find rich material for study, reflection, and debate, making it a valuable addition to any collection on dystopian literature, speculative fiction, or cultural studies. This anthology not only stands as a monument to human imagination but also as an invitation to contemplate the paths that lie ahead for societies worldwide.

The Rhetoric of Dystopia develops an idea of “emergent metalepsis” that describes the uncanny moments where fictive texts anticipate material events, blurring the boundary between the storyworld and the world of reception. Christopher Carter treats dystopia as rhetoric that shapes collective identities while speeding across platforms and geopolitical borders, at once critiquing and exemplifying the circulation of power relations through varied modes. This rhetoric features rampant viruses, authoritarian governments, corporate behemoths, corrupt educational and scientific institutions, and brutal policing, sometimes amplifying existing trends and sometimes merely documenting them. From Bong Joon-ho to Reed Morano, Octavia Butler to Richard McGuire, artists proffer arguments whose gravity we often fail to register, thus calling into question the uses of media literacy in an age of looming cataclysm. Carter situates this rhetoric within scholarship on literacy, built environments, border policies, global food production, and the Anthropocene.

Oral histories on life in the eastern German region annexed by Poland following World War II. Toward the end of the Second World War, Poland’s annexation of eastern German lands precipitated one of the largest demographic upheavals in European history. Edyta Materka travels to her native village in these “Recovered Territories,” where she listens carefully to rich oral histories told by original postwar Slavic settlers and remaining ethnic Germans who witnessed the metamorphosis of eastern Germany into western Poland. She discovers that peasants, workers, and elites adapted war-honed informal strategies they called “kombinacja” to preserve a modicum of local agency while surviving the vicissitudes of policy formulated elsewhere, from Stalinist collectivization to the shock doctrine of neoliberalism. Informality has taken many forms: as a way of life, a world view, an alternate historical text, a border memory, and a means of magical transformation during times of crisis. Materka ventures beyond conventional ethnography to trace the diverse historical, literary, and psychological dimensions of kombinacja. Grappling with the legacies of informality in her own transnational family, Materka searches for the “kombinator within” on the borderlands and shares her own memories of how the Polish diaspora found new uses for kombinacja in America. “Rare and exceptionally well-researched analysis of an invisible practice.” —Alena Ledeneva, University College London “Materka has produced an eloquently written, exciting, and meticulously analyzed ethnographic history that marks an alternative to the vast majority of strictly archival-based historical literature on the German-Polish borderlands. Within the field of Polish history, this book is also an important contribution as the first extensive work on the critical role of informality in the politics, society, and economy of People’s Poland.” —H-Poland “By concentrating on the local strategies of combination in the areas of uprootedness, Materka has made an interesting and valuable contribution to our knowledge of human behavior. References and the use of Polish words for important concepts are exemplary. . . . [H]er collection of narratives provides food for thought on the relation between formal regulation and human ingenuity.” —Baltic Worlds

This unique collection of "DYSTOPIA Boxed Set: 18 Dystopian Classics in One Edition" has been designed and formatted to the highest digital standards. Contents: 1984 (George Orwell) Brave New World (Aldous Huxley) It Can't Happen Here (Sinclair Lewis) That Hideous Strength (C. S. Lewis) Iron Heel (Jack London) We (Yevgeny Zamyatin) Meccania the Super-State (Owen Gregory) Lord of the World (Hugh Benson) When The Sleeper Wakes (H. G. Wells) The Time Machine (H. G. Wells) The First Men in the Moon (H. G. Wells) Caesar's Column (Ignatius Donnelly) The Secret of the League (Ernest Bramah) City of Endless Night (Milo Hastings) Looking Further Backward (Arthur Dudley Vinton) The Heads of Cerberus (Francis Stevens) The Fixed Period (Anthony Trollope) Animal Farm (George Orwell)

This collection of essays examines various forms of dystopian fiction in literature, television, and digital games. It frames the timely trend of dystopian fiction as a thematic field that accommodates several genres from societal dystopia to apocalyptic narratives and climate fiction, many of them examining the hazards of science and technology to human societies and the ecosystem. These are genres of the Anthropocene par excellence, capturing the dilemmas of the human condition in the current, increasingly precarious epoch. The essays offer new interpretations of classical and contemporary works, including the canonised prose of Orwell, Atwood and Cormac McCarthy, modern pop culture classics like Battlestar Galactica, Fallout and Hunger Games, and the work of Johanna Sinisalo, a pioneer of Finnish speculative fiction. From Thomas Pynchon to Watership Down, the volume’s multifaceted approach offers fresh perspectives to those already familiar with existing research, but it is no less accessible for newcomers to the ever-expanding field of dystopian studies.

Serial storytelling has the advantage of unlocking rather than simplifying the complexities of digital culture. With their worldbuilding potential, TV series open up new artistic horizons, particularly for the dystopian genre. Situated at the nexus of dystopia, complex TV, and a metamodern cultural logic, Dystopia on Demand: Technology, Digital Culture, and the Metamodern Quest in Complex Serial Dystopias offers readers novel insights into the dynamics of serial dystopias in the contemporary streaming landscape. Introducing the term 'complex serial dystopias' to describe series that allow audiences to engage with the dystopian premise from multiple angles, the book examines four Anglo-American series, including Black Mirror, Mr. Robot, Westworld, and Kiss Me First. The in-depth analyses trace the variety of ways in which these series offer critical reflections on the human-technology entanglement in digital culture.