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.

Over the past few years, ‘dystopia’ has become a word with increasing cultural currency. This volume argues that we live in dystopian times, and more specifically that a genre of fiction called "dystopia" has, above others, achieved symbolic cultural value in representing fears and anxieties about the future. As such, dystopian fictions do not merely mirror what is happening in the world: in becoming such a ready referent for discussions about such varied topics as governance, popular culture, security, structural discrimination, environmental disasters and beyond, the narrative conventions and generic tropes of dystopian fiction affect the ways in which we grapple with contemporary political problems, economic anxieties and social fears. The volume addresses the development of the narrative methods and generic conventions of dystopian fiction as a mode of socio-political critique across the first half of the twentieth century. It examines how a series of texts from an age of political extremes contributed to political discourse and rhetoric both in its contemporary setting and in the terms in which we increasingly cast our cultural anxieties. Focusing on interactions between temporality, spatiality and narrative, the analysis unpicks how the dystopian interacts with social and political events, debates and ideas, Stock evaluates modern dystopian fiction as a historically responsive mode of political literature. He argues that amid the terrors and upheavals of the first half of the twentieth century, dystopian fiction provided a unique space for writers to engage with historical and contemporary political thought in a mode that had popular cultural appeal. Combining literary analysis informed by critical theory and the history of political thought with archival-based historical research, this volume works to shed new light on the intersection of popular culture and world politics. It will be of interest to students and scholars in literary studies, cultural and intellectual history, politics and international relations.

A teenage girl is running for her life in “a near-future that is stark, visceral and terrifyingly real” in this national bestselling dystopian thriller (Ami McKay, author of The Birth House). Taking place over the course of forty-eight pulse-pounding hours, This Little Light draws readers into a near-future world of born-again Christians and celebrity worship where abortion is illegal and surveillance is everywhere. Sixteen-year-old Rory Miller and her best friend, Fee, are on the run after a bomb explodes at their elite Christian private school inside their triple-gated California community. As Rory and Fee struggle to evade a media-frenzied search led by zealots and bounty hunters, Rory blogs their story in real time, determined to leave behind a record in their own words in case they don’t make it out alive. Author Lori Lansens weaves an intense, urgent, and enthralling read about an all-too-believable near future—and the world we already live in.

NATIONAL BESTSELLER • A second American Civil War, a devastating plague, and one family caught deep in the middle—this gripping debut novel asks what might happen if America were to turn its most devastating policies and deadly weapons upon itself. From the author of What Strange Paradise "Powerful ... as haunting a postapocalyptic universe as Cormac McCarthy [created] in The Road." —The New York Times Sarat Chestnut, born in Louisiana, is only six when the Second American Civil War breaks out in 2074. But even she knows that oil is outlawed, that Louisiana is half underwater, and that unmanned drones fill the sky. When her father is killed and her family is forced into Camp Patience for displaced persons, she begins to grow up shaped by her particular time and place. But not everyone at Camp Patience is who they claim to be. Eventually Sarat is befriended by a mysterious functionary, under whose influence she is turned into a deadly instrument of war. The decisions that she makes will have tremendous consequences not just for Sarat but for her family and her country, rippling through generations of strangers and kin alike.

In this chilling short-story by a master of the craft, Kurt Vonnegut creates a fictional world of the future where life and death are no longer matters of individual choice or destiny. The title refers to the famous quote from Hamlet, "To be or not to be...." with "0" being pronounced as "naught." It also refers to the eternal dilemma of life and death that face every human being at some point in their lives.Written in 1962 it is set in some unspecified time in the future, when earth has become a Utopia. The population is under control, there is no poverty, suffering or even natural death. Man has conquered all. It's common for humans to live for two centuries or more. Death happens only when someone requests it. 2BR02B in the story is the telephone number that volunteers must call when they are ready for assisted suicide. It belongs to the Federal Bureau of Termination which decides that for every child born, one person must volunteer to die. However, all is not perfect in this paradise - human beings still retain a spark of humanity and yearn for freedom.When the story opens, Edward Wehling, a youngish father-to-be is waiting for his wife to give birth. What follows is both spine-chilling and eerie. It makes you introspect about the future of humankind, whether the earth can sustain itself at the pace at which population is growing and about the ethics of concepts like assisted suicide. The reader pauses to wonder whether greater common good can replace love and the individual.2BR02B has memorable characters like the nameless two-hundred-year-old painter, the genial Dr Hitz who created the first population control gas-chamber and Leora Duncan a gas-chamber hostess.Apart from these, the story explores Vonnegut's favorite anti-establishment ideas, where the government is seen as the enemy of personal freedom. Art in the future, according to Vonnegut, will become dull, commercialized and prescribed by the state. Creativity and individual expression will die out along with other freedoms. Technology and scientific advancements will render simple human concepts of compassion and love redundant.Though the story is a trifle dated (it refers to the year 2000 as the year in which population control systems were first imposed, and the earth had run out of food and water) it is an interesting one that appeals to readers of all ages. In this chilling short-story by a master of the craft, Kurt Vonnegut creates a fictional world of the future where life and death are no longer matters of individual choice or destiny. The title refers to the famous quote from Hamlet, "To be or not to be...." with "0" being pronounced as "naught." It also refers to the eternal dilemma of life and death that face every human being at some point in their lives.Written in 1962 it is set in some unspecified time in the future, when earth has become a Utopia. The population is under control, there is no poverty, suffering or even natural death. Man has conquered all. It's common for humans to live for two centuries or more. Death happens only when someone requests it. 2BR02B in the story is the telephone number that volunteers must call when they are ready for assisted suicide. It belongs to the Federal Bureau of Termination which decides that for every child born, one person must volunteer to die. However, all is not perfect in this paradise - human beings still retain a spark of humanity and yearn for freedom.When the story opens, Edward Wehling, a youngish father-to-be is waiting for his wife to give birth. What follows is both spine-chilling and eerie. It makes you introspect about the future of humankind, whether the earth can sustain itself at the pace at which population is growing and about the ethics of concepts like assisted suicide. The reader pauses to wonder whether greater common good can replace love and the individual.

Greece has always occupied a prevalent position in European philosophy. During the Enlightenment, the Greco-Roman culture gained a new impetus, which paved the way for the surge of the Grand Tour and established Italy as a popular travel destination amongst European travellers who yearned to be in close communion with its ancient sites. Unlike Italy, Greece still posed a challenge to the average travel writer, since it functioned as a bridge between Europe and the Orient. The gradual shift of focus from Neoclassical ideals to Northernism, which conveniently conformed to the nation-building Anglo-Saxon paradigm, marked a parallel reversal of cultural order, which resulted in the view of Greece as a land of piracy and banditry, conditions which intensified its perception as the Oriental Other and led British intellectuals to associate the Greek nation with nearby countries on various levels. Considering the parallel emergence of the “pseudosciences”, which venerated the image of the Nordic race and persistently viewed other nations as the Other, Greece was automatically placed as an alien culture in the light of Social Darwinism. During its war of independence, Greece became the subject of ardent political and cultural debates, which favoured its autonomy from the Ottoman yoke, yet undermined its complete transformation into an independent state. The focal point of this book is British women travellers’ perceptions of Greece and the Orient from the late-eighteenth century until the late-Victorian era. The construction of a Greek dystopia will be explored in relation to the historical background that fuelled the negative conceptualisation of the Greek nation as mongrel, unruly, indolent and perilous to the British imperialist agenda. This book, therefore, sheds light on British women travellers’ efforts to subvert patriarchal authority and engage in predominantly male activities, during which they are purposefully or unconsciously led to several misconceptions regarding the Greek cause.

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.

This volume examines a variety of utopian writing for children from the 18th century to the present day, defining and exploring this new genre in the field of children's literature. The original essays discuss thematic conventions and present detailed case studies of individual works. All address the pedagogical implications of work that challenges children to grapple with questions of perfect or wildly imperfect social organizations and their own autonomy. The book includes interviews with creative writers and the first bibliography of utopian fiction for children.

This study examines contemporary Spanish dystopian literature and films (in)directly related to the 2008 financial crisis from an urban cultural studies perspective. It explores culturally-charged landscapes that effectively convey the zeitgeist and reveal deep-rooted anxieties about issues such as globalization, consumerism, immigration, speculation, precarity, and political resistance (particularly by Indignados [Indignant Ones] from the 15-M Movement). The book loosely traces the trajectory of the crisis, with the first part looking at texts that underscore some of the behaviors that indirectly contributed to the crisis, and the remaining chapters focusing on works that directly examine the crisis and its aftermath. This close reading of texts and films by Ray Loriga, Elia Barceló, Ion de Sosa, José Ardillo, David Llorente, Eduardo Vaquerizo, and Ricardo Menéndez Salmón offers insights into the creative ways that these authors and directors use spatial constructions to capture the dystopian imagination.

The aim of this book is to teach us how to better understand political ads (telespots) by attuning ourselves to their video rhetoric--their themes and stories, atmosphere and characterization, feelings and images, and their use of popular genres--from film to fiction, from MTV to game shows. Video Rhetorics is both a call for, and an example of, a new kind of political analysis. Supplemented with Hot Spots: Multimedia Analyses of Political Ads, a sixty-minute video of multimedia advertising studies, the book presents lucid analyses of particular campaign ads to illustrate how music, text, metaphor, genre, image, color, delivery, tempo, and location all combine to "orchestrate" political meaning. The authors also show readers how to comprehend dynamics of contemporary political life that remain mysterious within traditional accounts of how citizens learn about politics. In the authors' view, electronic politics is here to stay, like it or not, and we cannot afford simply to dismiss or condemn political ads.