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.
1. "Troubles began quietly": tensions of emergence in E. M. Forster’s "The Machine Stops"
2. "Libraries Full of Kants": Heretics, history and Yevgeny Zamyatin’s We
3. Experiments, with sex and drugs: Aldous Huxley’s Brave New World
4. "It has happened to Europe before but never to me": allegory and English exceptionalism in 1930s dystopias
5. Nazism, myth and the pastoral in Katherine Burdekin’s dystopian fiction
6. Dystopia at its limits: World War II and history
7. Bodies and nobodies: George Orwell’s Nineteen Eighty-Four
8. "Life in all its forms is strife": the Cold War nuclear threat and John Wyndham’s pessimistic liberal utopianism
The Popular Culture World Politics (PCWP) book series is the forum for leading interdisciplinary research that explores the profound and diverse interconnections between popular culture and world politics. It aims to bring further innovation, rigor, and recognition to this emerging sub-field of international relations.
To these ends, the PCWP series is interested in various themes, from the juxtaposition of cultural artefacts that are increasingly global in scope and regional, local and domestic forms of production, distribution and consumption; to the confrontations between cultural life and global political, social, and economic forces; to the new or emergent forms of politics that result from the rescaling or internationalization of popular culture.
Similarly, the PCWP series wishes to provide a venue for work that explores the effects of new technologies and new media on established practices of representation and the making of political meaning. It encourages engagement with popular culture as a means for contesting powerful narratives of particular events and political settlements as well as explorations of the ways that popular culture informs mainstream political discourse. The PCWP series promotes investigation into how popular culture contributes to changing perceptions of time, space, scale, identity, and participation while establishing the outer limits of what is popularly understood as ‘political’ or ‘cultural’.
In addition to film, television, literature, and art, the PCWP series actively encourages research into diverse artefacts including sound, music, food cultures, gaming, design, architecture, programming, leisure, sport, fandom and celebrity. The series is fiercely pluralist in its approaches to the study of popular culture and world politics and is interested in the past, present, and future cultural dimensions of hegemony, resistance and power.