In this Book

summary

What do literary dystopias reflect about the times? In Blast, Corrupt, Dismantle, Erase, contributors address this amorphous but pervasive genre, using diverse critical methodologies to examine how North America is conveyed or portrayed in a perceived age of crisis, accelerated uncertainty, and political volatility.

Drawing from contemporary novels such as Cormac McCarthy’s The Road, Neil Gaiman’s American Gods, and the work of Margaret Atwood and William Gibson (to name a few), this book examines dystopian literature produced by North American authors between the signing of NAFTA (1994) and the tenth anniversary of 9/11 (2011). As the texts illustrate, awareness of and deep concern about perceived vulnerabilities—ends of water, oil, food, capitalism, empires, stable climates, ways of life, non-human species, and entire human civilizations—have become central to public discourseover the same period.

By asking questions such as “What are the distinctive qualities of post-NAFTA North American dystopian literature?” and “What does this literature reflect about the tensions and contradictions of the inchoate continental community of North America?” Blast, Corrupt, Dismantle, Erase serves to resituate dystopian writing within a particular geo-social setting and introduce a productive means to understand both North American dystopian writing and its relevant engagements with a restricted, mapped reality.

Table of Contents

  1. Cover
  2. restricted access Download |
  1. Title Page, Copyright
  2. restricted access Download |
  1. Contents
  2. pp. v-vi
  3. restricted access Download |
  1. Introduction
  2. Brett Josef Grubisic, Gisèle M. Baxter, and Tara Lee
  3. pp. 1-26
  4. restricted access Download |
  1. PART I: Altered States
  2. pp. 27-28
  1. The Man in the Klein Blue Suit: Searching for Agency in William Gibson’s Bigend Trilogy
  2. Janine Tobeck
  3. pp. 29-44
  4. restricted access Download |
  1. The Cultural Logic of Post-Capitalism: Cormac McCarthy’s The Road and Popular Dystopia
  2. Carl F. Miller
  3. pp. 45-60
  4. restricted access Download |
  1. Logical Gaps and Capitalism’s Seduction in Larissa Lai’s Salt Fish Girl
  2. Sharlee Reimer
  3. pp. 61-72
  4. restricted access Download |
  1. “The Dystopia of the Obsolete”: Lisa Robertson’s Vancouver and the Poetics of Nostalgia
  2. Paul Stephens
  3. pp. 73-92
  4. restricted access Download |
  1. Post-Frontier and Re-Definition of Space in Tropic of Orange
  2. Hande Tekdemir
  3. pp. 93-110
  4. restricted access Download |
  1. Our Posthuman Adolescence: Dystopia, Information Technologies, and the Construction of Subjectivity in M.T. Anderson’s Feed
  2. Richard Gooding
  3. pp. 111-128
  4. restricted access Download |
  1. PART II: Plastic Subjectivities
  2. pp. 129-130
  1. Woman Gave Names to All the Animals: Food, Fauna, and Anorexia in Margaret Atwood’s Dystopian Fiction
  2. Annette Lapointe
  3. pp. 131-148
  4. restricted access Download |
  1. The End of Life as We Knew It: Material Nature and the American Family in Susan Beth Pfeffer’s Last Survivors Series
  2. Alexa Weik von Mossner
  3. pp. 149-164
  4. restricted access Download |
  1. “The Treatment for Stirrings”: Dystopian Literature for Adolescents
  2. Joseph Campbell
  3. pp. 165-180
  4. restricted access Download |
  1. Imagining Black Bodies in the Future
  2. Gregory Hampton
  3. pp. 181-192
  4. restricted access Download |
  1. Brown Girl in the Ring as Urban Policy
  2. Sharon DeGraw
  3. pp. 193-216
  4. restricted access Download |
  1. PART III: Spectral Histories
  2. pp. 217-218
  1. Archive Failure? Cielos de la tierra’s Historical Dystopia
  2. Zac Zimmer
  3. pp. 219-238
  4. restricted access Download |
  1. Love, War, and Mal de Amores: Utopia and Dystopia in the Mexican Revolution
  2. María Odette Canivell
  3. pp. 239-258
  4. restricted access Download |
  1. Culture of Control/Control of Culture: Anne Legault’s Récits de Médilhault
  2. Lee Skallerup Bessette
  3. pp. 259-274
  4. restricted access Download |
  1. The Sublime Simulacrum: Vancouver in Douglas Coupland’s Geography of Apocalypse
  2. Robert McGill
  3. pp. 275-290
  4. restricted access Download |
  1. Neoliberalism and Dystopia in U.S.–Mexico Borderlands Fiction
  2. Lysa Rivera
  3. pp. 291-310
  4. restricted access Download |
  1. America and Books Are “Never Going to Die”: Gary Shteyngart’s Super Sad True Love Story as a New York Jewish “Ustopia”
  2. Marleen S. Barr
  3. pp. 311-326
  4. restricted access Download |
  1. In Pursuit of an Outside: Art Spiegelman’s In the Shadow of No Towers and the Crisis of the Unrepresentable
  2. Thomas Stubblefield
  3. pp. 327-338
  4. restricted access Download |
  1. Homero Aridjis and Mexico’s Eco-Critical Dystopia
  2. Adam Spires
  3. pp. 339-354
  4. restricted access Download |
  1. PART IV: Emancipating Genres
  2. pp. 355-356
  1. Lost in Grand Central: Dystopia and Transgression in Neil Gaiman’s American Gods
  2. Robert T. Tally, Jr.
  3. pp. 357-372
  4. restricted access Download |
  1. Which Way Is Hope? Dystopia into the (Mexican) Borgian Labyrinth
  2. Luis Gómez Romero
  3. pp. 373-392
  4. restricted access Download |
  1. Dystopia Now: Examining the Rach(a)els in Automaton Biographies and Player One
  2. Kit Dobson
  3. pp. 393-408
  4. restricted access Download |
  1. The Romance of the Blazing World: Looking back from CanLit to SF
  2. Owen Percy
  3. pp. 409-426
  4. restricted access Download |
  1. “It’s not power, it’s sex”: Jeanette Winterson’s The PowerBook and Nicole Brossard’s Baroque at Dawn
  2. Helene Staveley
  3. pp. 427-452
  4. restricted access Download |
  1. Another Novel Is Possible: Muckraking in Chris Bachelder’s U.S.! and Robert Newman’s The Fountain at the Center of the World
  2. Lee Konstantinou
  3. pp. 453-474
  4. restricted access Download |
  1. About the Contributors
  2. pp. 475-480
  3. restricted access Download |

Additional Information

ISBN
9781771120562
Related ISBN
9781554589890
MARC Record
OCLC
870916746
Pages
450
Launched on MUSE
2014-12-04
Language
English
Open Access
No
Back To Top

This website uses cookies to ensure you get the best experience on our website. Without cookies your experience may not be seamless.