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A wish with the intention of making things better, however, often has the opposite effect — thus allowing Le Guin to, in this short novel, showcase a number of ominous outcomes for humanity. When you think of the most iconic Dr. Like Samuel R. Many dystopias focus on the ways in which human flaws and obsessions can transform society for the worst. Specifically the idea that, in the event of some extraterrestrial lifeform visiting Earth, they might not even bother to contact us, leaving humans to puzzle over the bizarre artifacts they leave in their wake.

This brief, brutal novella, written by Sheldon under a pseudonym, is about a girl who gives up her life of poverty and physical deformity, instead becoming the remote brain for a perfect, young, machine-made starlet. As a vision of the future, The Girl Who is full of sci-fi tropes like remote brains and 3-D holograms.

More presciently, and more pointedly, it also speculates that advertising would become a hidden, embedded part of entertainment. Some dystopian novels take their cue from the breakdown of an existing social order; others focus on the conflict between two incompatible worldviews, and the devastation that they leave in their wake.

As he tells the story of a wanderer arriving in an isolated city, Delany uses a host of experimental prose techniques to leave the reader as shaken as his characters. The Girl Who Owned a City , familiar from many middle-school reading lists, is simpler and smaller than the Hunger Games cohort of young-adult dystopias. After Lisa loses her house to a gang of kids, she moves her nascent collective into the local high school. Its smallness and the simplicity of its language are a benefit rather than a detraction — as an introduction to dystopia and an act of imaginative future horror, it can hit a year-old square in the chest.

Woman on the Edge of Time feels atypical for a dystopian novel: Connie, its protagonist, lives in New York in the s, and its opening suggests the reader is in for a bleak work of literary realism. But soon, Connie is contacted by a representative from a utopian society in a possible future timeline, and things grow infinitely more complex.

As science-fiction writer and critic Jo Walton observed in an essay on the novel, s New York comes off as pretty dystopian here as well. Connie is repeatedly deprived of her freedom by patriarchal forces as sinister as anything you might run across in Atwood. Soon enough, however, the conversation at familial functions turns to the state of the world, which is headed toward rapid societal collapse.

Casual talks about genetics in the early going take on a new significance as the book advances; this is a tale of a grim future, the evolution of humanity, and the questions that face the society to come. Perhaps most impressive is how subtly the novel changes: Without ever losing sight of the personal, it takes on societal and environmental changes on a grander and grander scale. The Stand is his magnum opus when it comes to writing about the end of civilization, and the ensuing battle to decide what direction humanity will go in as it tries to rebuild.

Beginning with The Shadow of the Torturer , Wolfe wrote a number of interconnected works that explored the fate of humanity in the far future and earned a whole lot of acclaim along the way. These are generally grouped together as the Book of the New Sun set on Earth at a time when the sun has dimmed , the Book of the Long Sun set on a massive generation ship , and the Book of the Short Sun set on a number of distant worlds.

The Shadow of the Torturer is where it all began, featuring an apprentice torturer with an eidetic memory venturing across a bizarre world long after our own civilization has vanished. The setup is simple: A group of teenagers in a futuristic megacity stumble across something that transforms one of the kids into a troubled god; the End of Days ensues. A character at one point punches the goddamn moon and makes a significant dent, and it never looks silly, somehow.

Atwood presents a fully realized and terrifyingly timeless world in the Republic of Gilead, where rape is reframed as a sacred and clinical ceremony. The Postman made into a much-maligned film in is set after a series of wars — both international and civil — have led to the end of the United States as we know it.

Though the setting is dystopian, Brin pursues the question of how a nation can be rebuilt — whether through a set of shared beliefs or a group of working institutions. 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.


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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.

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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. 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.

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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.


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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.

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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. Here, though, one man survives, and so do all of the women. How exactly does the world fall apart? What nations become powerful?

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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.

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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.

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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? 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. In the U. There are a few stylish flourishes that make this novel veer in unexpected ways. Hall offers plenty for sociopolitically minded readers to ponder in this haunting narrative. Can poetry also bring the reader into a dystopian landscape?

Most definitely — there are several writers whose experiments with literary forms and narratives take them into futuristic spaces and transformative narratives. The writings of Bhanu Kapil come to mind. In these poems, Hong also hearkens back to a horrific real-world incident of political oppression: the Gwangju uprising, in which South Korean citizens protested military rule and encountered a violent response.

Sometimes the dystopian narrative extrapolates contemporary trends and fears; sometimes it summons up memories of a grim moment from history. Beukes is fantastic at capturing metropolises where things have gone ever-so-slightly off. Her first novel, Moxyland , uses the lives of four characters to zero in on questions of class, commercialization, and the overlap of media and technology — urgent ones to this moment in time. I pushed my own boundaries — artistically and subject-wise — and went somewhere new. I began writing novels in — another big learning curve.

My novels are rooted in myth and legend but ultimately they are concerned with how we each twist and turn and struggle and laugh and dance towards adulthood. The New Kid Hodder is about the delicate dance of meeting and making friends. The stakes are high for new kid on the block, Ellie. But the stakes are high for the local kids too — what if this new kid takes my friend? What if she makes up better games than me?