Dick, UrsulaK. LeGuin, William Gibson, Brian Aldiss, Kim Stanley Robinson, and more.Jameson’s essential essays, including “The Desire Called Utopia,”conclude with an examination of the opposing positions on utopia and an assessment of its political value today.

    The book introduces and explicates major works of science fiction literature by placing them in a series of contexts, using the history of science and technology, political and economic history, and cultural theory to develop the means for understanding the unique qualities of the genre. Luckhurst reads science fiction as a literature of modernity. His astute analysis examines how the genre provides a constantly modulating record of how human embodiment is transformed by scientific and technological change and how the very sense of self is imaginatively recomposed in popular fictions that range from utopian possibility to Gothic terror. This highly readable study charts the overlapping yet distinct histories of British and American science fiction, with commentary on the central authors, magazines, movements and texts from 1880 to the present day. It will be an invaluable guide and resource for all students taking courses on science fiction, technoculture and popular literature, but will equally be fascinating for anyone who has ever enjoyed a science fiction book.

    God gives a woman named Martha the task of helping humans become less destructive. Although afraid of making mistakes and resentful of god for the way he had designed the world, Martha eventually starts to create ways that she can help humanity. God shoots down some of her early ideas, explaining the unintended consequences, but Martha ultimately resolves to give people vivid, life-like dreams every night, for a more fulfilling life. She later adds that once the people wake up from these dreams, they become aware of their potential. This is bittersweet for Martha because as a novelist, she knows that people will no longer read books for pleasure, since they will be seeking pleasure in their dreams. She is willing to risk her career, and the life that she has made for herself from writing novels, just so that everyone in the world can have some sort of fantasy that would make them better people.

    In drawings inspired by pop art and psychedelia, architecture floated away, tethered by wires, gantries, tubes, and trucks. In Archigram: Architecture without Architecture, Simon Sadler argues that Archigram's sense of fun takes its place beside the other cultural agitants of the 1960s, originating attitudes and techniques that became standard for architects rethinking social space and building technology. The Archigram style was assembled from the Apollo missions, constructivism, biology, manufacturing, electronics, and popular culture, inspiring an architectural movement--High Tech--and influencing the postmodern and deconstructivist trends of the late twentieth century.Although most Archigram projects were at the limits of possibility and remained unbuilt, the six architects at the center of the movement, Warren Chalk, Peter Cook, Dennis Crompton, David Greene, Ron Herron, and Michael Webb, became a focal point for the architectural avant-garde, because they redefined the purpose of architecture. Countering the habitual building practice of setting walls and spaces in place, Archigram architects wanted to provide the equipment for amplified living, and they welcomed any cultural rearrangements that would ensue. Archigram: Architecture without Architecture--the first full-length critical and historical account of the Archigram phenomenon--traces Archigram from its rediscovery of early modernist verve through its courting of students, to its ascent to international notoriety for advocating the disappearance of architecture.

    Our things in our hands must be equals, comrades, wrote Aleksandr Rodchenko in 1925. Kiaer analyzes this Constructivist counterproposal to capitalism's commodity fetish by examining objects produced by Constructivist artists between 1923 and 1925: Vladimir Tatlin's prototype designs for pots and pans and other everyday objects, Liubov' Popova's and Varvara Stepanova's fashion designs and textiles, Rodchenko's packaging and advertisements for state-owned businesses (made in collaboration with revolutionary poet Vladimir Mayakovsky), and Rodchenko's famous design for the interior of a workers' club. These artists, heeding the call of Constructivist manifestos to abandon the nonobjective painting and sculpture of the early Russian avant-garde and enter into Soviet industrial production, aimed to work as artist-engineers to produce useful objects for everyday life in the new socialist collective.Kiaer shows how these artists elaborated on the theory of the socialist object-as-comrade in the practice of their art. They broke with the traditional model of the autonomous avant-garde, Kiaer argues, in order to participate more fully in the political project of the Soviet state. She analyzes Constructivism's attempt to develop modernist forms to forge a new comradely relationship between human subjects and the mass-produced objects of modernity; Constructivists could imagine no possessions (as John Lennon's song puts it) not by eliminating material objects but by eliminating the possessive relation to them. Considering such Constructivist objects as flapper dresses and cookie advertisements, Kiaer creates a dialogue between the more famous avant-garde works of these artists and their quirkier, less appreciated utilitarian objects. Working in the still semicapitalist Russia of the New Economic Policy, these artists were imagining, by creating their comradely objects, a socialist culture that had not yet arrived.

    The author's journey begins in the frigid wastelands of contemporary consumer culture. Like a surreal HMS Beagle, Trans Terra meanders through time and space exploring archipelagos real and imagined. Prominent stops include Soviet Siberia, Communist Poland, Plato's Atlantis, nineteenth-century New York, and Sir Thomas More's Utopia. Arriving on the polluted shores of collapsing global civilization, Tom K glimpses the faint light of utopia beyond the veil of Apocalypse. Taking cue from Salvador Dali's paranoiac-critical method, the author unearths improbable connections between thinkers as disparate as Ignatious Donnelly, Alvin Toffler, Rem Koolhaas, Slavoj Žižek, and many others. Translated into several languages, Trans Terra is a comic book manifesto for the post-capitalist-crisis world.Tom Kaczynski (a.k.a. Tom K) is an Ignatz-nominated cartoonist, designer, illustrator, writer, teacher, and publisher. His comics have appeared in Best American Nonrequired Reading, Mome, Punk Planet, The Drama, and many other publications. Beta Testing the Apocalypse, a collection of his Mome stories, was published by Fantagraphics Books in July 2012. He lives in Minneapolis, Minnesota, with his partner Nikki and their two black cats.

     This Companion conveys the scale and variety of science fiction. Shows how science fiction has been used as a means of debating cultural issues. Essays by an international range of scholars discuss the contexts, themes and methods used by science fiction writers. Addresses general topics, such as the history and origins of the genre, its engagement with science and gender, and national variations of science fiction around the English-speaking world. Maps out connections between science fiction, television, the cinema, virtual reality technology, and other aspects of the culture. Includes a section focusing on major figures, such as H.G. Wells, Arthur C. Clarke, and Ursula Le Guin. Offers close readings of particular novels, from Mary Shelley's Frankenstein to Margaret Atwood's The Handmaid's Tale.