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Sentient ink, curatorship and writing the new weird in China Miéville’s Kraken: An anatomy
Katharine Cox

INTRODUCTION China Miéville is an innovative writer and critic of fantasy fiction, who emerged as part of the British sf/f renaissance at the end of the 1990s. His consideration of the new weird as a politically engaged form of fantasy is a direct challenge to theories of science fiction, building on Darko Suvin’s hierarchy of sf ( 1979 , 1983 ) that prioritises the value and potential of science fiction over fantasy (see Chu 2010 ; Vint 2015 ). 1 Miéville’s apotheosis of the new weird is achieved in his

in Tattoos in crime and detective narratives
Susan Watkins

’s ‘Doris Lessing in Pursuit of the English, or, No Small, Personal Voice’. In this essay, Hanson argues that a number of Lessing’s novels exhibit the strains of realism and argues that ‘in contradiction to the prevailing English view, Doris Lessing is not a realist novelist who, after some aberration and dallying with “science fiction”, is returning to the realist fold’. She continues: ‘Lessing is a far, far more radical writer than this, one whose work reflects almost every possible stage and process in the “dehumanisation of art” and of the individual in the post

in Doris Lessing
Open Access (free)
Jenny Edkins

, and two notions of time and politics: first, the notion that the future is something that can be produced or at least influenced by our actions; and second, the idea that the future is in some sense predetermined – and we cannot escape it. The first is, if you like, a linear, progressive notion of time; the second could be seen as a more circular picture. Crucially though, both see time as an external background against which events unfold; time exists independently of us, and the film postulates a science fiction world where we can travel through this external time

in Change and the politics of certainty
Abigail Susik

their ship, the Impossible , exhibits similarities to first-person accounts of ecstatic religious experience, fantasy, and science fiction. Daumal died in 1944, at the age of thirty-six, leaving Le Mont Analogue unfinished after four years of writing. The text was published posthumously in 1952, the year before a young and impoverished Jodorowsky arrived in Paris on a ship from South America. Jodorowsky probably read the book during his initial years in France. Ben Cobb theorises that The Holy Mountain , which ends abruptly when the Alchemist breaks the fourth

in Surrealism and film after 1945
Zalfa Feghali

-​first-​century fiction, the novel has been described by Alison Flood as ‘the best novel of the 21st century to date’.3 Critics credit Díaz with having crafted a novel that fuses ‘science fiction, fantasy, and testosterone’.4 Similarly, in his review of the novel, Christopher Taylor notes Díaz’s success in ‘coupling the book’s interest in genre to the creolisation he values in Caribbean culture’.5 Taylor is perhaps simplistic in his appeal to creolisation, but he is right in identifying the hybrid character of the novel, which is foregrounded by Díaz from the outset. Indeed, as the

in Crossing borders and queering citizenship
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Helen Wheatley

Century Fox Television, 1997–2003), for example, takes a similar stance to this book, arguing that, ‘with the movement from film to television, horror and science fiction genres have literally invaded the domestic sphere and opened up the family room to the horrific world outside of this traditionally private and safe domain’ ( 2005 : 159). Like the analysis of Twin Peaks (Lynch-Frost Productions, 1990

in Gothic television
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Closing thoughts
Richard J. Hand

–274) The comparatively new invention of radio would certainly explore the scream. Wally K. Daly’s science fiction epic ‘Before the Screaming Begins’ (1 July 1978) will open with an astonishing sixteen-second scream; Anna Massey will seal the monologue-driven ‘The Yellow Wallpaper’ ( Fear on Four , 27 December 1990) with a gut-wrenching scream of terror; and in Oliver Emanuel’s The Vanishing, the

in Listen in terror
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Writing wounds
Sara Wasson

imaginatively. 9 This book is concerned with extended durations of heterogeneous suffering. Yet fantastical fiction and film are also inevitably complicit in capital’s processes too, and indeed, some critics have suggested that science fiction has functioned as ‘ideological cyclosporine’ by normalising organ transplant in ways that facilitate global inequalities in tissue transfer. 10 These polyvalent texts are also complicit in forgetting. Writing can also wound. Literary criticism cannot emulate the specificity of ethnography, but I hope that this book can be seen as

in Transplantation Gothic
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Ex machina
Katia Pizzi

. Combining elements of science fiction, historical fiction, fantasy, afrocentrism and magic realism, afrofuturism interrogates the historical predicament of black people addressing the concerns of the African diaspora through the lens of technoculture and science fiction. Race and technology underpin afrofuturism’s exploration of black identity in utopian and dystopian frames. 28 Afrofuturism encompasses creative writers (e.g. Samuel R. Delany and Octavia Butler), painters (e.g. Jean-Michel Basquiat and Angelbert Metoyer, celebrated in exhibitions in Harlem in 2014 and

in Italian futurism and the machine
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Marcel H. Van Herpen

on specific issues. Instead of giving a mandate to an elected representative to take a decision, the decision is taken by the citizen him- or herself. At first sight this seems to be true. And our computer age could, indeed, make things a lot easier, enabling citizens, while staying at home, to cast their votes online. In a book first published in 1984, the Italian political scientist Norberto Bobbio considered this option still to be “science-fiction,” writing: “As concerns the referendum, which, in the end, is the only device of direct democracy which can be

in The end of populism