Abstract

This review considers Darko Suvin’s recent career anthology Defined by a Hollow with respect to debates about the relevance of Marxism and utopian critique in the context of a global neoliberal hegemony that still imagines itself as the ‘end of history’. Suvin’s work suggests that the relationship between Marxism and aesthetics in such times is not simply a quirk of the academy, but is in fact a politically necessary conjoining of materialist praxis and quasi-religious inspiration.