Although to the readers of Utopian Studies Darko Suvin remains perhaps best known for his criticism of science fiction, much of his recent writing has fallen into the category of Marxist political epistemology. Of note are In Leviathan's Belly: Essays for a Counter-Revolutionary Time (2012), his analysis of former Yugoslavia in Splendour, Misery, and Potentialities: An X-ray of Socialist Yugoslavia (2017) as well as a number of shorter works on subjects that range from the Russian Revolution to George Orwell's Nineteen (...) Eighty-Four. For decades, Suvin has also written (about) poetry: he discussed verse already in the 1979 The Metamorphoses of Science Fiction: On the Poetics and History of a Literary Genre and his... Read More. (shrink)

Ever since I encountered Lyman Tower Sargent's writing, he has signified to me a scholar whose lifelong dedication to utopian thought and literature has nurtured generations of students, critics, and practitioners of utopia. It is for this reason that my birthday wishes briefly place Lyman's work alongside that of William Morris—a writer, critic, designer, and activist whose inspiration was the past.

In addition to two Czech translations of Thomas More’s Utopia—one from 1950 by Bohumil Ryba, the other from 1911 by Jiří Foustka—More’s imaginary society has been introduced into the Czech context through prefaces and afterwords that accompanied the translations, through journalistic essays, and through a number of scholarly articles and book-length studies. Drawing on several such recently published accounts of More’s life and his work, the following pages first sketch contemporary debates about Utopia in the Czech Republic. Subsequently, I devote (...) myself to the translations by Ryba and Foustka. Besides discussing them in detail, I consider the paratexts, alongside selected critical studies as well... (shrink)

“Since 1989 we have lived in a world where the nightmare of socialist science fiction has become reality: capitalism has won. With some exceptions, we have no alternative visions of economic, technological, and social future, no visions that would spring from anything besides capitalism”.1 With these words, Tomáš Pospiszyl closes the introduction to a volume that accompanied a recent exhibition about imaginary futures in socialist Czechoslovakia organized in Dům umění in Brno and Centrum současného umění Dox in Prague. Pospiszyl’s idea (...) indeed echoes through contemporary Czech culture. At second sight, however, through the over-a-century-old... (shrink)