Abstract

That utopia as a literary genre has suffered death, attenuation, transmutation, or dystopic inversion not too long ago, and at any rate by the last quarter of the twentieth century, is a widespread and well-established view among most of the critical thinkers in utopian studies. In his most recent foray on the subject, Fredric Jameson begins his "An American Utopia" by observing that "we have seen a marked diminution in the production of new utopias over the last decades," particularly after the publication of Ernest Callenbach's Ecotopia in 1975.1 At the beginning of our own century, Tom Moylan, whose Demand the Impossible had diagnosed a post–World War II transmutation of earlier literary...