Once Upon A Dystopia

"Once Upon a Dystopia contains 20 stories of fairy tale and folklore retellings that explore dystopian influence in literature. From science fiction based futures to fantasy kingdoms, the message is clear: One person's utopia is another's hell."--Back cover.

Vanity is a crime and Cinderella must wear a mask. The big bad wolf puts on an armored suit to battle extraterrestrials. Rapunzel is forced to claim her throne and right the wrongs of the past. Snow White goes insane in a world where corporations have torn down the forests. Three siblings cross a bridge in a post-apocalyptic wasteland. In a genetically altered society, one different girl will be hunted for her imperfections... Proudly created by the authors of Dystopian Ink, Once Upon A Dystopia: An Anthology of Twisted Fairy Tales and Fractured Folklore contains twenty stories of fairy tale and folklore retellings that explore dystopian influence in literature. From Science Fiction based futures to Fantasy kingdoms, the message is clear: One person's utopia is another's hell. For fans of The Twilight Zone, Black Mirror, Hunger Games, and Unwind, the authors from Dystopian Ink teamed up to bring you a collection of tales that distort childhood favorites into dystopian masterpieces. Works included: Caught in the Siren's Wake - Audrey M. Stevens Glass - Kathryn Jacques Big Bad Wolfe and the Three Little P.I.G.G.s - Jared K. Chapman Twisted - K.R.S. McEntire While They Sleep - Heather Carson The Fairest Blade - L. B. Winters Heterochromia - Mikhaeyla Kopievsky Wings - Emily Pirrello The Bridge - Ginny Young The Frozen Eye - Harry Carpenter Goldie Bear - Emily VanOverloop Atlas: The Tale of Hanna and Greta - A.K. Harris My Own Skin - Sherri Cook Woosley Lieutenant Red Hood - Jordyn Kieft Forever Young - Haleigh Diann HOOD: A Grindhouse Robin Hood Tale - Jared K. Chapman Jack, the Clock, and the Beanstalk- J. Lynn Hicks The Piper - Christine French The Seven Kids - Audrey M. Stevens Spinner's Song- Heather Carson

This unique collection of "DYSTOPIA Boxed Set: 18 Dystopian Classics in One Edition" has been designed and formatted to the highest digital standards. Contents: 1984 (George Orwell) Brave New World (Aldous Huxley) It Can't Happen Here (Sinclair Lewis) That Hideous Strength (C. S. Lewis) Iron Heel (Jack London) We (Yevgeny Zamyatin) Meccania the Super-State (Owen Gregory) Lord of the World (Hugh Benson) When The Sleeper Wakes (H. G. Wells) The Time Machine (H. G. Wells) The First Men in the Moon (H. G. Wells) Caesar's Column (Ignatius Donnelly) The Secret of the League (Ernest Bramah) City of Endless Night (Milo Hastings) Looking Further Backward (Arthur Dudley Vinton) The Heads of Cerberus (Francis Stevens) The Fixed Period (Anthony Trollope) Animal Farm (George Orwell)

While it is often acknowledged that Margaret Atwood's novels are rife with allusions from the oral tradition of myth, legends, fables, and fairy tales, the implications of her liberal usage bear study. The essays in this volume have been written by some of the most influential Margaret Atwood scholars internationally, each exploring Atwood’s use of primal, indeed archetypal, narratives to illuminate her fiction and poetry. These essays interact with all types of such narratives, from fairy tales and legends, to Greek, Roman, Biblical, and pagan mythologies, to contemporary processes of myth and tale creation. And, as the works in this collection demonstrate, Atwood’s use of myths and fairy tales allows for an abundance of old, yet fresh material for contemporary readers. By reconciling, yet by also revisioning, the archetypal motifs, characters, and narratives, Atwood’s writings present a familiar, yet unique, reading experience.

This meticulously edited dark future collection includes the greatest dystopian novels and post-apocalyptic stories - for you to compare with your own prediction based on present events: George Orwell: 1984 Animal Farm Aldous Huxley: Brave New World Sinclair Lewis: It Can't Happen Here C. S. Lewis: That Hideous Strength Yevgeny Zamyatin: We Jack London: Iron Heel H. G. Wells: The Time Machine The First Men in the Moon When the Sleeper Wakes Jonathan Swift: Gulliver's Travels Edward Bulwer-Lytton: The Coming Race Edgar Allan Poe: The Conversation of Eiros and Charmion Owen Gregory: Meccania the Super-State Hugh Benson: Lord of the World Edward Bellamy: Looking Backward: 2000–1887 Equality Mary Shelley: The Last Man William Hope Hodgson: The Night Land Stanley G. Weinbaum: The Black Flame Fred M. White: The Doom of London Series The Four White Days The Four Days' Night The Dust of Death A Bubble Burst The Invisible Force The River of Death Ignatius Donnelly: Caesar's Column Ernest Bramah: The Secret of the League Arthur Dudley Vinton: Looking Further Backward Richard Jefferies: After London Samuel Butler: Erewhon Edwin A. Abbott: Flatland Anthony Trollope: The Fixed Period Cleveland Moffett: The Conquest of America

Serial storytelling has the advantage of unlocking rather than simplifying the complexities of digital culture. With their worldbuilding potential, TV series open up new artistic horizons, particularly for the dystopian genre. Situated at the nexus of dystopia, complex TV, and a metamodern cultural logic, Dystopia on Demand: Technology, Digital Culture, and the Metamodern Quest in Complex Serial Dystopias offers readers novel insights into the dynamics of serial dystopias in the contemporary streaming landscape. Introducing the term 'complex serial dystopias' to describe series that allow audiences to engage with the dystopian premise from multiple angles, the book examines four Anglo-American series, including Black Mirror, Mr. Robot, Westworld, and Kiss Me First. The in-depth analyses trace the variety of ways in which these series offer critical reflections on the human-technology entanglement in digital culture.

For a genre that imagines possible futures as a means of critiquing the present, utopian/dystopian fiction has been surprisingly obsessed with how the past is remembered. Memory and Utopian Agency in Utopian/Dystopian Literature: Memory of the Future examines modern and contemporary utopian/dystopian literature’s preoccupation with memory, asserting that from the nineteenth century onward, memory and forgetting feature as key problematics in the genre as well as sources of the utopian impulse. Through a series of close readings of utopian/dystopian novels informed by theory and dialectics, Hanson provides a case study history of how and why memory emerged as a problem for utopia, and how recent dystopian texts situate memory as a crucial mode of utopian agency. Hanson demonstrates that many modern and contemporary writers of the genre consider the presence of certain forms of memory as necessary to the project of imagining better societies or to avoiding possible dystopian outcomes.

Examination Thesis from the year 2012 in the subject English Language and Literature Studies - Other, grade: 1,0, University of Cologne, language: English, abstract: [Suburbia] has become the quintessential physical achievement of the United States; it is perhaps more representative of its culture than big cars, tall buildings, or professional football. Suburbia symbolizes the fullest, most unadulterated embodiment of contemporary culture. As Kenneth Jackson notes in his price-winning chronicle Crabgrass Frontier, the suburban landscape has become inseparable from American culture within the last two centuries. Nowadays living in the suburbs is the norm for most Americans, as since the 1990s, more than two third of the population lives in suburban districts. The term suburbia does not only relate to the geographical concept that differentiates these dwellings from urban or rural areas, but also describes a cultural, ideological space incorporating Americans’ hopes for an economically safe and prosperous family life. Closely tied to the history and culture of the USA, suburbia marks a dynamic ideological space that is constantly influenced and recreated by both the events of everyday life and artistic discourse. Thus, the depiction of suburban life functions as a central narrative element in numerous works of American literature, art and film. In this context, fictional texts do not merely represent suburbia, but also have a decisive role in the shaping of suburban spaces. The treatment of suburbia as a cultural space in American movies is of special interest, as their commercial success and popularity make films important cultural texts. As Spigel notes, “television and new media redirect our experience of private and public spheres” and therefore highly influence our perceptions of the spaces we inhabit. Regarding suburban landscapes, this aspect is particularly interesting because the inexorable rise of the television practically coincided with the postwar suburbanization of the US and had a significant effect on life in general and on the suburban ideal in particular. As a consequence, the TV-set was inseparable from the model of the suburban single-home in the 1950s. Thus, already in the fifties, when the idealized image of suburbia evolved, television had a decisive impact on the creation of suburbia as a cultural space. In this context, it must be questioned whether the depictions of suburbia are simulations of the real spaces, or if it is in fact the other way around, so that suburbia as a cultural concept is a mere simulation of the fictional spaces depicted on screen and thus a copy without an original.