Maybe there is another model for fantasy, one that does not simply eschew the Christian framework established by Tolkien and Lewis that so defines the genre, but complicates it, turning the focus away from destiny and back to moral choice, to human agency.
Lippard’s journalism was lurid and fictionalized, his historical writing Gothic, his Gothicism sentimental, based on real events, and often intended — like his nonfiction — to instruct and improve society.
As evinced by the last four decades of DIY music, we already use the technology of tech-capitalists toward proto-revolutionary ends, even small-scale, revolutionary societies.
After disaster, there is only disaster. It is a familiar and unrecognizable present. And whether we recognize it or not, whether we read it or write it or not, we are living the climate crisis.
The history of the novel is also the history of people coming into an understanding of themselves, of the ways in which we use art not only to reflect but also to change ourselves.
What unites both modern subcultures and modern terrorists (and terrorist subcultures) is no coherent ideology but a set of shared affective responses to social chaos—and if the last decade of culture has any lesson to give, it’s that emotional tourism has never been more popular.