‘Biopunk Dystopias’ contends that we find ourselves at a historical nexus, defined by the rise of biology as the driving force of scientific progress, a strongly grown mainstream attention given to genetic engineering in the wake of the Human Genome Project (1990-2003), the changing sociological view of a liquid modern society, and shifting discourses on the posthuman, including a critical posthumanism that decenters the privileged subject of humanism. The book argues that this historical nexus produces a specific cultural formation in the form of “biopunk”, a subgenre evolved from the cyberpunk of the 1980s. The analysis deals with dystopian science fiction artifacts of different media from the year 2000 onwards that project a posthuman intervention into contemporary socio-political discourse based in liquid modernity in the cultural formation of biopunk. Biopunk makes use of current posthumanist conceptions in order to criticize contemporary reality as already dystopian, warning that a future will only get worse, and that society needs to reverse its path, or else destroy all life on this planet. As Rosi Braidotti argues, “there is a posthuman agreement that contemporary science and biotechnologies affect the very fibre and structure of the living and have altered dramatically our understanding of what counts as the basic frame of reference for the human today”. The book analyzes this alteration as directors, creators, authors, and artists from the field of science fiction extrapolate it from current trends.
Table of Contents
- Dystopia, Science Fiction, Posthumanism and Liquid Modernity
- Science Fiction
- Liquid Modernity
- Utopian/Dystopian Fiction
- The Anthropocene, the Posthuman and the Animal
- Eco-Catastrophe, Hypercapitalism and the Inhuman
- Interconnectedness, the Animal Other and Genetics
- The Better Human: Posthumanity and the Replacement of ‘Us’
- Posthumanism and the Interregnum
- Science, Family and the Monstrous Progeny
- The Monstrous and the Posthuman
- Motherhood, Commitment and Liquidity
- Monstrous Sexuality and Incest
- Individuality, Choice and Genetic Manipulation
- Objectivist Utopia and Posthuman Dystopia
- Freedom of Choice, Individuality de jure and Morality
- Autonomy and Agency in Video Games
- Deep Structures and the Impossibility of Learning
- The Utopian, the Dystopian and the Heroic Deeds of One
- Superheroes, Posthumanism and the Ordinary
- The Utopian Potential and the Dystopian Future
- 9/11 and the Wasted Lives of Posthuman Zombies
- A New Millennium
- Zombie Fiction
- A Posthuman Society
Words of Praise
These theoretical considerations are important; but the real meat of Biopunk Dystopias comes in the discussions of particular representative works in the remaining chapters. […] All these chapters are dense and rich with insights. All the works discussed within them trace the consequences of Bauman’s liquid modernity on scales both personal and societal, and trace the emergence of political strategies of preemption, exclusion, and sovereign exemption.
Rebecca Wilbanks, Hecht-Levi Fellow, Johns Hopkins University
Each discussion engages thoroughly with relevant scholarship, from biopolitics to game studies to creature films and the horror genre. Together, they make a convincing case that biological themes are prominent in contemporary sf across media, appearing in works that are marked by a critically dystopian sensibility.
An important intervention into the ways sf studies is done – it is no longer even remotely credible to treat sf as just a literary genre – and the strengths of this book makes that argument more effectively than any polemic about the transmediality of sf.
D. Harlan Wilson, Writer and Professor of English, Wright State University
For Schmeink, biopunk sf holds the promise of utopia by unlocking the doors of posthuman subjectivity and perception not only for humanity but for all varieties of living organisms. This is only the beginning, of course, both for the subgenre and the criticism that will define and refine it. … Biopunk Dystopias erects a solid infrastructure for future scholarship as well as fresh interpretations of recent texts for critics in the field.
Gerry Canavan, Assistant Professor of English, Marquette University
A comprehensive, meticulously researched, and wide-ranging intervention in the union between genetic discourse and contemporary science fiction that has the potential to be very influential in the field.
Biopunk Dystopias represents a substantial contribution to the field … . With the commercialisation of the life sciences continuing apace, the insights [of] this book will only become more pertinent over the coming years. I would highly recommend it to anyone interested in the mutated future rushing straight for us.
Madeline Becker, English Literature, University of Magdeburg
Biopunk Dystopias [stellt] in vielerlei Hinsicht vor allem eine marxistische Kritik an der Gesellschaft des jungen 21. Jahrhunderts dar. […] Zudem bringt Schmeink Perspektiven verschiedener Fachrichtungen und theoretische Ansätze zusammen, unter anderem aus der Soziologie, den Human-Animal-Studies, den Monster Studies und den Game Studies, was nicht nur zum Erkenntnisgewinn seiner Analyse beiträgt, sondern darüber hinaus den wissenschaftlichen Diskurs für eine Vielzahl weiterer Fachrichtungen öffnet.
Jack Fennell in Fantastika Journal, vol.1, no. 1, 2017, pp. 134-9. (Link)
Steven Shaviro in Journal of the Fantastic in the Arts, vol.27, no. 3, 2016, pp. 546-8. (Link)
Rebecca Wilbanks in Science Fiction Studies, vol. 45, no. 2, 2018, pp. 390-94. (Link)
D. Harlan Wilson in Extrapolation, vol. 59, no.1, 2018, pp 118-21. (Link)
Madeline Becker in MEDIENwissenschaft, n0. 2-3, 2018, pp. 208-10. (Link)
A ‘Biopunk 101‘ originally published in the SFRA Review.
An article on the Liverpool University Press blog about the ‘Relevance of Biopunk Science Fiction‘