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This collection of literary utopias calls for a complete overhaul of existing assumptions about utopian writing in this period. The representation of utopian texts in these volumes shows that William Morris is far from "representative" of basic trends in the genre in this era.
This collection of literary utopias calls for a complete overhaul of existing assumptions about utopian writing in this period. The representation of utopian texts in these volumes shows that William Morris is far from "representative" of basic trends in the genre in this era. This is Volume 1 of 6 and looks at selected works from 1875 to 1879.
This collection of literary utopias calls for a complete overhaul of existing assumptions about utopian writing in this period. The representation of utopian texts in these volumes shows that William Morris is far from "representative" of basic trends in the genre in this era. This is Volume 3 of 6 and looks at selected works from 1886 to 1892.
This collection of literary utopias calls for a complete overhaul of existing assumptions about utopian writing in this period. The representation of utopian texts in these volumes shows that William Morris is far from "representative" of basic trends in the genre in this era. This is Volume 4 of 6 and looks at selected works from 1892 to 1893.
This collection of literary utopias calls for a complete overhaul of existing assumptions about utopian writing in this period. The representation of utopian texts in these volumes shows that William Morris is far from representative of basic trends in the genre in this era.
This collection of literary utopias calls for a complete overhaul of existing assumptions about utopian writing in this period. The representation of utopian texts in these volumes shows that William Morris is far from "representative" of basic trends in the genre in this era. This is Volume 5 of 6 includes ‘Beyond the Ice: Being a Story of the Newly Discovered Region Round the North Pole’ by George Read Murphy.
This collection of literary utopias calls for a complete overhaul of existing assumptions about utopian writing in this period. The representation of utopian texts in these volumes shows that William Morris is far from "representative" of basic trends in the genre in this era. This is final Volume of 6 includes selected works from 1896 to 1899.
This collection of literary utopias calls for a complete overhaul of existing assumptions about utopian writing in this period. The representation of utopian texts in these volumes shows that William Morris is far from "representative" of basic trends in the genre in this era. This is Volume 2 of 6 and looks at selected works from 1878 to 1882.
This collection of literary utopias calls for a complete overhaul of existing assumptions about utopian writing in this period. The representation of utopian texts in these volumes shows that William Morris is far from "representative" of basic trends in the genre in this era.
The rise of suburbs and the disinvestment from cities have been defining features of life in many countries over the course of the twentieth century, especially English-speaking countires. The separation of different aspects of life, such as living and working, and the diffusion of the population in far-flung garden homes have necessitated the enormous consumption of natural lands and the constant use of mechanized transportation. Why did we abandon our dense, complex urban places and seek to find 'the best of the city and the country' in the flowery suburbs? Looking back at the architecture and urban design of the 1800s offers some answers, but a missing piece in the story is found in Victorian utopian literature. The replacement of cities with high-tech suburbs was repeatedly imagined and breathlessly described in the socialist dreams and science-fiction fantasies of dozens of British and American authors. Some of these visionaries -- such as Robert Owen, Edward Bulwer-Lytton, Edward Bellamy, William Morris, Ebenezer Howard, and H.G. Wells -- are enduringly famous, while others were street vendors or amateur chemists who have been all but forgotten. Together, they fashioned strange and beautiful imaginary worlds built of synthetic gemstones, lacy metal colonnades, and unbreakable glass, staffed by robotic servants and teeming with flying carriages. As different as their futuristic visions could be, however, most of them were unified by a single, desperate plea: for humanity to have a future worth living, we must abandon our smoky, poor, chaotic Babylonian cities for a life in shimmering gardens.