The Rhetoric of Dystopia develops an idea of “emergent metalepsis” that describes the uncanny moments where fictive texts anticipate material events, blurring the boundary between the storyworld and the world of reception. Christopher Carter treats dystopia as rhetoric that shapes collective identities while speeding across platforms and geopolitical borders, at once critiquing and exemplifying the circulation of power relations through varied modes. This rhetoric features rampant viruses, authoritarian governments, corporate behemoths, corrupt educational and scientific institutions, and brutal policing, sometimes amplifying existing trends and sometimes merely documenting them. From Bong Joon-ho to Reed Morano, Octavia Butler to Richard McGuire, artists proffer arguments whose gravity we often fail to register, thus calling into question the uses of media literacy in an age of looming cataclysm. Carter situates this rhetoric within scholarship on literacy, built environments, border policies, global food production, and the Anthropocene.
