Nichoas Spencer argues for the importance of "anarchistic and spatial factors" in twentieth-century utopian thought despite the resistance to them in the Marxist texts under review by Brown, DeKoven, Jameson, and Puchner.
Stephen Burn considers Tom LeClair's recent novel through the lens of the latter's own critical work on postmodern fiction, while also excavating the novel's relation to Faulkner's tale of racial empire building, Absalom, Absalom!
Scott Hermanson presents a dialogue he conducted with novelists Richard Powers and Tom LeClair, at the University of Cincinnati in 2005. Moderated by Hermanson, the novelists discuss the intricacies of writing about nature, the role of history in the novel, and their fictions' use of imitative form.
Tim Peterson brilliantly lays out for us how Charles Bernstein's Girly Man represents the mobilization of queer rhetoric, iconoclastic values, and an implied notion of the family in the figure of the Girly Man.
In "Nothing Lasts," Stephen Schryer considers Tom LeClair's Passing On and The Liquidators as paired novels, one immersing the reader in the maelstrom of the social and economic systems that shape contemporary life, the other shielding the reader from those systems. Unlike the massive novels from the seventies that fascinated LeClair the critic, Schryer finds the novelist a "literary miniaturist," seeking "concise synecdoches for the larger systems" his books evoke.
Monica Evans extends Costikyan's analysis of the narrative/game debate, but ultimately concludes that battles over genre categorization miss the point of electronic media, and that we cannot yet accurately assess how the tension between story and play works out because digital games are "products of a technology still in its infancy."
Jan Van Looy criticizes Erik Mona's history of Dungeons & Dragons as overly descriptive, and Van Looy critiques the game's quantification of the qualitative, i.e., personal characteristics and magic - which were hitherto considered unquantifiable.
Eric Lang (with Pat Harrigan) explains the advantages writers have in crafting adaptations of literary franchises into collectible card games. Lang maintains that, while attempting to remain true to the original, when turning narratives into games, one must "respect the medium."
Bruno Faidutti begins with the controversial premise that "[e]very game tells a story," in his description of how he uses literary techniques to enhance gameplay - even in non-RPG systems such as board games, which don't traditionally include a story.