Ethical Futures and Global Science Fiction explores the ethical concerns and dimensions of representations of the future of global science fiction, focusing on the issues that dominate utopian, dystopian and science fiction literature. The essays examine recent visions of the future in science fiction and re-examine earlier texts through contemporary lenses. Across fourteen chapters, the collection considers authors from Algeria, Australia, Canada, China, Egypt, France, Germany, Haiti, India, Jamaica, Macedonia, Mexico, Russia, South Africa, the UK and USA. The volume delves into a range of ethical questions of immediate contemporary relevance, including environmental ethics, postcolonial ethics, social justice, animal ethics and the ethics of alterity.

Vegetarianism and Science Fiction: A History of Utopian Animal Ethics examines how vegetarian ideals promoted within science fiction and utopian literature have had a real-world impact on the awareness and spread of vegetarianism and animal advocacy, as well as how the genres' engagements have been altered to reflect changes in ethical and environmental philosophy. Author Joshua Bulleid examines the representation of vegetarianism in the works of major science fiction authors, including Mary Shelley, H. G. Wells, Arthur C. Clarke, Philip K. Dick, Ursula K. Le Guin, Ernest Callenbach, Marge Piercy, Octavia E. Butler, Kim Stanley Robinson and Margaret Atwood within their evolving social contexts, tracing the development of vegetarian trends and their science fictional representations from the early-nineteenth century to the present day.

Which of the possible futures might be a good future, and how do we know? Stephanie Bender looks at contemporary films and novels to address major ethical challenges of the future: the ecological catastrophe, digitalisation and biotechnology. She proposes that fiction and its modes of aesthetic simulation and emotional engagement offer a different way of knowing and judging possible futures. From a critical posthumanist angle, she discusses works ranging from Don DeLillo's Zero K (2017) and Margaret Atwood's MaddAddam Trilogy (2003-2013) to Kim Stanley Robinson's New York 2140 as well as Avatar (2009), and Blade Runner 2049 (2017) among many others.

Establishing science fiction as its own distinct and increasingly important narrative form, this book explores how the genre challenges pervasive perceptions of society as they appear in the conventional modern novel. Inspired by, and building upon, Georg Lukács's criticism of the orthodox novel for its depiction of life as alienating and disjointed, Milner, Murphy and Roberts demonstrate that science fiction steps beyond this contemporary form to be a more constructive form of literature, one able to conceive of society as complete, integrated and well-rounded. Taking stock of three kinds of science fiction which lie outside the scope of the modern novel – theological/ ontological science fiction, the science fiction of future history and epic science fiction – this book demonstrates the genre's unique capacity to encapsulate the whole world, persons and events, things and objects in a glance, and address the motive behind the longing for meaningful totality. With reference to a vast array of works by authors such as Michel Houellebecq, Elias Canetti, Isaac Asimov, Jules Verne, H. G. Wells, Aldous Huxley, Marge Piercy, Iain M. Banks, Margaret Atwood, Ursula K. Le Guin, William Gibson, Dirk C. Fleck, Philip K. Dick, George Orwell and Kazuo Ishiguro, this book offers a compelling argument for rethinking the position and potential of the science fiction novel and to challenge the way we perceive our culture.

The book highlights the urban imagination in contemporary Chinese science fiction, in order to assess the capacity of Chinese society to conceive of the future. The author argues that ‘the future’ is a set of directional and normative ideas that forms the basis of the entire social mobilization mechanism in China, while the capacity to imagine the future is likely to be produced in response to the present challenges. By discussing the urban space, the reconstruction of time, the infrastructure, and concepts of the 'urban-rural' and civilization in contemporary Chinese science fiction, she demonstrates how contemporary Chinese sci-fi may offer potential solutions to ways of ‘unlocking’ the future. In addition, she also points out the limitations of Chinese society’s imaginative vision of the future. The book will be of interest to scholars and postgraduate students of modern Chinese literature, science fiction studies, urban studies, or cultural studies.

Facing threats like climate change and nuclear warfare, science fiction authors have conjured apocalyptic scenarios of human extinction. Can such gloomy fates help us make sense of our contemporary crises? How important is the survival of our species if we wind up battling for an Earth that has become an unhabitable hellscape? What other possible futures do narratives of the end of humanity allow us to imagine? Michael Bérubé explores the surprising insights of classic and contemporary works of SF that depict civilizational collapse and contemplate the fate of Homo sapiens. In a lively, conversational style, he considers novels by writers including Ursula K. Le Guin, Margaret Atwood, Liu Cixin, Philip K. Dick, and Octavia Butler, as well as films that feature hostile artificial intelligence, such as 2001: A Space Odyssey, Blade Runner, and the Terminator and Matrix franchises. Bérubé argues that these works portray a future in which we have become able to see ourselves from the vantage point of something other than the human. Though framed by the possibility of human extinction, they are driven by a vision of the “ex-human”—a desire to imagine that another species is possible. For all science fiction readers worried about the fate of humanity, The Ex-Human is an entertaining yet sobering account of how key novels and films envision the world without us.