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Utopia in the Age of Survival: Between Myth and Politics

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A pathbreaking exploration of the fate of utopia in our troubled times, this book shows how the historically intertwined endeavors of utopia and critique might be leveraged in response to humanity's looming existential challenges.

Utopia in the Age of Survival makes the case that critical social theory needs to reinstate utopia as a speculative myth. At the same time the left must reassume utopia as an action-guiding hypothesis--that is, as something still possible. S. D. Chrostowska looks to the vibrant, visionary mid-century resurgence of embodied utopian longings and projections in Surrealism, the Situationist International, and critical theorists writing in their wake, reconstructing utopia's link to survival through to the earliest, most radical phase of the French environmental movement. Survival emerges as the organizing concept for a variety of democratic political forms that center the corporeality of desire in social movements contesting the expanding management of life by state institutions across the globe.

Vigilant and timely, balancing fine-tuned analysis with broad historical overview to map the utopian impulse across contemporary cultural and political life, Chrostowska issues an urgent report on the vitality of utopia.

213 pages, Kindle Edition

Published October 19, 2021

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About the author

S.D. Chrostowska

8 books14 followers
S.D. Chrostowska is an instructor of Social and Political Thought at York University in Canada. Her essays, short fiction, and articles have appeared in The Believer, The Review of Contemporary Fiction, The Hedgehog Review, New German Critique, Public Culture, New Literary History, SubStance, boundary 2, among others.

Chrostowska was raised in Warsaw and divides her time between Toronto and Paris.

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Author 15 books416 followers
March 30, 2022
"As Pierre Boulez once remarked of liberal society, “The economy is there to remind us, in case we get lost in this bland utopia: there are musics which bring in money and exist for commercial profit; there are musics that cost something, whose very concept has nothing to do with profit. No liberalism will erase this distinction.” He might have added: in the bland “utopia” of value pluralism, where one thing is as good as the next, there are musics that hunt for an exit."
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