Abstract
This chapter explores spatial manifestations of the rise of neoliberal globalization, one of the contributing factors to the 2008 financial crisis, in Ray Loriga’s dystopian novel Tokio ya no nos quiere (Tokyo Doesn’t Love Us Anymore) (1999). It focuses in particular on representations of “non-places” and landscapes of disorder, deregulation, waste, and excess. The protagonist’s peripatetic wanderings through these assorted landscapes reflect the impact of his addiction to a memory-erasing drug, as well as the dystopian nature of hyper-consumerist societies. Through the spatial constructions in his novel, Loriga emphasizes how the protagonist’s freedom to consume whatever he pleases does not lead to individual autonomy, but rather lays the foundation for the walls of his own confinement.
This is a preview of subscription content, log in via an institution to check access.
Access this chapter
Tax calculation will be finalised at checkout
Purchases are for personal use only
Notes
- 1.
While John King’s translation of Tokio ya no nos quiere (Tokyo Doesn’t Love Us Anymore) is available, all translations of the work included in this chapter are my own.
- 2.
Knights and Willmott, “Autonomy as Utopia or Dystopia,” 59–81.
- 3.
Augé, Non-Places, 78.
- 4.
Robert Nozick’s influential book Anarchy, State and Utopia (1974) has helped to shape contemporary libertarian ideology, which is grounded in the belief that the power of the state should be kept to a minimum in order to maximize individual rights and autonomy. See Nozick, Anarchy, State and Utopia, ix. Contrary to individualist anarchists, who advocate for a stateless society (see Stanford Encyclopedia of Philosophy, s.v. “Robert Nozick’s Political Philosophy,” June 22, 2014, https://plato.stanford.edu/entries/nozick-political/), Nozick contends that there should be a minimal, “nightwatchman” state, restricted primarily to “narrow protection against force, theft, fraud, enforcement of contracts, and so on.” Ibid. Right-wing libertarianism, which is concerned with economic and social policies, is most often associated with free-market capitalism and the protection of individual rights (especially private property). Sometimes the term “anarcho capitalism,” coined by Murray Rothbard, is used to describe the economic policies of extreme libertarians who believe that there should not even be a minimal nightwatchman state. See The Stanford Encyclopedia of Philosophy, s.v. “libertarianism,” accessed February 10, 2018, http://www.iep.utm.edu/libertar/. The ideology of “anarchism,” which advocates for the elimination of all hierarchies, originates from the concept of a harmonious society without laws or leaders that is founded on principles such as collaboration and mutual aid. See Ward, Anarchism, 13. Therefore, in this study expressions like “chaotic” and “anarchic” (and their noun counterparts “chaos” and “anarchy”) are employed in lieu of “anarchistic” to characterize areas outside of corporate control.
- 5.
Encyclopedia Britannica, s.v. “neoliberalism,” accessed February 10, 2018, https://www.britannica.com/topic/neoliberalism. Neoliberalism is an “ideology and policy model that emphasizes the value of free market competition. Although there is considerable debate as to the defining features of neoliberal thought and practice, it is most commonly associated with laissez-faire economics. In particular, neoliberalism is often characterized in terms of its belief in sustained economic growth as the means to achieve human progress, its confidence in free markets as the most-efficient allocation of resources, its emphasis on minimal state intervention in economic and social affairs, and its commitment to the freedom of trade and capital.”
- 6.
Pavlović, Despotic Bodies, 86.
- 7.
Nichols and Song, “Back to the Future,” 2.
- 8.
Labrador, “El cristal de la bola,” 9.
- 9.
Allinson, “The Construction of Youth,” 265–73.
- 10.
Ibid., 267.
- 11.
Stiglitz, Globalization and Its Discontents, 9.
- 12.
Kotz, “Globalization and Neoliberalism,” 1.
- 13.
Aninat, “Reflections on Globalization.”
- 14.
Ibid.
- 15.
Ortega and Peñalosa, “The Spanish Economic Crisis,” 9.
- 16.
Prádanos, “Spanish Cultural,” 24.
- 17.
Allinson, “The Construction of Youth,” 267–71.
- 18.
Morgan, “1992: Memories and Modernities,” 58; Moreiras-Menor, “Spectacle, Trauma and Violence,” 135.
- 19.
Allinson, “The Construction of Youth,” 271.
- 20.
Cyberpunk may be defined as “a genre of science fiction set in a lawless subculture of an oppressive society dominated by computer technology.” See Oxford Living Dictionaries, s.v. “cyberpunk,” February 10, 2018, https://en.oxforddictionaries.com/definition/cyberpunk. Some examples include works like Blade Runner (1982) directed by Ridley Scott, Neuromancer (1984) by William Gibson, and Ready Player One (2011) by Ernest Cline.
- 21.
There are engaging reviews of the novel by J. Fidel Insúa, Iván Fernández Balbuena, and Alberto García-Teresa and Juan Manuel Santiago.
- 22.
Agawu-Kakraba, “Where Do We Go,” 144.
- 23.
Saum-Pascual, “Alternativas a la (ciencia) ficción,” 240–59; Martín Rodríguez, “Heterotopías fictopublicitarias,” 367–87; García-Teresa and Santiago, “Mirar al futuro,” 441–45.
- 24.
Ibid., 443.
- 25.
Also, worthy of mention are several Spanish consumerist dystopias produced after the 2008 financial crisis. Lágrimas en la lluvia [Tears in the rain] (2011) by Rosa Montero and Oxford 7 (2011) by Pablo Tusset have been studied by Luis Prádanos (see Prádanos, “Decrecimiento o barbarie,” 74–92) and Taksim (2012) by Juan Sardá has been analyzed at length by Piotr Sobolczyk (see Sobolczyk, “Corporative Society, 354–76”).
- 26.
For an extensive analysis of the novel, see García-Teresa and Santiago, “Mirar al futuro,” 431–35.
- 27.
Godlewski, “This Artist Transforms Humans.” After seeing several of the images of Stoetter’s artwork, it is evident how strenuous it must be to maintain the poses necessary to create his optical illusions. Unlike the models in Somoza’s novel who pose for extensive periods of time before a public audience, Stoetter’s models are not required to hold their poses after he has taken a photograph of them. Even so, it still takes a long time to paint their bodies and the poses he requires can be quite demanding, so there are some commonalities with Somoza’s fictional world.
- 28.
Also commendable is Susana Vallejo’s short story “Gracia” [Grace] from the anthology Mañana todavía [Still tomorrow], which explores how poverty limits opportunities and can force individuals to become consumer products; however, instead of trafficking themselves, the characters sell their newborn children so that the wealthy can consume them as delicacies in expensive restaurants. Although Vallejo does not play up the gruesomeness of this aspect of her story, she does expose the unethical behavior of the elite, who are parasitic and exploit individuals in poverty in order to fulfill their desires (similar to some of the characters in Loriga’s novel). Like Vallejo’s story, Tokio ya no nos quiere censures how patterns of consumer spending by the upper class contribute to the abuse of underprivileged individuals.
- 29.
In her introduction to Spanish Fiction in the Digital Age, Christine Henseler offers a comprehensive overview of Spanish Generation X fiction, which is an extremely loaded label in Spanish literary history. She also coedited a collection of interdisciplinary essays with Randolph Pope titled Generation X Rocks, in which there is an article about Realismo Sucio [Dirty realism] by Cintia Santana that characterizes the literature of Gen X writers. Santana states that Realismo Sucio depicts gritty urban life in Spain and reveals a trend toward “globalization in literature.” See Santana, “What We Talk about,” 37. With Spain being one of the European countries with the most books translated from other languages into its native tongue per year, there was a growing influence of foreign cultures on Peninsular fiction in the 1990s. Ibid., 33. A large influx of American music, movies, and novels in Spanish society contributed to a proliferation of literary genres in Spain, and played an important role in the formation of Spanish Dirty Realism. Though its name was borrowed from the movement associated with authors like Raymond Carver and Richard Ford, Spanish Dirty Realist novels more closely resemble the works of Bret Easton Ellis, author of Less than Zero (1985) and American Psycho (1991), and of Jay McInerney, who wrote Bright Lights, Big City (1984). Ibid., 34. The Spanish press generally lumped together works from Ellis and McInerney, who are identified in the anglophone world as part of the “Generation X” or “Blank Fiction” writers, with those of Carver and Ford from the Dirty Realism movement. Ibid. Both of these types of fiction have similar minimalist writing styles and convey raw depictions of reality. Nevertheless, anyone who has read works of American Dirty Realism understands that even though they do convey the grittiness of real life, they do not focus on the types of disturbing, urban underworlds of violence and immorality that are explored in Spanish Generation X works. Other Spanish novelists affiliated with this literary style, such as José Angel Mañas, Manuel Vázquez Montalbán, Care Santos, Lucía Etxebarría, and Benjamín Prado, also focus on the dehumanizing effects of living in a society bombarded by the excesses of capitalism.
- 30.
“Ray Loriga ganó.” It should be noted that Ray Loriga has a penchant for pseudonyms. Unbeknownst to most people, his real name is actually Jorge Loriga Torrenov and when he submitted his manuscript for the Premio Alfaguara, it was under the title of Victoria [Victory] and with the nom de plume of Sebastián Verón, who is an Argentinian soccer player. A total of 665 manuscripts from eight countries competed for this prestigious award in the 2017 competition.
- 31.
Loriga, interview by El Mundo.
- 32.
Fernández-Santos, “He escrito un libro.”
- 33.
Ibid.
- 34.
Meccano is a model construction kit for assembling a variety of mechanical structures with nuts, bolts, metal strips, and other parts.
- 35.
Although there are not yet any officially approved memory-erasing drugs on the market, “researchers have found a way to alter memories in mice [and] now they are exploring ways to manipulate traumatic memories in humans.” Lu, “Erasing Bad Memories.” There is a thoroughly entertaining website called Dystopia Tracker in which there is “a collaborative effort to document predictions about the future and their realisations.” Bauer, Dystopia Tracker. It allows the user to type in the title of a famous dystopian work and see which of the predictions in it have come true (and when).
- 36.
There are programs in real life that are similar to the virtual reincarnation program in the novel. Since 2011, there have been tombstones with Quick Read (QR) codes, which are codes that can be scanned with a smartphone and can play back memories of the lives of the loved one who has passed away. See Pailthorp, “Technology Brings Digital Memories.” A start-up called Eternime has even created a program slated to launch in 2018 in which one could have a conversation with a deceased relative or friend. See Bearne, “How Your Digital Self.” Data for this program are culled from a person’s online digital presence, cell phone photos and videos, and other such digital sources. The episode titled “Be Right Back” of the television series Black Mirror imagines the dystopian side of this desire to preserve a lifelike avatar of a person who has died. Interestingly, one of Facebook’s most recently added features is a photo or post from the past that appears at the top of the newsfeed and can be reposted. This nostalgic gesture could be viewed as a utopian antidote to the impulse toward oblivion in contemporary society, but it could also be dystopian in the sense that it is difficult to escape from mistakes from the past, especially when people cannot get rid of embarrassing or compromising material about themselves online.
- 37.
Augé, Non-Places, 78.
- 38.
Ibid.
- 39.
Ibid., 105.
- 40.
Colmeiro, “La nostalgia del futuro,” 252.
- 41.
Txetu Aguado offers an excellent analysis of the function of memory in the novel in his article “Tokio sí nos quiso.” Other articles on the novel include “A las puertas del principio o fin de siglo” by Carles Murillo Mir and “Soñadas alegorías de placer” by Jorge González del Pozo.
- 42.
Buchanan, “Space in the Age,” 16–35.
- 43.
Ibid., 29.
- 44.
Solnit, Hollow City, 141.
- 45.
De Certeau, The Practice of Everyday, 123.
- 46.
Ibid., 122.
- 47.
Ibid., 123.
- 48.
Augé, Non-Places, 103.
- 49.
Ibid., 101–103.
- 50.
Ibid.
- 51.
Ibid.
- 52.
Lefebvre, The Production of Space, 95.
- 53.
Harvey, The Condition of Postmodernity, 293.
- 54.
Ibid.
- 55.
Ibid., 296.
- 56.
Ibid., 301–302.
- 57.
McHale, Postmodernist Fiction, 37.
- 58.
Repetition of key phrases of propaganda, a characteristic of dystopias, often fosters a stifling atmosphere, such as when the protagonist of Nineteen Eighty-Four repeats the axioms of Big Brother throughout the novel.
- 59.
Brown, Undoing the Demos.
- 60.
Lefebvre, The Production of Space, 35.
- 61.
Ibid., 36.
- 62.
Ibid., 57.
- 63.
Although the poem “The Land of Cockaygne” is believed to have been written in the fourteenth century by a Franciscan friar and Tokio ya no nos quiere was written in the twentieth century by a Generation X author, these two works are surprisingly similar in that they both depict extravagant displays of self-indulgence. For more information about the poem, see Tuma and Hazell, “The Wicked Age.” The following is an excerpt from the poem:Verse
Verse Far out to sea and west of Spain There is a country named Cockaygne. No place on earth compares to this For sheer delightfulness and bliss. Though Paradise is fair and bright, Cockaygne is a finer sight…. But Cockaygne offers better fare, And without worry, work, or care; The food is good, the drink flows free At lunchtime, suppertime, and tea. It’s true without a doubt, I swear, No earthly country could compare; Under heaven no land but this Has such abundant joy and bliss. There is many a pleasant sight, It’s always day, there is no night. There are no quarrels and no strife, There is no death, but always life. “The Land of Cockaygne.”
The poem is identified as a utopia, so the satisfaction of all needs, desires, and whims is portrayed in a positive light. This tendency is exaggerated in a farcical way in a description of geese roasted on a spit that somehow manage to fly to the abbey of the friars and land on their plates, ready to eat. Ayesha Mukherjee notes that unlike “The Land of Cockaygne,” traditional utopias generally advocate against “orgiastic consumption, spending and waste” and act as a force of moderation. Mukherjee, Penury into Plenty, 184. These types of hedonistic behaviors are also portrayed in a negative light in many contemporary dystopias about consumerism, as is the case in Loriga’s novel. Thus, there is curious confluence between dystopia and utopia in his novel. - 64.
Toffler, Future Shock, 53.
- 65.
It would be interesting to further explore the function of anomie in relation to suicide in Spanish consumerist dystopias, as well as manifestations of planned obsolescence and the expendability of consumer products in order to underscore the growing sense of detachment in contemporary Spanish society.
- 66.
Allinson, Mark. “The Construction of Youth,” 267.
- 67.
Colmeiro, “La nostalgia del futuro,” 256.
- 68.
Pratt, Imperial Eyes, 4.
Bibliography
Abre los ojos. Directed by Alejandro Amenábar. Spain: Live Entertainment, 1997.
Agawu-Kakraba, Yaw. “Where Do We Go from Here? The Allegorical Paradigm of Spanish Science Fiction and the Postmodernized Spanish Culture.” In Postmodernity in Spanish Fiction and Culture, 123–66. Cardiff: University of Wales Press, 2010.
Aguado, Txetu. “Tokio sí nos quiso: Memoria y olvido en Ray Loriga.” Letras Hispanas 4, no. 1 (Spring 2007): 71–83. http://gato-docs.its.txstate.edu/jcr:9ad70e94-ff36-4652-a361-e2b538e2c362/Aguado.pdf.
Allinson, Mark. “The Construction of Youth in Spain in the 1980s and 1990s.” In Contemporary Spanish Cultural Studies, edited by Barry Jordan and Rikki Morgan-Tamosunas, 26–73. London: Edward Arnold, 2000.
Aninat, Eduardo. “Reflections on Globalization, Spain, and the IMF.” International Monetary Fund. June 29, 2001. https://www.imf.org/en/News/Articles/2015/09/28/04/53/sp062901.
Augé, Marc. Non-Places: Introduction to an Anthropology of Supermodernity. Translated by John Howe. London: Verso, 1995.
Bauer, David. Dystopia Tracker. http://www.dystopiatracker.com/E.
“Be Right Back.” Black Mirror. Directed by Owen Harris. UK: Zeppotron, 2013.
Bearne, Suzanne. “How Your Digital Self Could ‘Live’ on After You Die.” BBC News. August 22, 2017. http://www.bbc.com/news/business-40935790.
Blade Runner. Directed by Ridley Scott. USA: Warner Brothers, 1982.
Brown, Wendy. Undoing the Demos: Neoliberalism’s Stealth Revolution. New York: Zone Books, 2015.
Buchanan, Ian. “Space in the Age of Non-Place.” In Deleuze and Space, edited by Ian Buchanan and Gregg Lambert, 16–35. Edinburgh: Edinburgh University Press, 2005.
Cameron, Sharon. The Forgetting. New York: Scholastic, 2016.
Casariego, Nicolás. Cazadores de luz. Barcelona: Ediciones Destino, 2005.
Cline, Ernest. Ready Player One. New York City: Random House, 2011.
Colmeiro, José F. “La nostalgia del futuro: Amnesia global y hábitos de consumo en Tokio ya no nos quiere.” In Memoria histórica e identidad cultural: De la postguerra a la postmodernidad, 247–259. Barcelona: Anthropos Editorial, 2005.
Dark City. Directed by Alex Proyas. USA: New Line Cinema, 1998.
Dashner, James. The Maze Runner. New York: Delacorte Press, 2009.
De Certeau, Michel. The Practice of Everyday Life. Translated by Steven Rendall. Berkeley: University of California Press, 1984.
Ellis, Bret Easton. Less Than Zero. New York: Simon & Schuster, 1985.
———. American Psycho. New York: Vintage Books, 1991.
Eternal Sunshine of the Spotless Mind. Directed by Michel Gondry. United States: Focus Features, 2004.
Fernández, Javier. Cero absoluto. Córdoba: Editorial Berenice, 2005.
Fernández Balbuena, Iván. “Cazadores de Luz de Nicolás Casariego.” Memorias de un Friki (blog). http://memoriasdeunfriki.blogspot.com/2006/02/cazadores-de-luz-de-nicols-casariego.html.
Fernández-Santos, Elsa. “He escrito un libro de viajes contra la memoria.” El País. February 27, 1999. http://elpais.com/diario/1999/02/27/cultura/920070008_850215.html.
Ferreras, Juan Ignacio. La gran necrópolis. Madrid: La biblioteca del laberinto, 2006.
García-Teresa, Alberto, and Juan Manuel Santiago. “Mirar al futuro para comprender el presente. Novela española contemporánea de ciencia ficción crítica.” In Convocando al fantasma: Novela crítica en la españa actual, edited by David Becerra Mayor, 421–491. Madrid: Tierradenadie Ediciones, 2015.
Gibson, William. Neuromancer. New York City: Ace, 1984.
Godlewski, Nina. “This Artist Transforms Humans into Animals Using Only Body Paint and Masterful Poses.” Business Insider. July 15, 2016. http://www.businessinsider.com/animal-body-art-johannes-stoetter-2016-7.
González del Pozo, Jorge. “Soñadas alegorías de placer: La farmacopea posmoderna de Ray Loriga.” Hipertexto 10 (Summer 2009): 50–62.
Harvey, David. The Condition of Postmodernity. Malden, MA: Blackwell Publishers, 1990.
Henseler, Christine. Spanish Fiction in the Digital Age. New York: Palgrave Macmillan, 2011.
Insúa, J. Fidel. “Cazadores de luz, de Nicolás Casariego.” C: Reseñas, Reflexiones, Artículos… sobre Narrativa (blog). http://www.ccyberdark.net/51/cazadores-de-luz-de-nicolas-casariego/.
Knights, David, and Hugh Willmott. “Autonomy as Utopia or Dystopia.” In Utopia and Organization, edited by Martin Parker, 59–81. Oxford: Blackwell Publishing, 2002.
Kotz, David M. “Globalization and Neoliberalism.” Rethinking Marxism 12, no. 2 (Summer 2002): 64–79. https://people.umass.edu/dmkotz/Glob_and_NL_02.pdf.
Labrador, Germán. “El cristal de la bola.” In “Lo llamaban transición,” special issue, Mombassa. Revista de Artes y Humanidades 8 (Fall 2010): 5–10. https://laliteraturadelpobre.files.wordpress.com/2010/04/lo-llamaban-transicion-mombassa.pdf.
“The Land of Cockaygne.” In Early Middle English Verse and Prose, edited by J. A. Bennett and G. V. Smithers. Oxford: Clarendon Press, 1968. http://www.southampton.ac.uk/~wpwt/trans/cockaygn/coctrans.htm.
Lefebvre, Henri. The Production of Space. Translated by Donald Nicholson-Smith. Oxford: Blackwell Publishing, 1991.
Loriga, Ray. Tokio ya no nos quiere. Barcelona: Plaza Janés, 1999.
———. Interview by El Mundo. December 4, 2000. http://www.elmundo.es/encuentros/invitados/2000/12/240/.
———. Tokyo Doesn’t Love Us Anymore. Translated by John King. Edinburgh: Canongate Books, 2003.
———. Rendición. Madrid: Alfaguara, 2017.
Lu, Stacy. “Erasing Bad Memories.” American Psychological Association 46, no. 2 (February 2015): 42. http://www.apa.org/monitor/2015/02/bad-memories.aspx.
Martín Rodríguez, Mariano. “Heterotopías fictopublicitarias: ‘La isla™’, de Javier Fernández, y el género literario de los folletos publicitarios ficcionales.” Pasavento: Revista de Estudios Hispánicos 4, no. 2 (Summer 2016): 367–387. http://www.pasavento.com/pdf/06MI_Martin.pdf.
McHale, Brian. Postmodernist Fiction. London: Routledge, 2001.
McInerney, Jay. Bright Lights, Big City. New York: Vintage, 1984.
Montero, Rosa. Lágrimas en la lluvia. Barcelona: Seix Barral, 2011.
Moreiras-Menor, Cristina. “Spectacle, Trauma and Violence in Contemporary Spain.” In Contemporary Spanish Cultural Studies, edited by Barry Jordan and Rikki Mogan-Tamosunas, 134–142. London: Edward Arnold, 2000.
Morgan, Tony. “1992: Memories and Modernities.” In Contemporary Spanish Cultural Studies, edited by Barry Jordan and Rikki Mogan-Tamosunas, 58–67. London: Edward Arnold, 2000.
Mukherjee, Ayesha. Penury into Plenty: Dearth and the Making of Knowledge in Early Modern England. London: Routledge, 2015.
Murillo Mir, Carles. “A las puertas del principio o fin de siglo, dos almas exiliadas en transición: Javier Marías (Corazón tan blanco, 1992) y Ray Loriga (Tokio ya no nos quiere, 1999).” In Telling Tales: Storytelling in Contemporary Spain, edited by Anne Walsh, 213–20. Newcastle upon Tyne: Cambridge Scholars, 2015.
Nichols, William J., and H. Rosi Song. “Back to the Future: Towards a Cultural Archive of La Movida.” In Toward a Cultural Archive of La Movida: Back to the Future, edited by William J. Nichols and H. Rosi Song, 1–16. Madison, NJ: Fairleigh Dickinson University Press, 2014.
Nozick, Robert. Anarchy, State and Utopia. New York: Basic Books, 1974.
Ortega, Eloísa, and Juan Peñalosa. “The Spanish Economic Crisis: Key Factors and Growth Challenges in the Euro Area.” Banco de España. 2012. http://www.bde.es/f/webbde/SES/Secciones/Publicaciones/PublicacionesSeriadas/DocumentosOcasionales/12/Fich/do1201e.pdf.
Orwell, George. Nineteen Eighty-Four. London: Penguin, 1977.
Pailthorp, Bellamy. “Technology Brings Digital Memories to Grave Sites.” NPR. May 30, 2011. https://www.npr.org/2011/05/30/136676964/technology-brings-digital-memories-to-grave-sites.
Palardy, Diana. “Societies of Control: Deceptive Illusions of Freedom in Contemporary Spanish Dystopian Fiction.” Paper presented at the Annual Meeting of the American Comparative Literature Association Conference, Long Beach, CA, April 2008.
Pavlović, Tatjana. Despotic Bodies and Transgressive Bodies: Spanish Culture from Francisco Franco to Jesús Franco. Albany: State University of New York Press, 2003.
Pohl, Frederik, and Cyril M. Kornbluth. The Space Merchants. New York City: Ballantine Books, 1953.
Prádanos, Luis I. “Decrecimiento o barbarie: ecocrítica y capitalismo global en la novela futurista española reciente.” Ecozona 3, no. 2 (2012): 74–92. http://ecozona.eu/article/viewFile/473/508.
———. “Spanish Cultural and Literary Criticism in the Age of the Anthropocene.” Hispanic Issues On Line 7 (2016): 24–26. https://drive.google.com/file/d/0B6nyHHBXY48bX0haNHl5SUNaeXM/view.
Pratt, Mary Louise. Imperial Eyes: Travel Writing and Transculturation. London: Routledge, 1992.
“Ray Loriga ganó el Premio Alfaguara de novela 2017.” Revista Arcadia. April 5, 2017. http://www.revistaarcadia.com/agenda/articulo/ray-loriga-gano-el-premio-alfaguara-de-novela-2017/62903.
Santana, Cintia. “What We Talk About When We Talk About Dirty Realism in Spain.” In Generation X Rocks: Contemporary Peninsular Fiction, Film and Rock Culture, edited by Randolph D. Pope and Christine Henseler, 33–58. Nashville: University of Vanderbilt Press, 2007.
Sardá, Juan. Taksim. Madrid: Suma de letras, 2012.
Saum-Pascual, Alexandra. “Alternativas a la (ciencia) ficción en España: dos ejemplos de literatura electrónica en formato impreso.” Letras Hispanas 11 (2015): 240–259. http://gato-docs.its.txstate.edu/jcr:e7f253df-a187-485d-82ac-6cb893a052f7/2016-01-29%20Saum_Pascual.pdf.
Sobolczyk, Piotr. “Corporative Society and Cyberqueer: Utopia and Dystopia Revisited.” In Changes, Conflicts and Ideologies in Contemporary Hispanic Culture, edited by Teresa Fernández Ulloa, 354–376. Newcastle upon Tyne: Cambridge Scholars Publishing, 2014.
Solnit, Rebecca. Hollow City: The Siege of San Francisco and the Crisis of American Urbanism. London: Verso, 2000.
Somoza, José Carlos. Clara y la penumbra. Barcelona: Editorial Planeta, 2001.
Stiglitz, Joseph. Globalization and Its Discontents. New York: W.W. Norton & Co., 2002.
Toffler, Alvin. Future Shock. New York: Random House, 1970.
Tolkin, Michael. NK3: A Novel. New York City: Atlantic Monthly Press, 2017.
Total Recall. Directed by Paul Verhoeven. USA: Carolco Pictures, 1990.
Tuma, George W., and Dinah Hazell. “The Wicked Age: Middle English Complaint Literature in Translation.” Medieval Forum. https://www.sfsu.edu/~medieval/complaintlit/cokaygne.html.
Tusset, Pablo. Oxford 7. Barcelona: Ediciones Destino, 2011.
Vallejo, Susana. “Gracia.” In Mañana todavía: Doce distopías para el siglo XXI, edited by Ricard Ruiz Garzón. Barcelona: Fantascy, 2014. Kindle Edition.
Ward, Colin. Anarchism: A Very Short Introduction. Oxford: Oxford University Press, 2004.
Zamyatin, Yevgeny. We. Translated by Mirra Ginsburg. 1924. Reprint, New York: HarperCollins, 1983.
Author information
Authors and Affiliations
Rights and permissions
Copyright information
© 2018 The Author(s)
About this chapter
Cite this chapter
Palardy, D.Q. (2018). The Path to Voluntary Confinement: Dystopian Spaces of Consumerism in Ray Loriga’s Tokio ya no nos quiere. In: The Dystopian Imagination in Contemporary Spanish Literature and Film. Hispanic Urban Studies. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-319-92885-2_2
Download citation
DOI: https://doi.org/10.1007/978-3-319-92885-2_2
Published:
Publisher Name: Palgrave Macmillan, Cham
Print ISBN: 978-3-319-92884-5
Online ISBN: 978-3-319-92885-2
eBook Packages: Literature, Cultural and Media StudiesLiterature, Cultural and Media Studies (R0)