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"Freedman offers a compelling interpretation of Miéville's novels informed equally by an impressive range of literary influences and a carefully documented exploration of historical antecedents. Seeing Miéville's genre hybridity as an illustration of the power of dialectical thinking, Freedman illuminates the complex utopian project of Miéville's fiction. Freedman is one of our finest critical voices on Miéville, one of the most important speculative writers of the 21st century."
Sherryl Vint, University of California, Riverside

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"Carl Freedman once more proves himself the most sensitive reader of texts and the most lucid explicator of critical theory. It is a commonplace that mob movies expose the logic of capitalism, but his nuanced analysis of the Godfather trilogy in terms of Marx’s concept of primitive accumulation for once actually makes the case—and makes it stick. Freedman’s inclusion of westerns in crime cinema merely appears idiosyncratic—Edwin S. Porter’s The Great Train Robbery was seen as a violent crime movie long before anyone called it a western—and his consummate discussion of John Wayne’s post-heterosexual masculinity is worth the price of admission alone."
Mark Bould, University of the West of England

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"Richard Nixon was real, for all that he seems like a fictional character concocted in the course of some strange literary collaboration between Fyodor Dostoyevsky, Theodore Dreiser,and J. G. Ballard. And Nixon continues to fascinate us, and to haunt our dreams, even these many years after his death. Carl Freedman’s compelling book takes the full measure of Nixon the man, Nixon the media image, Nixon the myth, and even Nixon the ideal type, the quintessential expression, and the most capacious representative of the political and economic system under which we continue to live today."
Steven Shaviro, author of Connected, Without Criteria, and Post-
Cinematic Affect