![]() ![]() This anchor is one of the work’s greatest strengths. ![]() The societies themselves, sick and decaying, are always viewed through the eyes of alienated figures who wander absently, searching for escape. Instead, it features a series of fleeting images that constantly gesture towards the bleak psychological state of the people who occupy these worlds. ![]() For the most part, Terminal Boredom does not contain large-scale portraits of the dystopian worlds in which its stories are set. This is absolutely true for Terminal Boredom. In Frank O’Connor’s study of the short-story form, The Lonely Voice, he argues that short stories tend to focus on “outlawed figures wandering about the fringes of society” ( The Lonely Voice, p. Despite distinctions, certain core concepts-fixations on temporality, barrenness, isolation, and decay-recur throughout the stories. The stories are both disparate and cohesive, diverging and intersecting to establish a fresh and complex whole. The seven stories collected in Terminal Boredom explore a series of speculative worlds, from a matriarchal utopia to a world devoid of human beings. It was released by Verso in April of this year with translations by Polly Barton, Sam Bett, David Boyd, Daniel Joseph, Aiko Masubuchi, and Helen O’Horan. Though Suzuki is considered a pioneer of Japanese science fiction, Terminal Boredom is the first English translation of her work. Izumi Suzuki (1949-86) was a writer, actor, and counterculture figure. ![]()
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