Junot Díaz: Certainly we are at peak dystopia. We are in a moment where there is, first of all, the creative problem that there is a lot of praxis around dystopia. It has become, along with apocalyptic narrative, the default narrative of the generation. Our political horizons have become distorted by dystopian imaginaries. Our sense of what is possible in the civic is being slowly dragged away from the standard post-World War Two techno-positivism towards a darker, more ruinous vision. It is not only a kind of vocabulary and idiom; it is a useful arena in which to begin to think about who we are becoming as a planet. The steady drum beat of reports from our best and brightest scientists has made it explicitly clear that whether we like or whether we want to admit it or not we have damaged our planet in ways that have transformed us into a dystopian topos. When I think of it in The Hunger Games where, either the movie or the book, a group of people come together and design arenas where people—young people—kill themselves and compete: these are the game makers. We are making the genre in which we are living, and we are making it at such an extraordinary rate.