Post-apocalyptic dystopias are all the rage with contemporary British writers this year. Go into any bookshop and you will spot at least one: perhaps Jim Crace's The Pesthouse (Picador) or Sarah Hall's The Carhullan Army (Faber and Faber) or, most likely of all, Jeanette Winterson's new novel, The Stone Gods (Hamish Hamilton).
I'm not the target audience for Douglas Lain's Deserts of Fire. There are many reasons for this. As a book, it takes the United States for its centre and its history is drawn from the same context; consequently, its attempt at intervention in these narratives is also drawn from this context.
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