'If the literary technique of ‘defamiliarisation’ is the usual means through which writers jolt people into seeing the world anew, how does a dystopian novelist shock us into seeing the environmental extremities of today, when ‘extremes’ are increasingly the norm? Furthermore, how can such a writer hope to contribute something original to our long tradition of dystopian fiction, and its rapidly growing sub-genre of ‘Cli-Fi’[1]? Jennifer Mills has taken on these challenges with her new novel, Dyschronia. This striking title refers to the novel’s structural and thematic preoccupation with temporal disorder, while cleverly alluding to both the novel’s genre and to the feeling of ‘dysphoria’ experienced by its protagonist, Sam (66) – that deep sense of ‘unease’ which provokes, and should be provoked by, dystopian stories.' (Introduction)