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Dhalgren

Dhalgren is a science fiction novel by American author Samuel R. Delany, first published in 1975 by Bantam Books.^[1] The story centers on an unnamed protagonist, referred to as the Kid, an amnesiac drifter and former mental patient who arrives in the isolated, post-apocalyptic Midwestern city of Bellona following an unspecified cataclysm that has severed it from the rest of the United States.^[1] In this surreal, decaying urban environment plagued by two moons, erratic time, and rampant fires, the Kid navigates a fragmented society of scavengers, gangs, and intellectuals, forming relationships—including a bisexual romance with the poet Lanya and involvement with the Scorpions gang—while grappling with his fractured identity and the blurred boundaries of reality.^[1] The novel's innovative structure features a circular narrative that begins and ends mid-sentence, multiple journals kept by the protagonist that contradict one another, and poetic interludes, reflecting Delany's experimental approach to form and language.^[2] Key themes include the construction of personal and collective identity, the intersections of race and sexuality in marginalized communities, human connection amid chaos, and the unreliability of perception and memory in a dystopian setting.^[3] Critically acclaimed for its complexity and ambition, Dhalgren was nominated for the 1975 Nebula Award for Best Novel and has sold over one million copies across editions,^[4] establishing it as a landmark of New Wave science fiction and a profound exploration of urban alienation.^[5]

Publication and composition

Writing process

Samuel R. Delany began composing Dhalgren in 1969 in San Francisco and completed it in 1973 after five years of intensive work. He initiated the project there, where initial drafts stalled before major reorganizations, including adding key chapters in London in 1972. Periods of intense productivity marked this phase, including stints in San Francisco and London.^[4]^[6] Personal circumstances deeply influenced the novel's creation. The urban decay of 1970s America, particularly the charred inner cities following the 1968 assassination of Martin Luther King Jr., informed the novel's depiction of societal collapse, drawing from Delany's observations of declining neighborhoods like Harlem. His marriage to poet Marilyn Hacker, though strained by separation in 1969, provided emotional and intellectual context, as they co-parented their daughter while Delany grappled with themes of identity amid personal upheaval.^[7] Delany employed unconventional compositional techniques, starting with the final section—"The Anathēmata"—and constructing the circular structure backward to emphasize multistability and looping narratives. This method allowed him to explore the novel's fragmented form organically, building layers of imagery and echoes that reflect perceptual instability. In interviews, Delany described his intent as capturing the "texture of the world" through such techniques, using the fragmented narrative to delve into subjective experience and reality's fluidity without linear resolution.^[4]^[6]

Publishing history

Dhalgren was first published in January 1975 by Bantam Books as an 879-page mass-market paperback original.^[8] The initial Bantam edition underwent 19 printings and achieved significant commercial success, selling over one million copies worldwide and becoming Delany's bestselling novel.^[8]^[9] This rapid demand marked it as a landmark in science fiction publishing, with the first printing selling out quickly amid growing reader interest.^[8] A hardcover edition followed in 1977 from Gregg Press, incorporating textual corrections provided by Delany to address printing errors in the Bantam version.^[10] In 1996, Wesleyan University Press issued a reprint featuring a new foreword by William Gibson, which helped reintroduce the novel to contemporary audiences.^[10] Later reprints include the 2001 Vintage Books edition, also with Gibson's foreword. As of 2025, the novel remains in print through Vintage Books.^[11] The novel has been translated into several languages, including German in 1980 by Bastei Lübbe, and Italian in 1982 by Libra Editrice.^[10] These international editions contributed to its global reach, though sales figures outside English-language markets remain less documented.^[10]

Setting and plot

The city of Bellona

Bellona is depicted as a fictional Midwestern city in the United States that has been severed from the outside world following an unspecified apocalyptic catastrophe involving widespread riots, uncontrolled fires, and bizarre astronomical anomalies, such as the sudden appearance of two moons in the night sky and a ringed or swollen sun during the day.^[12] This event, never fully explained within the narrative, has reduced the city's once-substantial population of around two million to approximately one thousand residents, transforming it into a quarantined enclave where normal societal functions have collapsed.^[12]^[13] Physically, Bellona consists of decaying urban infrastructure, including vast stretches of abandoned skyscrapers and neighborhoods scarred by persistent, erratic fires that burn without apparent cause or containment.^[14] The economy revolves around scavenging for necessities amid sporadic electricity and limited resources, while the environment exhibits distortions like a perpetual summer atmosphere, hazy skies, and irregular weather patterns that blur seasonal boundaries.^[14] Socially, the city is marked by fluid, often volatile groups such as street gangs like the Scorpions, who navigate the ruins through territorial disputes and improvised survival strategies.^[15] As a liminal space, Bellona functions symbolically as a microcosm of mid-20th-century American urban decay, evoking the post-industrial decline observed in real cities like Detroit and Newark during the 1970s, where economic collapse, racial tensions, and abandonment left behind hollowed-out metropolises.^[15] Its inhabitants, comprising drifters drawn to the anomaly and surviving locals, endure profound isolation with no incoming or outgoing communication, fostering internal power dynamics shaped by ad hoc alliances, communal experiments, and unchecked violence among the remnants of society.^[16]^[13] The protagonist enters this severed world, encountering its disorienting vastness firsthand.^[12]

Synopsis

_Dhalgren centers on an amnesiac protagonist referred to as "the Kid," a drifter and aspiring poet who wanders into the isolated Midwestern city of Bellona after an undefined catastrophe has severed it from the outside world. Suffering from fragmented memories and an uncertain past, the Kid arrives barefoot and disoriented, encountering a landscape marked by two moons, erratic time distortions, and a depopulated urban environment where survivors scavenge amid ruins. Early in his journey, he meets Tak Loufer, a young engineer who bestows the moniker "the Kid" and introduces him to the city's anarchic social dynamics.^[17] As the Kid navigates Bellona, he becomes involved with the Scorpions, a gang identifiable by their looped chains of holographic projectors, and participates in the city's improvised rituals, including bonfire gatherings and street processions that blend celebration with peril. He forms significant relationships, notably with Lanya, a chain-wearing musician who becomes his lover, and engages with a diverse cast of inhabitants, from intellectuals to outcasts, while working odd jobs like delivering mail in the decaying neighborhoods. These encounters highlight the Kid's immersion in Bellona's fluid social structures, where power shifts unpredictably and daily life oscillates between routine and surreal disruption.^[18]^[17] The narrative unfolds across seven titled sections, including "Prism, Mirror, Lens," "House of the Ax," and "The Book of Rhea," which trace the Kid's non-linear progression through the city without a conventional plot arc, emphasizing episodic explorations over resolution. Throughout these divisions, the Kid maintains a journal that serves as both a record of events and a tool for piecing together his identity, though persistent enigmas remain: the precise cause of Bellona's isolation, the Kid's hazy recollections of violence and institutionalization, and the journal's potential status as the novel's own text.^[19]^[20]

Narrative structure and style

Circular form and multistability

Dhalgren features a circular narrative structure that begins and ends in medias res, with the novel's final sentence completing the interrupted opening, thereby forming an endless textual loop. This design echoes the Möbius strip, a topological form with only one side and boundary, symbolizing the narrative's continuous self-reference and inability to resolve linearly. As literary critic Mary Kay Bray observes, the structure "continually returns its focus to itself," emphasizing internal experience over external closure.^[20]^[21] The novel is organized into seven sections comprising thirty-seven chapters, allowing for repetitive motifs and echoing events that vary in detail across sections, fostering ambiguity in sequence and causality. These echoes contribute to the work's multistability, where readers encounter multiple plausible interpretations of the same occurrences due to inconsistencies in temporal and spatial progression. For instance, the protagonist Kid's encounters often recur with altered emphases, mirroring the perceptual shifts in a city where reality appears malleable. Scholar Mark C. Jerng notes how such repetitions, like the recurring figure of an "Oriental" woman at the beginning and end, suggest a looped temporality that defies straightforward chronology.^[22] Central to this multistability is the unreliable narration delivered through Kid, whose amnesia and fragmented recollections create perceptual ambiguities that extend to the reader. Kid's subjective viewpoint, described as dyslexic and epileptic, blends inner and outer realities, producing a text that resists singular meaning and invites varying reader engagements. Bray highlights this as a "series of perceptions and perspectives like those provided by Kid's optic chain," akin to Escher's impossible geometries, where the narrative folds endlessly upon itself. Narrative gaps, such as the undescribed crossing of the bridge into Bellona, further enhance disorientation, implying absent sections that parallel the protagonist's own memory lapses. Delany's approach embodies a "paranoid" narrative mode, wherein the text attributes interconnected meanings to disparate elements, challenging linear comprehension and encouraging recursive rereading. The final section employs experimental typography, including a two-column layout with varying fonts, which visually reinforces the theme of perceptual multiplicity and the merging of the protagonist's dual journals.^[21]

Imagery, echoes, and linguistic techniques

Dhalgren employs dominant imagery of fire, water, chains, and urban decay to evoke a dreamlike, unstable atmosphere in the isolated city of Bellona. Fire appears recurrently through descriptions of a giant red sun rising over the landscape, symbolizing intense emotional and perceptual shifts, as seen in scenes where the protagonist Kid encounters new relationships amid the city's chaos.^[23] Water imagery surfaces in sensory details of damp environments and fleeting encounters, such as the protagonist's steps into shallow pools that blend with the surrounding disorientation. Chains, often configured as optical devices with prisms and lenses, represent both constraint and projection, allowing inhabitants to create holographic illusions that mask their identities in the nighttime streets. Urban decay permeates the setting through depictions of crumbling structures, shifting sands, and erratic winds that underscore the city's temporal and spatial fragmentation.^[23]^[13] Echoes and repetitions in the prose create rhythmic patterns that reinforce the novel's multistable quality, with phrases recurring in altered forms to mimic perceptual loops. For instance, iterative descriptions like "windy, windy, windy" capture simultaneous layers of experience, echoing across sections to build a sense of inescapable multiplicity. These devices draw briefly on the novel's circular structure, where verbal motifs loop without resolution, heightening the text's hypnotic cadence.^[23] Linguistic innovations further blur the boundaries of reality and hallucination, particularly in the protagonist Kid's journal entries, which mix prose and verse in fragmented, poetic bursts. Neologisms and invented slang emerge to denote elusive urban figures and phenomena navigating the ruins, while multilingual elements—snatches of Spanish and other languages—infuse dialogues with cultural hybridity. Delany's background as a poet informs these dense, sensory descriptions, evident in the journal's lyrical interrogations of language's limits, where words strain against the ineffable, producing a prose that oscillates between clarity and opacity.^[23]^[24]

Major themes

Identity, perception, and reality

In Samuel R. Delany's Dhalgren, the protagonist known as the Kid embodies a profoundly fragmented identity, marked by amnesia that erases his past and leaves him grappling with an uncertain identity, referred to only as the Kid, which evokes uncertainty and multiplicity rather than resolution.^[14] This fluidity extends to his social roles, as he shifts from a disoriented outsider wandering into the ruined city of Bellona to a reluctant leader of the Scorpion gang, his sense of self continually reshaped by interactions and the environment's chaos. The Kid's evolving personas highlight a core instability, where identity is not fixed but performative, constructed through fragmented memories and provisional affiliations within Bellona's anarchic social fabric. Perception in the novel serves as an unreliable lens, distorted by the Kid's history of trauma, including time in a mental institution, and exacerbated by drugs, interpersonal violence, and Bellona's surreal anomalies such as inverted time, dual moons, and buildings that appear and vanish.^[14] These elements induce hallucinatory experiences, like the Kid witnessing a lover transform into a tree or streets that loop impossibly, blurring the boundaries between subjective hallucination and shared reality, and compelling readers to question the objectivity of sensory input. Delany employs this perceptual unreliability to underscore epistemological doubt, where the city's phenomena—witnessed variably by characters—challenge any stable notion of truth, rendering reality a contested, observer-dependent construct. Delany infuses the narrative with autobiographical reflections, particularly his own experiences of dyslexia and dysgraphia, which manifest in the Kid's left-right confusion and linguistic disorientation, mirroring Delany's lifelong negotiation of perceptual and expressive challenges.^[25] These personal elements of marginalization—as a Black, queer writer facing societal exclusion—further shape the Kid's outsider status and the novel's exploration of how stigma fragments self-perception, drawing from Delany's insights into concealing aspects of identity in storytelling to navigate prejudice.^[25] Through such integrations, Dhalgren becomes a meditation on vulnerability, where individual perceptual limits reflect broader experiences of otherness. At a philosophical level, the novel posits Bellona as a "reality laboratory," an enclosed, mutable space that experiments with how environment forges identity, stripping away conventional anchors to reveal the self as an emergent product of perceptual and contextual flux. In this labyrinthine setting, the Kid's journey interrogates the interplay between personal cognition and external disorder, suggesting that reality is not inherent but actively assembled through distorted senses and adaptive responses, a theme that echoes mythic archetypes of the quester in disorienting realms.

Mythology and influences

Dhalgren draws on classical mythology to frame the protagonist Kid's odyssey through the devastated city of Bellona, evoking the Orpheus myth through his poetic descent into an underworld-like realm, where creation and loss intertwine amid disorientation and revelation.^[18] Scholars have identified parallels to Dionysus in the novel's ecstatic rituals and communal gatherings, such as the park dances that symbolize chaotic wholeness and sensory overload, mirroring the god's disruptive revelries.^[21] The labyrinth myth further structures Bellona itself as a shifting, moral maze of artificiality and confusion, with its streets and apartments like the Labrys complex embodying endless navigation and entrapment.^[26] Literary influences underpin the novel's experimental form, particularly James Joyce's Ulysses in its circular structure and urban perambulation, which Delany adapts to explore perceptual loops and everyday epiphanies in a fractured landscape.^[26] William S. Burroughs's cut-up techniques inform the fragmented, nonlinear narrative, disrupting linear causality to map sexual and social disjunctions akin to those in Naked Lunch.^[27] Hart Crane's urban poetry, with its dense symbolism and mythic bridges across modernity's ruins, shapes the lyrical intensity of Kid's observations and the city's poetic decay.^[28] Indigenous and occult elements infuse Bellona's rituals with layered symbolism, as Kid's half-Native American heritage evokes Native American myths of origin and displacement, reflected in his quest for identity amid communal rebirths.^[29] Alchemical transformations appear in the city's mutable landscapes and personal metamorphoses, while tarot-like archetypes structure encounters and prophecies, blending esoteric traditions into the narrative's symbolic rituals.^[30] Delany's essay "Shadows," composed as a companion piece before the novel's publication, elucidates these mythic intentions, detailing how fragmented archetypes and perceptual shifts were woven into Dhalgren's framework to interrogate reality's illusions.^[31] In Dhalgren, the isolated city of Bellona serves as a microcosm of racial diversity amid societal collapse, where the population skews heavily toward marginalized groups following a mysterious catastrophe that depopulates the area and leaves behind a predominantly Black and brown underclass. This demographic shift, with estimates suggesting around 60% of remaining inhabitants are Black, underscores the novel's critique of urban ghettoization, portraying Bellona as a space abandoned by white capital and institutions, echoing real-world patterns of white flight in 1970s American cities.^[32]^[33] The protagonist, known as the Kid, embodies biracial ambiguity through his half-Indigenous heritage and indeterminate racial markers, which the narrative deliberately obscures to challenge conventional racial legibility in science fiction. This ambiguity relocates race from a fixed visual cue to a perceptual and narrative construct, subverting reader expectations and highlighting how racial categories are socially produced rather than inherent.^[34]^[35] Delany centers Black perspectives to critique the erasure of racial dynamics in speculative fiction, using Bellona's stratified yet fluid racial landscape to expose power imbalances rooted in historical segregation and economic disinvestment. The novel's diverse cast, including white elites holed up in suburban enclaves and Black scavengers dominating the urban core, illustrates how catastrophe amplifies pre-existing racial hierarchies while allowing for tentative interracial solidarities among the dispossessed.^[33]^[34] Sexuality in Dhalgren is depicted as inherently fluid and non-normative, with characters engaging in bisexuality that blurs rigid orientations amid the city's lawless environment. The Kid, for instance, navigates sexual relationships with both men, such as the poet Tak, and women, like his partner Lanya, often invoking heterosexual fantasies during encounters with men to question and affirm his own fluidity, as in his reflection: "If I’m starting to have to fantasize girls... maybe I’m not as bisexual..." This portrayal extends to polyamorous arrangements, exemplified by the Kid's triadic bond with Lanya and the younger Denny, which emphasizes mutual comfort and non-monogamous affection in a shared domestic space: "This is comfortable."^[36]^[36] Queer desire intertwines with violence in Bellona's anarchic setting, where sexual expression becomes a site of both vulnerability and resistance, particularly within gang structures like the Scorpions, whom the Kid leads. Initiations and daily interactions involve explicit queer acts, such as Denny's public offer of oral sex, which highlight perverse and marginalized practices as integral to group cohesion rather than aberrations. Delany, drawing from his own experiences as a Black gay writer, subverts science fiction's heteronormative conventions by normalizing such desires, creating a "discursive field... where the reader can no longer even say the words ‘normal’ and ‘abnormal’ without putting them in quotation marks." This intent fosters queer utopias free from probable strictures, centering Black and queer viewpoints to dismantle sex-negative norms in genre fiction.^[36]^[36]^[36] Social structures in Dhalgren emerge as anarchic and improvisational, devoid of formal governance or economy, with Bellona's inhabitants forming decentralized communities that prioritize communal resource sharing over hierarchical control. Scavenging groups like the Scorpions operate through fluid hierarchies based on performance and interruption rather than fixed authority, enabling polyvocal decision-making in shared "nests" where privacy paradoxically thrives amid collectivity: "a funny thing about privacy… if there’re nine or ten… you’re alone." Gender roles within these groups are equally mutable, incorporating lesbians, leathermen, and cross-gender dynamics, as seen in scenes of autonomous group sex that resist normative judgments and affirm bodily agency in survival contexts.^[32]^[32] The novel comments on 1970s counterculture by envisioning Bellona as a lumpenproletariat haven, where wageless, racialized groups experiment with communalism inspired by Black Power, Gay Liberation, and back-to-the-land movements, transforming urban decay into spaces of self-organization. This reflects civil rights-era struggles, portraying the dispossessed as a revolutionary force capable of revising relations across race, gender, and class, while critiquing the Corporate State's lingering oppressions through equitable, no-money-needed living arrangements. Delany's framework thus positions these structures as transitional, tender responses to segregation's violent legacies, where "rights are what you make and what you take."^[32]^[35]^[32]

Critical reception and legacy

Initial reviews and controversy

Upon its publication in January 1975, Dhalgren elicited a range of responses from critics, with some hailing it as a landmark achievement in science fiction. Gerald Jonas, reviewing the novel for The New York Times Book Review, praised it as the "long-awaited major novel" from Delany, a writer who had previously won four Nebula Awards, and commended its intricate structure and lyrical prose as elevating the genre to new artistic heights.^[37] The book achieved significant commercial success, selling nearly two million copies across editions and reaching a broad audience beyond traditional science fiction readership.^[38] This acclaim led to its nomination for the Nebula Award for Best Novel by the Science Fiction and Fantasy Writers Association (SFWA) in 1975, underscoring its impact within the professional community.^[5] Despite the praise, Dhalgren ignited substantial controversy, particularly among prominent figures in the science fiction field. Harlan Ellison, a leading voice in the genre, lambasted the novel in his February 1975 review for the Los Angeles Times, declaring it a "tragic failure" and an "unrelenting bore," while accusing it of being overlong, pretentious, and self-indulgent after abandoning it midway through.^[8] Other critics echoed these sentiments, decrying its experimental narrative as overly obscure and its explicit depictions of sexuality—particularly interracial and homosexual encounters—as veering into pornography, which alienated conservative readers accustomed to more straightforward genre conventions.^[39] These debates mirrored deeper divisions in the 1970s science fiction community between the innovative New Wave movement, which emphasized stylistic experimentation and social critique, and traditionalist preferences for plot-driven escapism.^[40] A significant portion of readers have reported abandoning the 800-page work due to its demanding structure, yet it quickly developed a devoted cult following among literary enthusiasts who appreciated its boundary-pushing ambition.^[20]

Scholarly analysis

Scholarly interpretations of Dhalgren have evolved from early structural and ideological analyses to contemporary examinations of its postmodern and queer dimensions, reflecting the novel's complexity and enduring relevance. In the 1980s, Carl Freedman offered a Marxist reading, interpreting the novel's depiction of Bellona as a critique of capitalist alienation and marginality, where the protagonist's fragmented identity mirrors the dialectics of social exclusion and resistance. Similarly, Douglas Barbour's structural poetics emphasized the novel's innovative form, analyzing its circular narrative and linguistic multiplicity as a deliberate challenge to conventional science fiction structures, positioning Dhalgren as a pinnacle of experimental genre fiction.^[41]^[42] Post-2020 scholarship has revisited Dhalgren through lenses of postmodernism and queerness, addressing its intersections with identity and societal collapse. The 2021 collection On Samuel R. Delany's Dhalgren, edited by Bill Wood, compiles essays that explore the novel's postmodern fragmentation and queer subtexts, including analyses of its non-normative sexualities and narrative instability as tools for subverting hegemonic norms. In a 2020 interview, Delany discussed the novel's themes of catastrophe in the context of the ongoing COVID-19 pandemic, noting how the characters' adaptations to an unknowable crisis resonate with contemporary experiences of media-mediated uncertainty and social reconfiguration.^[43]^[44] In 2025, marking the 50th anniversary of its publication, Dhalgren continues to inspire rereadings and discussions in academic and literary circles. The novel's legacy extends to its influence on subsequent science fiction authors and its foundational role in Afrofuturism and experimental SF. William Gibson, in his foreword to a recent edition, described Dhalgren as an "unsolvable riddle," crediting its labyrinthine structure with shaping cyberpunk's exploration of urban decay and perceptual ambiguity. Delany's work, including Dhalgren, has been pivotal in Afrofuturism, blending speculative elements with Black cultural critique to challenge racial and temporal narratives in genre fiction, influencing subsequent writers in their development of structurally innovative, socially conscious worlds.^[45]^[46] Scholarship has increasingly addressed gaps in earlier coverage, such as adaptations and digital-era rereadings. The 2010 stage adaptation Bellona, Destroyer of Cities by Jay Scheib, performed at The Kitchen in New York, extended the novel's themes into multimedia theater, incorporating live video and movement to evoke the book's disorienting reality. Recent rereadings, spurred by the digital age and pandemic, have highlighted Dhalgren's prescience in online literary discussions and essays, framing Bellona as a metaphor for virtual isolation and fragmented information flows.^[47]^[13]

References

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Samuel Delany's speculative novel Dhalgren (1974) explores subjects ranging from class and race and their connection to identity formation to the necessity ...
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Sep 4, 2020 · In this academic article, Josephine Wideman explores themes of temporality and capital accumulation in Samuel R. Delany's Dhalgren (1975).
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chaos, Dhalgren (1975), begins with a strange encounter in which the protagonist, Kid, encounters a woman, makes love to her, and follows.
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Dhalgren's Bellona, named after the Roman goddess of war, feels like a city torn apart by a race riot, if not a coup d'état. All of which implies that while ...
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He proceeded to win awards, write a cult bestseller (Dhalgren) and put his name to some remarkable works of pornography. ... He discusses the poetry of Hart Crane ...
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Jan 5, 2014 · ... SF happened during the real golden age. The decade from 1965 to 1975 was science fiction's so-called New Wave, when the genre took on both ...Missing: 1970s traditionalism
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Carl Freedman- Adventures of the Dialectic - DePauw University
Delany knows—with Marx fully as much as with Derrida—that the margins can be central, and that centrality is often, in the end, marginal. In what follows I will ...
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Delany, Samuel R - SF Encyclopedia
The first two volumes of the Nevèrÿon series sold around a quarter of a million each. Lower sales on subsequent editions may have been partly due to ...Missing: figures | Show results with:figures
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On Samuel R. Delany's Dhalgren: 9781515447726 - Amazon.com
Dhalgren, his most popular and most controversial novel, was first published in 1975. It was nominated for the Nebula Award, remains in print to this day ...
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"To Pull The Veil Away": Samuel R. Delany On Dhalgren | WYPR
Dec 21, 2020 · A conversation with science fiction writer Samuel R. Delany about his book Dhalgren.
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The Most Influential Sci-Fi Books Of All Time - Book Riot
Oct 12, 2021 · William Gibson may be the father of English cyberpunk literature, but Katsuhiro Otomo deserves the credit for birthing its Japanese cousin. The ...
[46]
7 Afrofuturist and Speculative Fiction Works to Read For Black ...
Feb 28, 2019 · Dhalgren is an experimental novel that infuses Delany's experiences with dyslexia and dysmetria into the reading experience. Set in a dystopian ...
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The Feral Dwellers of 'Dhalgren' at the Kitchen - The New York Times
Apr 6, 2010 · Bellona, Destroyer of Cities” is Jay Scheib's adaptation of Samuel R. Delany's science-fiction novel “Dhalgren,” about a ravaged, ...Missing: summary | Show results with:summary