This review considers Darko Suvin’s recent career anthology Defined by a Hollow with respect to debates about the relevance of Marxism and utopian critique in the context of a global neoliberal hegemony that (twenty years after Fukuyama) still imagines itself as the ‘end of history’. Suvin’s work suggests that the relationship between Marxism and aesthetics in such times is not simply a quirk of the academy, but is in fact a politically necessary conjoining of materialist praxis and quasi-religious inspiration.