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La distopía no es solo la cara negativa de la utopía. La oposición entre ambos géneros se basa sobre todo en el hecho de que, en la utopía, predomina la descripción, lo que corresponde a un mundo ficticio estático, mientras que la distopía es sobre todo narrativa, al introducirse una dinámica de cambio en la sociedad imaginaria objeto principal de ambas modalidades literarias. La ciudad utópica tiende a presentarse como perfecta y, por consiguiente, inalterable. La ciudad distópica alberga el conflicto en su seno y representa un horizonte de cambio, aunque su mensaje ideológico no sea necesariamente contrario al orden social descrito. Esta oposición literaria entre utopía y distopía se ilustra mediante el estudio de El amor dentro de 200 años, del intelectual anarquista Alfonso Martínez Rizo, en la que el autor presenta una ciudad libertaria del futuro cuyas deficiencias critica con ironía y humor.Dystopia is more than the negative counterpart of utopia. The opposition between the two genres is largely based on the fact that utopia is mostly descriptive, which corresponds to a static fictional world, whereas the dystopia is mostly narrative, as it introduces a dynamics of transformation in the imaginary society which is the main subject of both literary modes. The utopian city is usually presented as flawless and, therefore, unchangeable. The dystopian city hosts conflicts and may be perceived as a horizon of change, even though its ideological message is not necessarily opposed to the social order described. This opposition between utopian and dystopian literature is illustrated by the study of Love in 200 years (1932), in which the anarchist writer Alfonso Martínez Rizo shows a future libertarian city the shortcomings of which he castigates with irony and humour

La ciudad libertaria del futuro en la distopía "El amordentro de 200 años" (1932), de Alfonso Martínez Rizo