There has been an interesting increase, in the last thirty years or so, in the number of dystopian novels published in English. These novels have undoubtedly forced a renewed understanding in the concepts of utopia and dystopia, whereas the former ceased to be simply seen as “the dark side of utopia” (BACCOLINI E MOYLAN, 2003, p.1) to become what critics have agreed to call critical dystopias or, as Dunja M. Mohr (2007) calls it, transgressive utopian dystopia. Not only do these novels explicit the fractures in contemporary society but they make explicit one of the main aspects of postmodern politics, according to Francis Fukuyama (1992), which is the Western’s inability to imagine a world which is not only different but essentially better than our current one (p. 46). This may partially explain why many literary dystopias do not invent new geographical locations or planets as background but, instead, reinvent (and, also, distort) familiar geographies to further enhance the level of strangeness dystopias are supposed to cause which, in turn, may help expose any political arguments which may be current at the time of the production of such texts. This paper, part of my postdoctoral research in literary theory at Universidade Federal de Minas Gerais, seeks to analyse the forms in which this new form of utopian/dystopian literature explores the contemporary political climate in Great Britain in two novels and one film set in future or alternative present times. The texts examined here are P.D. James’s The Children of Men (1992) and Kazuo Ishiguro’s Never Let Me Go (2005), as well as Alfonso Cuarón’s adaptation of James’s novel, Children of Men (2006). One aspect that brings these texts together is the important element I refer to as politics of the body: social forms of dealing with or regulate corporality (global male infertility in James’s novel, turned into global female infertility in the film adaptation – both leading to the decline of human life in the planet – , and the ethics of human cloning for organ supply in Ishiguro’s novel) in a context of social and political changes in Europe (the rise of extreme right-wing political movements, immigration rights, Britain’s role in the European Community). The connection of such politics with a utopian/dystopian background allows us to distance the genre from the typical science fiction model and evaluate both political and historical social movements of relevance in the context.