Tag Archives: science fiction

Jo Walton on the protocols of reading science fiction

Have you ever wondered why it is that, for all your efforts and enthusiasm, you’ve failed to convince your bookworm buddies of the brilliance of a favourite science fiction story or novel? As science fiction readers, we know instinctively that there’s something different about it by comparison to “regular” literature, but explaining that difference concisely – to others, or even to ourselves – can be quite tricky.

Well, help is at hand – novelist Jo Walton has hit the nail on the head over at Tor.com with a short and lucid essay on the reading protocols of science fiction:

Because SF can’t take the world for granted, it’s had to develop techniques for doing it. There’s the simple infodump, which Neal Stephenson has raised to an artform in its own right. There are lots of forms of what I call incluing, scattering pieces of information seamlessly through the text to add up to a big picture. The reader has to remember them and connect them together. This is one of the things some people complain about as “too much hard work” and which I think is a high form of fun. SF is like a mystery where the world and the history of the world is what’s mysterious, and putting that all together in your mind is as interesting as the characters and the plot, if not more interesting. We talk about worldbuilding as something the writer does, but it’s also something the reader does, building the world from the clues.

It always feels a little elitist to engage in special pleading for science fiction’s literary merits, but it really has evolved its own rhetorical and narrative language; this has become much more apparent to me since I started critiquing manuscripts by beginning writers, especially those who’ve come to write science fiction late in their lives, or via television and cinema. It’s often said that the golden age of science fiction is twelve, but I wonder if exposure at a formative age is an essential prerequisite for the ability to parse it – can that “hard work” of decoding the fictional world be taught later in life and still bring the same degree of pleasure it gives to us?

A few years back, I managed to convince some of my public library colleagues to read Geoff Ryman’s Air, and I know a handful of people from the same generation as my parents who enjoy Ballard’s later short fiction, but reliable and universal “gateway drugs” seem hard to find. Have you had any success converting readers to science fiction, and if so, what books or stories did you use to bait the hook?

Lightspeed Magazine open to story submissions

Hey, writer-types – remember when we plugged the soon-to-open Lightspeed Magazine, a new online science fiction magazine curated by the inestimable John Joseph Adams?

Well, Lightspeed won’t be publishing anything until June 2010, but for the fictioneers among you (especially those who find Futurismic‘s pickiness on topics and sub-genres restrictive!) it’s worth noting that they’re already open to story submissions. To quote from the Lightspeed submission guidelines:

Lightspeed is seeking original science fiction stories of 1000-7500 words. Stories of 5000 words or less are preferred. We pay 5¢/word for original fiction, on acceptance. To see which rights we’re seeking, please view our contract template for original fiction.

All types of science fiction are welcome, from near-future, sociological soft sf, to far-future, star-spanning hard sf, and anything and everything in between. No subject should be considered off-limits, and we encourage writers to take chances with their fiction and push the envelope.

We believe that the science fiction genre’s diversity is its greatest strength, and we wish that viewpoint to be reflected in our story content and our submission queues; we welcome submissions from writers of every race, religion, nationality, gender, and sexual orientation.

There are further details on that page, along with a link to their online submissions form. So why not give your latest masterpiece one final edit and send it off? Good luck!

Science fiction, religion and rationality

As if to mirror the wider (and louder) debate of science versus religion (which I remain convinced is a false dichotomy in some respects), the science fiction scene seems to be turning its attention to the deeper philosophical underpinnings of the genre. Here are a couple of stimulating viewpoints: first of all, Ian Sales argues for science fiction as the last bastion of the rational in literature.

When Geoff Ryman founded the Mundane SF Movement in 2002, I saw it only as a bunch of sf writers throwing the best toys out of science fiction’s pram. When Jetse de Vries called for sf to be optimistic in 2008, I didn’t really understand as, to me, the genre was neither pessimistic nor optimistic.

But it occurred to me recently that these two attempts to change how science fiction thinks about itself are themselves symptomatic of the erosion of the scientific worldview in the public arena. By excluding the more fanciful, the more fantastical, tropes in sf, Mundane SF forces writers and readers to engage with known science and a scientific view of the world. And optimistic fiction, by focusing on “possible roads to a better tomorrow”, acknowledges that situations exist now which require solutions. It forces us to look at those situations, to examine the world and not rely on on a two-thousand-year-old fantasy novel, or the opinions of the scientifically-ignorant, for our worldview.

Meanwhile, over at Tor.com Teresa Jusino discusses the ways science fiction stories address the questions raised by religion:

What all of these stories do well with regard to religion (with the exception of The Phantom Menace, which did nothing well) is capture what I think the discussion should really be about. Most people who debate science vs. religion tend to ask the same boring question. Does God exist? Yawn. However, the question in all of these stories is never “Do these beings really exist?” The question is “What do we call them?” It’s never “Does this force actually exist?” It’s, “What do we call it?” Or “How do we treat it?” Or “How do we interact with it?” One of the many things that fascinates me about these stories is that the thing, whatever it is—a being, a force—always exists. Some choose to acknowledge it via gratitude, giving it a place of honor, organizing their lives around it and allowing it to feed them spiritually. Others simply use it as a thing, a tool, taking from it what they will when they will then calling it a day. But neither reaction negates the existence of the thing.

Good science fiction doesn’t concern itself with “Does God exist?”, but rather “What is God?” How do we define God?  Is God one being that created us? Is God a race of sentient alien beings that see all of time and space at once and is helping us evolve in ways we are too small to understand? Is God never-ending energy that is of itself? And why is it so important to human beings to define God at all?  To express gratitude to whatever God is? Why do people have the need to say “thank you” to something they can’t see and will probably never understand? To me, these are the important questions. They’re also the most interesting.

I’ve got a lot of time for Jusino’s arguments (despite my being an atheist), because her observations chime with my own: the stories that have stuck with me most strongly are those that project new ideas into the conceptual space between human consciousness and the universe in which that consciousness exists. One of the most interesting aspects of those questions is the way that the same evidence (or lack thereof) ends up being used as a confirmation of worldview by both sides of the fence; it all seems to boil down to whether you choose to see a “god in the gaps” or embrace the gaps as proof of the absence of a deity. Sure, there’s acres of philosophical battlefield between the two outlooks, but (as Jusino points out) there’s a lot more common ground than either side is keen to publicly admit.

That said, I’ve a lot of sympathy with Sales, too; the increasingly loud importunings of evangelicals, Biblical literalists, creationists and other cranks (not all of whose motivations or worldviews, it should be pointed out, are prompted primarily by religion) are doing visible damage to public discourse, not just in the States but worldwide. Jusino points out that there’s no necessary disconnect between believing in God and accepting the theory of evolution, and I’m convinced that the vast majority of people share that outlook; however, it seems to be those that don’t share it who shout loudest and longest.

So perhaps we do need more pulpits of rationality, more agitators for progress and foresight, more calm clear voices to balance the shrill and shrieking… and science fiction would seem ideally suited to such a purpose, if only because of its underlying philosophical roots; this is one of the reasons I consider myself a ‘fellow traveller’ with the Mundane and Optimistic SF movements. But I’m leery of prescriptivism, too; science fiction, like all art, should be allowed to find its own way through the individual journeys of its practitioners.

The sf scene’s ability and will to debate (through its fictional output, and in its public discourse) topics that many people find irrelevant or boring – racism, sexism, homophobia, religious intolerance, to name but a few – has always seemed to me to be its greatest strength; perhaps having the debate is, in some ways, more important than reaching a conclusion.

NEW FICTION: WHITE SWAN by Jason Stoddard

It’s a new year, and we have new fiction at Futurismic once again, courtesy of a familiar face. We’ve published more stories by Jason Stoddard than any one other author, and if you can read White Swan and still wonder why that is… well, I don’t know what to tell you!

“White Swan” sees Jason taking on a different style and voice, and very successfully. It’s a tale of small bright hopes in a dark and difficult future, and a shining example of why optimistic sf doesn’t have to be unrealistic, trite or panglossian. Read and enjoy. 🙂

White Swan

by Jason Stoddard

The tiny room stinks of kid-sweat and puke, and greasy Portland rain, endless, rattles the thin plastic window. Little Beny thrashes in his narrow bed, clawing unseen monsters.

This is the hardest time, Lili Antila thinks.

Hardest because she knows Beny’s cries are echoing through the thin walls to reach his mother and father, who drip exhausted tears on screens bright with electronic hope. Hardest because this is when she always thinks, What if it doesn’t work this time? Hardest because it brings back gauze-wrapped memories of bright-lit hospital rooms and hard-faced doctors and soft sheets rough like sandpaper on her own changing skin–

Lili blinks back tears and turns to the wall, which is playing one of her favorite movies on a window not much bigger than her hand: Bad Girl. A black-and-white James Dunn is waxing on about his dream of owning a radio store. Lili knows what a radio store is. A physical location to house goods for sale, electronics so hopelessly primitive that they were not even interactive. She also knows it is a sad and impossible dream in the First Depression. The screen is smart enough to know this, and it displays the movie with no floaters, no contextual hints.

There is a scuffle of feet at the door. A polite noise. Lili waits for Freya to walk up behind her. She can feel Freya’s body heat in the chill room. Continue reading NEW FICTION: WHITE SWAN by Jason Stoddard

New year, old genre: is it time for science fiction to die?

gravestoneWhile the rest of us were stuffing ourselves with food and alcohol, editor Jetse de Vries was bashing out an essay* re-examining a refrain that’s been heard a few times in the last year or so: is written science fiction dying, is that a good thing, and if not, what should (or could) be done to save it? [image by timparkinson]

Regular readers (or those who know Jetse already) will be quite right to suspect that it’s another variation on his suggestion that science fiction needs to reacquire relevance by not only highlighting the big issues of the day but examining potential solutions to them, rather than revelling on post-apocalyptic gloom. But that’s a massive oversimplification of a fairly wide-ranging essay, so take twenty minutes to read the whole thing – while you may not agree with all of his points, there’s a lot of sound thinking and food for thought in there. Here’s some snips from the conclusion:

SF doesn’t want to (try to) tackle today problems. It just wants to highlight them, exaggerate them into apocalyptic disasters and let the world go down the drain in five hundred different ways. SF is very good at imaging how civilisation (or the world in general) ends: if it only used part of that imagination thinking about solving an actual problem it might have had some more respect from the world at large.

So let’s call it what it is: a failure of the imagination. Yes, quote me on it: ‘most written SF today suffers from a failure of the imagination’. It’s lazy, it avoids doing the hard work.

[…]

In short, SF should get off its arse, be totally open to outside influences and other cultures, and get involved with proactive thinking, proudly using science, about the near future.

Previous discussions (including some right here) around these points have highlighted the sharp division of opinion they create. I still find myself somewhat on the fence with respect to “optimistic” science fiction (in that I’d very much like to see more of it, but have no wish to see the demise of the darker flavours), but Jetse’s points about science fiction’s WASPish makeup, plus its perplexing resistance to taking creative risks and breaking with established tradition, hold a great deal of water for me.

That said, I still find myself thinking that the problem is one of imprecise nomenclature; given that it’s still almost impossible to get any three people to agree on a useful working definition of science fiction, maybe we should give up defending the ragged and patchwork flag of a territory whose citizens long since underwent a diaspora into the continent of the cultural mainstream.

[ * To be fair, and knowing Jetse, I fully suspect he did some eating and drinking over the holidays as well… indeed, probably a lot of drinking. 😉 ]