Monday, August 18, 2008
How quickly the future dates
As I mentioned in class, last year's class on Snow Crash was far less enthusiastic than yesterday's. Not that the novel didn't have its defenders way back then, but the dominant view was that what seemed wildly futuristic in the early 1990s was now irredeemably passe. There were also serious problems, some students thought last year, with the cyberpunk genre: perhaps it, too, was passe, or at least aesthetically deficient. Sci fi, or speculative fiction (that obvious attempt to 'legitimise' the genre) has often suffered from the sense that it it might be brimming with ideas it tended to be poorly written, mass market-oriented, nerdyguycentric, and that projections were ridiculously out of whack with what actually happened. All of these have validity, but it strikes me that, in terms of the last criticism, a response could be that speculation should be seen less as prophecy than as heuristic tool, something to get us thinking in new ways. What we do as a result, or where that thinking takes us, is less important than that we are engaging in the process. The future in many ways is in our heads--if it dates quickly, the fault lies in our own imaginative deficiencies. Here endeth the lesson.
Subscribe to:
Post Comments (Atom)
1 comment:
In his excellent essay Utopias and anti-utopias, Edward James points out that science fiction writers are often interested in exploring, not the ideal Utopian society, but a better but imperfect society (James, 222.) Another attitude he identifies amoungst speculative fiction writers, especially cyberpunk writers like Gibson (and I think this also applies to Stephenson) is that of cynicism regarding, and distrust of, perfect societies - perfect systems of social control.
I agree that if cultural predictions and technological prognostications are off the mark a little, or a lot, then this is less significant than an engagement with cultural criticism. In the same essay, James points out that the acience and the discourse of science, with which science fiction engages, is not about static futures, but embraces change, which dynamic is necessarily antithetical to the perfect Utopian society that putatively needs to change nothing.
As for questions of style and nerdiness - there are all kinds of bad style and all kinds of esoteric nerdiness. There are history nerds and language nerds as well, and in my opinion it is just as easy for historical fiction or any fiction that is engaging with other technical discourses to be written 'clunky'.
References:
James, E. "Utopias and Anti-utopias" in The Cambridge Companion to Science Fiction (219-225) Cambridge: CUP, 2003.
Post a Comment