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Histories of the Future: Studies in Fact, Fantasy and Science FictionFrom Palgrave Macmillan
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Science Fiction in Context: Histories of the Future examines some of the ways in which writers, artists, film-makers, strategists, and political thinkers have imagined the future over the last two centuries. Although a number of contributions discuss "mainstream" science fiction, the collection's emphasis is not on any single genre, but rather on the ways in which different histories generate and inform different modes of speculation.
- Sales Rank: #9776918 in Books
- Published on: 2001-01-13
- Original language: English
- Number of items: 1
- Dimensions: .74" h x 5.70" w x 8.88" l,
- Binding: Hardcover
- 222 pages
Review
Histories of the Future will be useful to scholars in a range of fields. It explores interesting nooks and crannies of future historiography, often in a lively way. Journal of the Fantastic in the Arts
About the Author
Alan Sandison is Emeritus Professor of English at the University of New England.
Robert Dingley is Senior Lecturer in the School of English, Communication, and Theatre at the University of New England.
Most helpful customer reviews
5 of 6 people found the following review helpful.
A Look Back on What Hasn't Happened Yet
By Peter Vinton, Jr.
As a genre science fiction has had to fight much the same popular prejudices against itself as comic books. Both emerged out of the disillusionment of the 1930's, when cheapness was the watchword of the day and a dime afforded some harmless escapism from the unpleasantness of a depression. The "pulp" adventure stories dealt with parboiled wisecracking detectives, jungle men in loincloths, super-powered people in tights, western romances (lots of these), and adventures on other planets where terrifying creatures waged eternal war against devilishly handsome heroes in spacesuits. From these inauspicious beginnings emerged popular culture's first look at the future.
Over time, the stories in this last category found themselves sharpened up, infused with realism, and eventually taken out of the ghetto, serialized in "real" magazines, and finally appearing on honest-to-goodness bookshelves. Eventually this group of stories became a genre, and Hugo Gernsback gave it a name: science fiction. In this collection of critical essays about the genre, Sandison and Dingley have compiled a respectable presentation of the viewpoints of publishers, academics, and even a few of the genre's authors themselves, to include Harry Harrison (Nebula-winning author of Deathwood, Skyfall, and the Stainless Steel Rat series), Ken McLeod, and Damien Broderick.
Science fiction isn't about rayguns, rocket ships, or alien monsters with an inexplicable fetish for human women -it is, at its most basic, a genre that examines what it truly means to be human. Using the emergence of "serious literary criticism" of science fiction as the starting point (about 1959 or so, after Heinlein published the controversial Starship Troopers), Harrison and the other essayists dissect the genre and take it through its adolescence, early adulthood, and (one hopes) its eventual maturity as "serious" literature.
Robert Crossley writes at length about the genre and the fairly specific definition that Arthur C. Clarke assigned to science fiction. According to Clarke, the genre must blend "good science with disciplined political imagining..." that it "should be the hypothesising and creative workshop of a truly realistic literature." By these criteria, "real" science fiction predates even the works of Jules Verne -one title that leaps to mind is The Reign of King George VI, 1900-1925, which was anonymously written in 1763. This seems to tie in with MacLeod's assertion that history is "the trade secret of science fiction," not just as an indispensable map of the ways in which societies work and how they can change, but also "in the more obscure utility of historical theories." Even H.G. Wells first started out writing history monographs!
The other key phrase that took science fiction and established an entire framework for it was first coined by C. S. Lewis in 1938; in a response to a critic, Lewis explained that in order to envision conditions on another world (in this case Mars, since it seemed to be the preferred locale from every novel of that period, from Bradbury's Martian Chronicles to Heinlein's Red Planet), it was necessary to instill in the reader a "willing suspension of disbelief," and that this suspension was only attainable if "just enough popular astronomy" was included in the story. This lesson certainly carries over into more popularized science fiction, which Tom Shippey dissects in his own essay -science fiction movies certainly might tell a gripping story, but it is frequently at the expense of plausible science. In obvious space operas like Star Wars and Star Trek, for example, ships twist and turn rapidly, jump to faster-than-light speeds in flagrant defiance of Einsteinian theory, while their crews, without even wearing seatbelts, fire visible laser beams upon enemy craft which obligingly explode with audible, earth-shattering kerbooms (if I might borrow an expression from Marvin the Martian here). Perhaps this is forgivable in space opera, but it is certainly less so in adventure films like Total Recall, in which video phones appear to be able to send instantaneous transmissions between Earth and Mars (the speed-of-light relay should actually be anywhere between six to twenty minutes), and people run around on Mars in a one-gravity field. Such oversights cheapen the story and make audiences less likely to accept anything else for which the writers and directors want us to "suspend our disbelief."
However at the other end of the believability scale, we have Kubrick's 2001: A Space Odyssey, in which no sound is heard in the vacuum of space, centrifugal force is needed to create artificial gravity, and there is a noticeable eight-to-twenty second time lag during a video transmission between Earth and the moon. The science is real and the premise is believable, so that when the plot does take a detour into something unusual, the audience is much more likely to accept it and be taken along for the ride. Shippey is clearly an adherent to the school of "real science," because the last half of his essay is devoted to ripping apart (in quite vitriolic terms) Paul Verhoeven's appallingly bad 1997 adaptation of Heinlein's "Starship Troopers."
The upshot of these essays seems to be twofold: 1) to effectively analyze the future, you must first study history, and 2) if you expect to take your readers on a memorable trip into the otherworldly, you must keep your stories grounded in scientific plausibility -and this rule holds whether your story is set in a Martian utopia, an Earthbound machine-dystopia, or some fantastical other planet, galaxy, or dimension.
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