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This book offers an interpretation of the evolution of a growing genre in literary, film, and television.As a follow-up to their 1997 collection ""Political Science Fiction"" Hassler and Wilcox have assembled twenty-four noted international scholars representing diverse fields of inquiry to assess the influential voices and trends from the past decade in ""New Boundaries in Political Science Fiction"". The terrors and technologies that permeate our daily lives have changed radically in the past decade, further highlighting the underlying speculations on our contested future that remain the core of this genre. In surveying the vast expanse of politically charged science fiction of recent years, the editors posit that the defining dilemma for these tales rests in whether identity and meaning germinate from progressive linear changes or progress or from a continuous return to primitive realities of war, death, and the competition for survival.The discussion of political implications ranges among writers from H. G. Wells, Robert A. Heinlein, Ursula Le Guin, and Isaac Asimov to more radical recent voices such as Iain M. Banks, William Gibson, Joanna Russ, Philip K. Dick, and China Mieville. While emphasizing the literature, the collection also addresses political science fiction found on film and television from the original ""Star Trek"" through the newest incarnation of ""Battlestar Galactica"".… (meer)
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If I've counted right, this book collects twenty-three essays about "political science fiction." If that sounds like a broad thing to you, as isn't nearly all science fiction political the moment it imagines a different social world, then think of it as being about politics in science fiction. Of course, like any book of this type, some are good, and some are not good. Of the twenty-one essays, there are ten I recorded no notes for, which is its own sort of indictment. But here are some things of note I did record:
I liked Lisa Yaszek's "Not Lost in Space: Revising the Politics of Cold War Womanhood in Judith Merril's Science Fiction," especially for its discussion of the link between apocalypse and the peaceful/rational future.
Darko Suvin is always thought-provoking, and though his essay has the cumbersome title of "Of Starship Troopers and Refuseniks: War and Militarism in U.S. Science Fiction, Part I (1945-1974: Fordism)," his points about the way the military dominates technoscience and technoscience dominates the military, and how this plays out in science fiction, are well-taken. I also liked his argument that both Ursula K. Le Guin and Joe Haldeman refusre the "linear time of progress" (135).
Doug Davis's "Science Fiction Narratives of Mass Destruction and the Politics of National Security" argues that even anti-war sf relies on some of the same assumptions as militarism.
The book also reminded me, as often happens but I haven't yet acted upon, that I should read Iain M. Banks's Culture novels and China Miéville's Bas-Lag novels.
This book offers an interpretation of the evolution of a growing genre in literary, film, and television.As a follow-up to their 1997 collection ""Political Science Fiction"" Hassler and Wilcox have assembled twenty-four noted international scholars representing diverse fields of inquiry to assess the influential voices and trends from the past decade in ""New Boundaries in Political Science Fiction"". The terrors and technologies that permeate our daily lives have changed radically in the past decade, further highlighting the underlying speculations on our contested future that remain the core of this genre. In surveying the vast expanse of politically charged science fiction of recent years, the editors posit that the defining dilemma for these tales rests in whether identity and meaning germinate from progressive linear changes or progress or from a continuous return to primitive realities of war, death, and the competition for survival.The discussion of political implications ranges among writers from H. G. Wells, Robert A. Heinlein, Ursula Le Guin, and Isaac Asimov to more radical recent voices such as Iain M. Banks, William Gibson, Joanna Russ, Philip K. Dick, and China Mieville. While emphasizing the literature, the collection also addresses political science fiction found on film and television from the original ""Star Trek"" through the newest incarnation of ""Battlestar Galactica"".
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- I liked Lisa Yaszek's "Not Lost in Space: Revising the Politics of Cold War Womanhood in Judith Merril's Science Fiction," especially for its discussion of the link between apocalypse and the peaceful/rational future.
- Darko Suvin is always thought-provoking, and though his essay has the cumbersome title of "Of Starship Troopers and Refuseniks: War and Militarism in U.S. Science Fiction, Part I (1945-1974: Fordism)," his points about the way the military dominates technoscience and technoscience dominates the military, and how this plays out in science fiction, are well-taken. I also liked his argument that both Ursula K. Le Guin and Joe Haldeman refusre the "linear time of progress" (135).
- Doug Davis's "Science Fiction Narratives of Mass Destruction and the Politics of National Security" argues that even anti-war sf relies on some of the same assumptions as militarism.
The book also reminded me, as often happens but I haven't yet acted upon, that I should read Iain M. Banks's Culture novels and China Miéville's Bas-Lag novels.