In all the kerfuffle I haven’t failed to notice Terry Bison’s interview with Kim Stanley Robinson (regular visitors know I’ve quoted the man several times on this site already). Io9 summarised it as “Dystopian Fiction Is For Slackers“, and while I mostly agree — while acknowledging that there are great dystopias, I think the form itself has become too much of an easy writing mode and a cliché — I think it oversimplifies matters.
As Kim Stanley Robinson said on the New Scientist website earlier this year, science fiction tends to see the pessimism/optimism duality too much as an either/or phenomenon, while in real life things are much more complex: they’re a mix of upbeat and downbeat, with indifference, incomprehensibility and interconnectedness thrown in for good measure, and also strongly subjective; that is dependent on and coloured by one’s personal experience, mindset and perspective.
And indeed, while he calls it ‘utopia’, what he means is not a full-on, happy clappy Pollyanna:
So, the writing of utopia comes down to figuring out ways of talking about just these issues in an interesting way; how tenuous it would be, how fragile, how much a tightrope walk and a work in progress.
This, BTW, describes the majority of the stories in both the Shine anthology and DayBreak Magazine. One clear example that you can already read is David D. Levine’s “horrorhouse“, that perfectly demonstrates ‘how tenuous, fragile’ such a ‘utopia’ (I prefer to call it a ‘better future’, meaning there’s always room for improvement, with ‘utopia’ as the ideal that can never quite be reached) is: both a ‘tightrope walk’ and always a ‘work in progress’.
Finally, I take note that if people thought that I overstated my case with the “Why I Can’t Write a Near-Future, Optimistic SF Story: the Excuses” piece (which keeps consistently getting several dozens of hits each day), well, Kim Stanley Robinson doesn’t exactly pull his punches, either:
The political attacks are interesting to parse. “Utopia would be boring because there would be no conflicts, history would stop, there would be no great art, no drama, no magnificence.” This is always said by white people with a full belly. My feeling is that if they were hungry and sick and living in a cardboard shack they would be more willing to give utopia a try.
Amen to that.
(Or, as I said: “And indeed, that’s what most dystopias are: a comfort zone for unambitious writers”.)
Anyway, one small blessing has already occurred: new e-zine Bull Spec — whose first short is by Terry Bisson, indeed who did the ‘utopia’ interview: coincidence? — already changed their guidelines to include utopias on the theme:
“utopias are hard, and important, because we need to imagine what it might be like if we did things well enough to say to our kids, we did our best, this is about as good as it was when it was handed to us, take care of it and do better. Some kind of narrative vision of what we’re trying for as a civilization.”
(Which is a straight quote from the Galileo Dreams interview.) So one more market — keep track: such markets are thin on the ground — where to send an optimistic story (when they re-open on February 1 next year).
Apropos David D. Levine’s “horrorhouse“, another interesting ‘coincidence’: a few days ago New Scientist put an article called “How reputation could save the Earth“, where the influence of maintaining a good reputation is wielded to extract good (eco-friendly) behaviour:
If information about each of our environmental footprints was made public, concern for maintaining a good reputation could impact behaviour. Would you want your neighbours, friends, or colleagues to think of you as a free rider, harming the environment while benefiting from the restraint of others?
Compare this to the EcoBadge in David’s story, which was published 17 days before the New Scientist article, demonstrating that near-future SF can both be trend-setting and not age immediately.