Monday, May 14, 2012

A SF Literary Study isn't complete without "Critical Theory and Science Fiction". And here's why.


File:Avon Science Fiction Reader 3.jpg
An idealized version of what the SF genre is (or was).
Cover of the fantasy fiction magazine

             Avon Science Fiction Reader no. 3 (1952)

           by Frank Belknap Long 

Source: Wikimedia Commons
A comprehensive (and often) exhaustive study on the validity of science fiction in the literary canon. In fact, author Carl Freedman dedicates an entire section of the book to the description, history, and importance of the literary canon and why science fiction works are to be included in the canon.

Freedman’s text redefines science fiction as ‘cognitive estrangement’, as coined by author Darko Suvian. To better understand Suvian’s meaning, a quote is rather necessary: “estrangement ‘differentiates [science fiction] from the realistic literary mainstream’, while cognition differentiates it from myth, the folk tale, and fantasy […] science fiction is determined by the dialectic between estrangement and cognition” (p. 16).

To Freedman, the genre of science fiction is constantly evolving, and it is hard to pinpoint what exactly constitutes the epitome of science fictional text. Freedman’s views of science fiction are so broad (or maybe so idealized) that he believes all general fiction to be a sub-category of science fiction, and not the other way around (p. 20). The expansive reach of the science fiction genre in Freedman’s eyes is boggling. Freedman believes that every fictional text ever written is a sort of science fictional story as well, because some apt descriptions of science fiction say it is the creation of a new world. Arguably, every fictional novel is a ‘new world’ created by the author and the characters that populate it.

In three not-so-short chapters, Freedman takes the reader on a new expedition into the academic world of science fiction. Chapter one is titled “Definitions”, and it does just that; chapter one defines critical theory and science fiction, melding the two together with Freedman’s conclusions (juxtaposed with other academic opinion of course). Chapter Two, “Articulations”, first discusses genre, literary canon, and theory. Then, science fiction is measured against three critical dynamics: style, the historical novel, and utopia. Chapter three, “Excursuses”, give detailed overviews of Solaris, The Dispossessed, The Two of Them, Stars in My Pocket, and The Man in the High Castle.

Lastly, Freedman includes a section that explores critical theory and science fiction and how it may later evolve, as Freedman concedes that “it is in the nature of critical fiction and science fiction to speculate about the future” (p. 181).

Freedman’s section on utopias and feminism make a nice addition to the academic conversation. In that same section, authors Ursula Le Guin and Joanna Russ are compared and contrasted in a very satirical manner: “The basic contrast frequently adduced is between the gentleness of Le Guin’s feminism and the angry militancy of Russ’s” (p. 129). Freedman makes fun of such comparisons, stating that they are responsible for creating further rifts for women in science fiction (or in society in general). He also muses on the fact that for early pulp science fiction of the 1900’s, it was hard for the genre to recognize able-bodied women, or admit the fallacy of phallic dominance (p. 129).

Throughout the book, Freedman’s tone is one that strives to reach the reader, but always falls a little bit short with a myriad of unknown adjectives and a mountain of footnotes on almost every page (even though in the preface Freedman expresses his own dislike of footnotes, on the grounds that it is a ‘pseudoscholarly practice of citing works in order to suggest, truthfully or not, that one has read them’ [p. xx]). Despite that, once the reader is able to follow Freedman’s ideas and take hold of them, his tone is suggestive, humorous, and down-to-earth.

Critical Theory and Science Fiction was published in 2000. That fact only becomes evident in the last section which mentions the evolutionary pattern that will take hold of science fiction, namely, cyberpunk. To an extent, Freedman is correct, so it is a forgivable error in his effort to create a timeless account of the science fiction genre. Since his studies in the book mention books in the literary canon from 1818 until the late 1980’s, the year of publication is nominal in this instance.

Generally, I prefer not to read academic texts unless they are strictly related to what I am studying. Freedman’s book was one that did not let me forget what I was studying, and it was an academic text that I highlighted like a lunatic, madly muttering to myself things like “yes….and yes…” and “of course!”. If future readers can get over the flowery detailed language in the preface, then they will count themselves lucky to have stumbled upon the fascinating overviews provided by Freedman in his three, seventy-five-page chapters.

Freedman is an associate professor of English at Louisiana State University. He is the author of several articles and four non-fiction texts. An excerpt from his book Critical Theory and Science Fiction was chosen as featured text for discussion at the Theory Roundtable of the International Conference on the Fantastic in the Arts in 2002. 

Freedman, Carl. Critical Theory and Science Fiction. Middletown, Connecticut: Weslayen University Press, 2000. Print.

Themes in Mary Shelley's "Frankenstein"


File:Frankenstein engraved.jpg
Frontpiece to Mary Shelley's "Frankenstein"
(1831)
By Theodor Von Holst
Source: Wikimedia Commons
Victor Frankenstein is a privileged, intelligent young man from Ingolstadt who is passionate about life and the mysteries of creation. Fueled by this passion, he creates a sentient being. The drawback of Victor’s creation is its visage; the creature is more hideous than any other living thing on Earth, and all who look upon it instinctually draw back in fear.

Loved by no one (especially not Victor), the creature flees to the woods of Germany. There, he becomes literate in both words and love. Though, when he approaches the humans whom he cares most about, they react with predictable horror upon seeing his hideous form. Abandonment and fear are the two constants in the creature’s life. Those two things shape the creature into a demon, one that wishes to visit agony upon his creator by murdering everyone Victor holds dear.

Major themes in this book include humanity’s ever-expanding reach in creating something greater than human. However, as Victor learns, once such a being is created, it cannot be undone as easily as it was put together. There are consequences to creating a creature with human parts, but lacking any other qualities of a human (emotions, sympathies, intelligence). Even when the creature acquires these other human traits, it doesn't make him human in the eyes of others (though he felt himself to be equal to humans).

Another theme in the book is man’s inability to accept that in which he does not understand. Immediately, those who behold the creature spot him as a demon, without even allowing him to speak or act. Even when the creature acts solicitously (replenishing food and firewood, saving a woman from drowning), his actions go unappreciated and are even met with brutal force. Of his personality forming the way it did, the creature says “I cannot believe that I am the same creature whose thoughts were once filled with […] visions of […] goodness. But it is even so; the fallen angel becomes a malignant devil. Yet, even that enemy of God and man had friends […]. I am alone.” (Shelley, p. 124). In a large way, the creature's creator and the world around him are responsible in creating a humanoid monster. 

Shelley, Wollstonecraft, Mary. Frankenstein. London: Lackington, Hughes, Harding, Mavor & Jones, 1818. Print. 

Wednesday, May 9, 2012

Promising new author: Elizabeth Baxter




    
British author Elizabeth Baxter of the new short story collection Circle Spinner is worth taking note of. She has been writing since she was six years old, and Circle Spinner is her debut novel. She has two more novels coming out this summer: Summer Storm and Everwinter.

Synopsis for Circle Spinner
Take a look at my book!Circle Spinner and Other Tales by Elizabeth Baxter 
Five fantasy and science fiction stories that will sweep you to other worlds.


Circle Spinner
Edith longs for a quiet retirement. She longs for her cottage by the sea and the company of her dogs. But the world, it seems, hasn’t done with her yet. For Edith is a Circle Spinner, the only one who can save the city of Shine from the terrifying Pantheon. 6000 words


The Following Star
Angus walks the corridors of a starship with only his dog for company. He guards a precious cargo: a population of colonists searching for a new home. But when a sudden course change threatens the ship, Angus discovers that all is not as it seems. 6000 words


One of those Days 
Simon is a high-flyer. Good job. Nice apartment. It’s not his fault if his company is involved in shady dealings with the fairy realm is it? No, if he keeps his head down and mouth shut, Simon is sure everything will be okay. But the Prince of Fae and his motley band of followers have other ideas. They have Simon in mind for a very special mission. 7000 words

The Blessing of Silence
The game has been played for years uncounted. Sakara has watched players come and go and been powerless to save them. She is a slave. What difference could she possibly make? But when a new player suddenly enters the game, Sakara begins to realize that she holds within her the power to end the game forever. 6000 words

Fallen Angel
Matthew’s faith is unshakable. A soldier in the United Church, he has dedicated his life to hunting demons. But when his latest mission goes wrong he discovers a secret that will cast everything he believes into doubt. 6000 words


Reviews for Circle Spinner from Amazon: 
"This was the first book I got on my new kindle. I didn't want to go straight into a novel because I wasn't sure if I'd like reading off a screen so I went for something shorter first. It was a good move because I really enjoyed the collection and the kindle didn't hurt my eyes after all. My main problem with short stories is that you don't have enough time to get to know the characters but this wasn't an issue here. You get to know all the characters really well and I found myself rooting for them. I liked some stories better than others, and my favorite was probably The Following Star as I loved Dog. I think there's probably something for everyone in this"

"I enjoyed each of the stories as each provided me with a different emotion and sub-genre: danger, sadness, happiness, comedy and action. The titular story was a great start to the collection: great characters from tired Edith to the evil demon Tenoquitil. I loved the relationship between Angus and dog in the Following Star and really enjoyed the humour in One of Those Days. As I intimated before, the collection provides something for different readers. Summer Storm, although of the fantasy genre (as apposed to sci-fi) proved to be an interesting introduction to what promises to be an exciting story. Overall, an easy to read and well written collection."


Baxter has a web blog that she uses to promote her writing, but the added wonder of her blog is that she also uses it to review and promote indie authors. Check out her blog here: http://elizabethbaxter.blogspot.com/

You can purchase Circle Spinner from this Amazon link, or find it via Baxter's webpage. Look for her on Goodreads as well!