Science Fiction Writers on SciFi

 

What’s my favorite thing about science fiction? Well, the overdosed, flatlined
cyberpunk fiction of Bruce Sterling and William Gibson is up there. But when
I think about the future of the genre, I think of a whole starfield of space to survey.
I think of the opportunity to adventure into my imagination to make worlds, ex nihilo.

And, man, I’ve been doing a lot of that lately. Driving to Bowling Green, Kentucky to teach composition and literature at WKU has afforded me 14 voice-to-text dictation hours a week of pure creative exploration with a dash of flawed dictation. (Max Cold gets transposed to Mac’s Called, Mask Colt, and even weirder stuff). 

But as I’ve been writing SF, I’ve had the good fortune to meet some stellar writers along the way. Knowing them and seeing the creative worlds that they pen has climbed to the top of my list of what I like about the genre. Because the genre is people, really freaking amazing people who have important things to say, beautiful things to say, or sometimes horrifying things, and genius thoughts, and images like crystalline winter webwork phasing in and out of dreams.

So, this post is both to and by my fellow SF writing friends who are exploring the genre, pushing its limits, filling empty space, and as Ryan Hyatt says, wonderizing us.

Interview with Dana Schoel: A Sense of Freedom!

Dana Schoel is a Montreal-based writer working in film, television, and print. He won a Canadian Screen Award for his documentary work about the Inuit and worked with Chad McQueen (son of Steve McQueen) on a Netflix biopic. His short film The Fantastic Bus is one part a poignant snapshot of childhood, full of idealism for a father, preternaturally strong and full of life, the embodiment of all authority through the eyes of his son. Fantastic Bus is also one part an adult's reckoning with the weakness of his parents, with their aging, with the knowledge that they were never perfect but were doing the best they could with what they had. Dana recently spent some time with Rapid Transmission and, for the record, Andy Weir is the SF writer, Peter Weir is the talented auteur. 

Annexing Invasion: An Interview with Rich Lawson

Rich Lawson, author of Annex and Cypher, writes invasion narratives in response to today's media environment, drug-induced hallucinations, and as a cathartic exercise since his family has personally borne the experience of invasion.

A singularly powerful aspect of Annex is that the aliens, though murderous, endow humans with powerful bio/psychic internal power qua weaponry. The weaponization of encountering the other is provocative. Rich's characters draw from power in their gut, the very place that we often use to describe our dislike of people and things: for example, "I had a gut feeling" or "I knew in my gut." With this gut power, Rich's characters can temporarily alter reality, creating holes in solid structures. The metaphoric work describes the disruptions in societies as a result of racism. Hate for the other sees through culture, art, and tradition, it masks reality with a fantasy of hate, a fantasy that insists that a people group are worth nothing, are nothing.

Lawson has published dozens of short stories, beginning in 2011. He was born in Niger and now lives in Ottawa, Canada. 

From Space Opera to Cyberpunk: Influences of 13 Science Fiction Writers

Where do the ideas that populate science fiction originate? Are ideas beamed into writer's heads from a Russian space satellite? Does a divine spirit breathe the Promethean flame into blessed brains? Does genetic material house racial memories and cultural archetypes, the symbolic language of dreams, from which all of our stories find their nascence? Maybe some of that's true for someone, but for the men and women in the trenches, daily penning SF, the more universal experience is that writing takes thought work. Writers ask themselves, what is possible? What ideas haven't been explored? Where is humanity headed? What technology and what kind of societies will the future hold? While SF writers explore new territory, dreaming new dreams, they also revisit past futures, finding inspiration in the pages of SF past. 

Rapid Transmission asked several science fiction writers to talk about what had the greatest impact on their writing and how such works, whether books, movies, or games, reflect on their own work.

Dr. Robert Doty's Science Fiction Collection

Dr. Robert Doty was my friend and mentor. I first met him as a boy at Campbellsville University where my dad taught New Testament and Greek in the Christian Studies department. The picture above is from 1991-1992. Years later, I took Dr. Doty as an undergraduate and a Master's student, studying English Literature. While working on a PhD in English Literature, we met regularly to discuss critical approaches to texts.

Old Man's War - John Scalzi

Old Man's War by John Scalzi is a fantasy of medical and male proportions. Mankind longs for a fountain of youth found in emerging medical science. Aging men wish for the tumescent wood of their youth, for the fountain like discharge of their teenage years. 

Progress and Collapse in Science Fiction

 

            In Revelation Space (2000), the name of Alastair Reynolds’ ship Nostalgia for Infinity communicates what was once a systemic view in sf. With his ship’s name, Reynolds invokes the post-war attitudes of the atomic age and its concomitant sf narratives. The reigning monomyth of the atomic age was that with the secrets of science unlocked, progress was inevitable, humans would soon achieve a utopian existence. But instead of achieving utopia in the 20^th century, humans irradiated nuclear weapons testing sites and fought endless wars in the name of ideology and for the control of resources. With the dream demeaned, sf dropped its utopian narratives in favor of telling stories that reflected a cultural collapse.

Ursula K. Le Guin - The Lathe of Heaven

In Ursula K. Le Guin's The Lathe of Heaven George Orr is treated by the psychiatrist William Haber. Orr is an effective dreamer. Whatever he dreams becomes reality. But he remembers the reality that existed before his dreams. So, he's viewed as a madman, talking about multiple realities that never existed. Haber uses a machine to increase the strength of Orr's effective dreaming and the alteration of reality increases. Weird notches up rather quickly. Aliens appear as a result of one dream. The nuclear destruction of all human society occurs in another. Haber starts using his machine to create effective dreams to change reality and a battle of effective dreaming ensues. Orr's ability to effectively alter reality proves stronger than Haber's. And Orr is able to return reality to a state that's somewhat normal by the end of the book.

Best Sci Fi Movies Ever | Top 100

Film as Spectacle

Sci-fi movies often look real enough that we're convinced of the possibility of the worlds we're shown. The silver screen presents visions of utopian futures, dystopian presents, and worlds to explore. The one consideration to keep when viewing SF is that the screen subtly pivots the genre away from its role as the literature of ideas and gives it an operative function of creating spectacle.

Bad Sci-fi | Four Movies that Suck

Not all science fiction is created equal. While works like Frankenstein forever loom over all else, other sci-fi haunts our bottom shelves, every bit as terrifying as a Frankensteinian ubermensch electrified into wakefulness. Funny enough, most really bad sci-fi is Frankensteinian, made up of pieces of good stuff from the genre but put together poorly, all the pieces forced to fit into a narrative as if the only thing it takes to create science fiction is a smattering of not-so-new novums and worn-out genric elements. And no matter how good some of the stuff is, when it's sewn unnaturally into a hulking whole, it just stinks. 

Cognitive Estrangement, Science Fiction, and Michael Crichton's Sphere

How long does it take you to recognize what something is? Have you ever flown in a plane and looked at the ground below and not grokked the vision below? Then you kept looking and realized--yes, that's a river, that's a road, those are cars!

Now imagine that you are in a foreign environment--maybe even an alien planet. You look and look but you don't know what you're looking at. The sky's not blue. The grass isn't green. Heck, the grass isn't even grass. You hear odd things--grinding things, beeps, growls, weird stuff. Nothing makes sense. But you stick around. You begin to make connections. At some point, everything will make sense to you. Though you will always have the memory of not understanding the foreignness of everything. In Science Fiction, cognitive estrangement contains both these elements--the not understanding and the understanding.

Cognitive estrangement amplifies the recognition experience. Recognition is the experience of comprehending a given subject of study. If you've ever had to read something twice or more to get it, then you understand the challenge of comprehension. We don't always recognize the material put in front of us at first, even if the material is standard issue information. Misrecognition is partially a result of how our memories interact with our cognitive function, partially based on focus, and partially based on native intelligence. Humans don't always store memories completely. What we remember is packed away in groups of neurons that, when triggered, fire in the same patterns that the experience was recorded.

The Island of Dr Moreau: Biopower and the Savage

By Joseph Hurtgen, Ph.D.

H. G. Wells’s The Island of Doctor Moreau (1896) is a postcolonial commentary on empire, examining Moreau’s biological construction and rule over a subordinate species. Moreau, mad scientist that he is, fails to civilize his subordinate species, but in his barbaric civilizing attempt demonstrates the savage nature of mankind, civilized or not. The Island of Dr Moreau demonstrates that civilization, created and sustained through war and strife, is savage.

Top 100 Sci Fi Books List

Ranking Criteria

This list presents what I consider the best sci-fi books of all time. The criteria for making it on this list includes the following:

How influential is this book?
Is the book fun to read?
Does the book deal with an important theme or concept?

That is to say, these are the best SF reads I enjoyed the most and that I think others should read given their importance, commentary on society and technology, and enjoyability. In short, I'm following Horace's maxim that literature should instruct and delight.

One might argue that some of the books on here are not sci-fi, including my #13 pick, Thomas Pynchon's Vineland. But here is why I disagree. Pynchon writes about shifting identities as a result of social, political, and economic realities. Ursula K. Le Guin calls this kind of science fiction social science fiction. Social science fiction is tantamount to speculative fiction. In my opinion, science fiction focusing on social commentary is the most fun to read and the most rewarding.

Terran Tomorrow: Environmentalism, Evolution, and Othering

Books received

Terran Tomorrow (2018). Nancy Kress. Tor.

Terran Tomorrow is the last book in Nancy Kress’s trilogy Yesterday’s Kin. It follows the return of the aptly-named worlder ship Return to earth where things aren’t so great. An extremist group, the Gaiasts, see no future for the earth while mankind still lives, so they release the mother of all viruses into sparrows, effectively killing 96% of the human population. A saving grace for humans, a few futuristic domes exist here and there with airlocks to keep out the virus. One such set of domes, Monterey Base, supports a mix of scientific and military communities. The scientists in Monterey Base research genetic hacks for getting rid of the death-dealing virus. The military keeps the scientists safe from New America, a well-organized revolutionary outfit at war with what’s left of the United States. Things go from bad to worse when the aliens—humans, really--from Return infect a dome with a virophage that initiates the next evolutionary leap forward for the human race.

Sci-fi Noir: The Terminator and Tech Noir | 10 Updates to Film Noir

Once you’ve watched The Terminator, you’ll forever associate masculinity with Reese, a guy that built bombs for fun as a kid and selflessly puts his life in danger to save Sarah Connor, putting himself between her and the sightlines of a coldly intelligent, red-LED-eyed cyborg that walks through flames in the hunt for its quarry. You’ll feel much more worried at reports of robotic systems learning to backflip and drones getting loaded with killer AI. You’ll appreciate Arnold Schwarzenegger’s oft-quoted “I’ll be back.” You’ll want to know more about Harlan Ellison, a science fiction writer whose ideas were stolen for the movie’s plot.

Alien 2: The Military-Industrial Complex, Masculinity, and Body Horror

"Game over, man!" - Private Hudson, Aliens

The sequel to Ridley Scott's 1979's Alien, Director James Cameron’s Aliens hit theatres in 1986, thrilling with special effects, intense action scenes, and loaded with meaning. Aliens was a box office hit, earning more than $130 million and cementing the Alien franchise (mostly a good thing, though I could have done without Alien vs. Predator).

Sigourney Weaver was back in action as Ripley, but this time her sense of isolation as the last survivor on a spaceship, hunted by a single killer alien was replaced by a different kind of vulnerability as scores of aliens hunt her. 

But just as the alien is no longer solo. Ripley has company. She takes on the role of a surrogate mother to a little girl as a military squad plays the masculine role of protector.

Alien 2 wasn't just a blockbuster action film. It makes a serious critique of the military-industrial complex, explores masculinity, and presents anxieties of childbearing with concomitant body horror. But Aliens is a pure joy to watch. By any standard, it's one of the greatest science fiction films.

We’ll explore all these elements, but let’s turn to the military-industrial complex as it relates to Aliens first.

Red Mars | Kim Stanley Robinson | SciFi Review

Red Mars hardly feels like a book written in the early ‘90s. It feels that Robinson had already peered into the 21^st century and knew what was to come. Bruce Sterling, tongue in cheek, likes to say that he blames science fiction dystopias for all humanity’s problems, but the environmental effects we can expect as a result of the unchecked release of carbon in the earth’s atmosphere--the death of the ocean’s coral reefs, rising coastlines, rising global temperatures—are not expressly new news, even in the early ‘90s. Scientists studying the environment had made all of these connections by the late ‘70s. We have the corporate and political sectors to thank for not responding to the scientific community’s warnings with the due diligence required to significantly arrest climate change.

Best Cyberpunk Novels | 10 Amazing Science Fiction Novels

The ‘80s saw the birth of cyberpunk, one of the best (or maybe the best) subgenre of science fiction. Cyberpunk surged in popularity during the mid to late '80s, with its practitioners winning major science fiction awards and the genre rewriting the rules for writing science fiction. 

William Gibson's Neuromancer instantly created a market for more of the gritty storytelling that merged the worlds of cyberspace with the burnt out urban spaces of the late 20th century. But cyberpunk can be found before and after the '80s, as we will see.

Super Nintendo, Super Memories

I love Nintendo systems, and Super Nintendo is my favorite of all the systems. Although the console doesn't play all of my favorite games, many of my all-time favorites are SNES games.

I am Legend - Richard Matheson | Science Fiction Book & Movie Review

I am Legend originally explored depression, alcoholism, and self-harm. Taking up a different theme, the 2007 movie starring Will Smith explores racism. 2007's I am Legend updated Matheson's classic novella, using the narrative to comment on white America's othering of people of color while at the same time lauding and often attempting to recreate white versions of the abilities of black athletes, actors, musicians, and writers. White society essentially parasitizes people of color. Similarly, in I am Legend, white vampires attempt to steal the life energy of a black Robert Neville.