How to learn from the authors you admire, without cloning their work.By Serdar Yegulalp on 2014/08/31 10:00
... in an article in Science Fiction Studies, [Lem] explains his issues with genre fiction as a whole: "If anyone is dissatisfied with SF in its role as an examiner of the future and of civilization, there is no way to make an analogous move from literary oversimplifications to full-fledged art, because there is no court of appeal from this genre. There would be no harm in this, save that American SF, exploiting its exceptional status, lays claim to occupy the pinnacles of art and thought." This makes sense, given that the rise of Lem's fiction didn't arise through the shared influences of the American genre, or even the underpinning cultural influences that informed it. In many ways, Lem was an alien in and of himself to the regular language of science fiction, and his viewpoint is a good way to recognize the limitations of the fiction emerging from the United States at this point in time. It’s also a good reminder that science fiction existed outside of North America and the United Kingdom.
I neglected to mention Lem before in my discussion of how SF&F is enriched by bringing in outsiders, when now that I think about it his name should have been one of the first on that list. His was among the first SF I ever read, and I kept waiting for the other stuff I came across in the field to live up to or surpass his example. Rarely did it ever do so, and soon I realized I'd started with the exception, not the rule.
Let's gaze into something other than the abyss - but not our navels either.By Serdar Yegulalp on 2014/08/30 10:00
I think that the difference right now between good art and bad art is that the good artists are the people who are, in one way or another, creating, out of deep and honest concern, a vision of life in the twentieth century that is worth pursuing. And the bad artists, of whom there are many, are whining or moaning or staring, because it's fashionable, into the dark abyss. If you believe that life is fundamentally a volcano full of baby skulls, you've got two main choices as an artist: You can either stare into the volcano and count the skulls for the thousandth time and tell everybody, “There are the skulls; that's your baby, Mrs. Miller.” Or you can try to build walls so that fewer baby skulls go in. It seems to me that the artist ought to hunt for positive ways of surviving, of living. You shouldn't lie.
This echoes back to my previous post -- that baggy pair of trousers that Spike Lee and Snowpiercer each shared a leg of. I read Gardner's book in which he espoused this and other ideas (incidentally, it contains a great argument for E.L. Doctorow's Ragtime is not a good piece of work), and while at times I worried he was sliding over into finger-waggling moralism, I see his point.
How gaming and SF share an inclusivity problem.By Serdar Yegulalp on 2014/08/29 10:00
Matt Lees has a fine little video in which he talks about (among other things) the way the gaming industry has become cyclically insular. Teenage boys who play games aimed mainly at them grow up and become part of an industry where they create video games aimed at ... teenage boys.
Sound like another cultural sphere we talk about here a lot? It sure did to me.
On a lot of things: Spike Lee, SF, hard-to-swallow endings, and stacking the deck.By Serdar Yegulalp on 2014/08/28 13:00
In the comments section of a really good essay on Spike Lee's best and most widely debated movie is this gem. I have excerpted it here in full, because it deserves it, and because I'm about to go off on some major tangents with it.
I think the point on why audiences expect films to moralize is kind of simple: we use film, in America at least, to live vicariously through others so we don't have to engage in the actions ourselves. Most films acknowledge this, as there's a distinct narrative difference between false actualization and legitimate call-to-action. Most American cinema falls into the former, while something like DO THE RIGHT THING pursues the latter, which is also why that film troubled many American cultural critics (and audiences) in the time of its release.
As an example, America doesn't want revolution; it just wants the explicit promise of it, and often a constant stream of entertainment that feeds into that narrative. It's why THE HUNGER GAMES is so popular. We're pissed about what our country has become, but we're too lazy to do anything about it; so Americans can live through Katniss as she does the things most of us only fantasize about. This is why most post-apocalyptic fiction and revolution-leaning cinema are infantile in the way they handle the scenarios they propose, at least when compared to much of what Lee has done as a director. Lee's films often end in frustrating ways, such as with SCHOOL DAZE, where the central problem isn't resolved, and, in fact, transfers its righteous anger from its characters onto the audience and expects them to follow up on what the film was attempting to accomplish. You aren't allowed to feel like anything was finished or made better, because, realistically, nothing in life ever is -- we spin in endless cycles of mindless violence, racial inequality and nationalistic soul-searching.
It's the end of the world as we know it, yet again.By Serdar Yegulalp on 2014/08/01 10:00
The more I think about end-of-the-world fiction, the more I'm seeing it as a red herring. Not just because we're surrounded by so damn much of it lately (it started most recently with, I think, The Walking Dead and it's just gone on unabated from there), but because it's predicated on a few assumptions that I'm finding harder to swallow as I go along.
First, the core premise: things fall apart, the center cannot hold, etc. It's hard for me to look at such things and not see them as a gross underestimation of the resilience of human ingenuity. If we're good enough to stick it out that fiercely after things collapse, doesn't that imply we'd be good enough to keep it together from collapsing to begin with?
Science fiction, rebooted.
New York City
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