For the Love of Science Fiction
Margaret Atwood’s In Other Worlds: SF and the Human Imagination.
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The workout my credit card gets at Amazon is structured so I won’t get repetition fatigue: I keep my reading list balanced between the highbrow and low, the fiction and non, the popular and the below-the-radar, the new and the old. Yet there is one realm I have long neglected: science fiction. Despite a youthful binge in Arthur C. Clarke, particularly the Rama books, I disdained science fiction for many years, considering it too short on humanity and too long on pointless technical specs.
But I have discovered the error of my snobby ways and am embarking on a science-fiction education. Perhaps the greatest surprise of this journey is my newfound love for all novels post-apocalyptic. The second-greatest has been that I was already well-acquainted with some “science fiction” that I had not considered such, namely Margaret Atwood’s The Handmaid’s Tale. Soon I devoured her cautionary tales of science, capitalism, and societal degeneration, Oryx and Crake and The Year of the Flood. One of my favorite writers tackling my guilty pleasure of post-apocalyptic fiction buoyed my decision to give sci-fi a try. (Atwood, though, bristles at the label post-apocalyptic: She writes: “[I]n a true apocalypse everything on Earth is destroyed, whereas in these two books the only element that’s annihilated is the human race, or most of it.”)
Now, with her new work of literary criticism, In Other Worlds: SF and the Human Imagination, Atwood continues to be my sci-fi guide. In Other Worlds is a meditative love letter to science fiction, a scrapbook of decades’ work and passion for this divisive genre. Atwood recollects her early reading years, full of unsophisticated novels of space and superheroes; her work in and eventual abandonment of a Ph.D. thesis “The English Metaphorical Romance,” which explored fantasy at a time when it was an ill-regarded genre; her philosophical motivations in writing her speculative novels The Handmaid’s Tale, Oryx and Crake, and The Year of the Flood. Atwood also shares a handful of older essays on science fiction, from Nineteen Eighty-Four to Never Let Me Go to the work of Ursula K. Le Guin. We also are treated to a cheerfully scolding open letter to a school district that banned The Handmaid’s Tale, ruling it “offensive to Christians.” (“[W]hy are some Christians so quick to see themselves in this mirror?” she asks. The ban has since been overturned.) She ties up In Other Worlds with five short works of her own sci-fi, including one gleaned from her book The Robber Bride. In Other Worlds even contains some illustrations from Atwood, like a kidney surgeon-cum-superhero.
This is an eclectic mix, to be sure, but to Atwood fans and science fiction fans—or, more properly, to Atwood fans who also relish sci-fi—it is a satisfying buffet. To extricate Atwood’s thoughts on the genre, its fuzzy borders and its déclassé status, from her own experience in writing and reading it, would be impossible; several of her critical essays open with recollections of the first time she read Aldous Huxley’s Brave New World, say, or H. Rider Haggard’s 19th-century fantasy novel She, describing why she picked it up, her early impressions, and her later, deeper understanding. In Other Worlds is perhaps best understood as a literary memoir.
Torie Bosch is the editor of Future Tense, a project from Slate, the New America Foundation, and Arizona State that covers emerging technologies and their implications for society and policy.