Posts Tagged ‘New Worlds’

Harlan Ellison’s ‘Dangerous Visions’ Published as SF Classics

January 7, 2017

Also looking through Waterstone’s SF shelves last week, I found that Gollancz has published the groundbreaking short story anthology, Dangerous Visions as part of their range of classic works of Science Fiction. The book, edited by Harlan Ellison, who wrote the classic Star Trek episode ‘The City on the Edge of Forever’, caused uproar when the stories were published in the early ’70s. Several of the stories had appeared in Michael Moorcock’s New Worlds, and constituted the American equivalent of the British ‘New Wave’. The controversial subjects of some the stories and their sexual explicitness resulted in a questions in parliament about the magazines’ perceived obscenity. This came after the arts council had renewed its grant to Moorcock’s magazine for the following year, which is more than a little ironic. Brian Aldiss and David Wingrove in their history of Science Fiction, The Trillion Year Spree, quote Ellison as saying of the ‘New Wave’ writers ‘these guys is blasphemous’. However, in their opinion the American writers were far more traditional and less radical and iconoclastic than their British counterparts. But if you’re interested, you can now read it again and judge for yourself.

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Simon Pegg and SF and Comic Book Infantilism

May 23, 2015

I was on holiday last week, which was why I haven’t put anything up for a few days. Never mind – I’m back now, and ready to pour more scorn, criticism and bile on the Tory government and the establishment sycophants and global corporate exploiters that support it.

But before I do, I’d like to tackle one issue that’s been bothering me, ever since I read about it in the papers and Radio Times last week. Simon Pegg got in the news for claiming that contemporary culture was being infantilised through Science Fiction, comic books, and the movies that were based on them.

As Pegg himself admitted, this is deeply ironic comic from him. He’s made his name as an SF and comic book nerd. In Spaced, the comedy he co-wrote, he played a struggling comic book artist/writer, who worked behind the counter at his local SF and comic shop. As well as the zombie rom-com, Shaun of the Dead, he also wrote Paul, his homage to science fiction geekdom, in which he and Nick Frost play a pair of SF geeks, who stumble upon the real alien that the US government has kept secret ever since the Roswell crash. The interview in the Radio Times, in which he made the comments, begins with a discussion of his role as Scotty and one of the writers on the new Star Trek movie.

Pegg made his comments about the infantilising effects of comics and SF when talking about how he was trying to smarten up and not be a ‘slobby husband’ for his wife, Maureen. As part of which, he had stopped drinking, turned to living a healthier life style, and stopped dressing as a teenager. The Radio Times then went to state how this new, adult perspective had changed his view of Science Fiction and comics. It said

This new grown-up perspective chimes with Pegg’s views on the culture in which he made his name and plies his trade. As Mark Gatiss said in Radio Times last month, “The geeks have indeed inherited the Earth.” On the other hand, this empowers the fanboy who wrote an autobiography called Nerd Do Well.

But on the other… “Before Star Wars, the films that were box-office hits were The Godfather, Taxi Driver, Bonnie and Clyde and The French Connection – gritty, amoral art movies. Then suddenly the onus switched over to spectacle and everything changed.

Now, I don’t know if that is a good thing. Obviously I’m very much a self-confessed fan of science-fiction and genre cinema. But part of me looks at society as it is now and just thinks we’ve been infantilised by our own taste. Now we’re essentially all consuming very childish things comic books, superheroes … Adults are watching this stuff, and taking it seriously!

It is a kind of dumbing down in a way, “he continues. “Because it’s taking our focus away from real-world issues. Films used to be about challenging, emotional journeys or moral questions that might make you walk away and re-evaluate how you felt about … whatever. Now we’re walking out of the cinema really not thinking about anything, other than the fact that the Hulk just had a fight with a robot.”

Now Pegg hasn’t said anything that a multitude of other, SF writers haven’t said before. Ray Bradbury, the author of The Martian Chronicles, famously said that the ‘Golden Age’ of Science Fiction was thirteen. Brian Aldiss, who amongst his various works wrote the short story, Supertoys Last All Summer Long, on which the Kubrick/ Spielberg film A.I. was based, was highly unimpressed by Star Wars. In his history of Science Fiction, The Trillion Year Spree, he made the sneering observation of its massive fan popularity that ‘a thousand throats thirsting for escapism must be slaked (if not cut)’. Many SF authors moved away from writing SF over their careers, such as Christopher Priest. Priest denies that he was ever an SF writer, but does not despise the genre or its fans. He’s said that he still has affection for the genre. Michael Moorcock, the editor of the SF magazine, New Worlds, leader of the SF ‘New Wave’, and author of the cult Elric novels, in the edition of the 1979 series on SF writers, Time Out of Mind, also stated that Science Fiction was essentially an immature form of literature. Moorcock then considered that the reason why so many SF writers had stopped and gone on to other forms of literature was simply that they’d grown up.

The great Polish writer, Stanislaus Lem, made pretty much the same point from his own personal experience in his book on Science Fiction, Microworlds. Lem’s an extremely highbrow Polish writer, who amongst his various works wrote Solaris, which was later filmed by the Russian director, Andrei Tarkovsky. Lem has been very strongly influenced by the South American ‘magic realist’ writer, Borges, and was deeply impressed by Philip K. Dick. In Microworlds, he talks about the ‘transformation of trash’, in which the shop-worn props of Science Fiction – robots, aliens, mutants and spaceships – were transformed into a new kind of serious literature by Dick. He hoped, through his own writing and literary criticism, to make a similar contribution and raise the literary standards of the genre so that it could take its place as serious literature. He abandoned this, and the genre itself, as impossible.

Moorcock also began his career keen to raise the literary standard of Science Fiction. He was keen to import the experimental styles explored by William S. Burroughs and other, contemporary, literary writers. Again, in Time Out Of Mind, he talks about how he find his attempts to do so rejected and condemned by the SF old guard, particularly Frederick Pohl.

Now it’s fair to say that much Science Fiction is escapist fantasy, as is much literature generally. Nevertheless, much Science Fiction literature and cinema has tried to tackle serious issues. SF at times has been the ‘literature of warning’, exploring the terrible consequences that could arise if a particular political, social or technological course is pursued now. It’s also been used to critique and criticise existing society. This was particularly true of SF in the former Soviet Union, where writers like the Strugatsky brothers wrote in the ‘Aesopian mode’, to present Science Fictional fables to say obliquely observations about the true state of Soviet society, that could not be said openly.

It’s possible to draw up a list of Science Fiction novels, films and short stories, that have made serious points about human existence and the state of society. Most fans of the genre undoubtedly have their own favourites, or can think of others, that also do this. This is just happens to be the list I’ve drawn up at the moment.

1. War of the Worlds.

H.G. Wells’ novel of the devastation of Earth by Martian invaders had its origins in a discussion between Wells and his brother about the destruction of indigenous, primitive societies, by European colonialism. Wells wondered what it would be like, if a similarly technologically superior invader came and did the same to Great Britain, the leading imperialist power of the late 19th century.

The book remains relevant to contemporary society even today, more than a century after its publication. Stanislas Lem has praised the book for its depiction of the nature of total war, and what it feels like to be the victim of an invader determined to wipe you out utterly. Lem lived through the Nazi invasion and occupation of his home country. Apart from their aim of exterminating the Jews in the Holocaust, the Nazis also saw Poles, along with Russians, Ukrainians and the other Slavic peoples as ‘subhuman’, who were to be worked to death as slave labour. Their treatment of the Poles was similarly brutal. Lem felt that Wells’ novel of alien invasion gave a far better depiction of what the Nazi occupation was actually like, than many purely factual accounts of this dark period in his country’s history, to the point where he got annoyed with them and discarded them.

2. Brave New World.

Aldous Huxley’s classic dystopian novel of the dehumanising effects of biotechnology, in which humans are artificially gestated in hatcheries. In this technocratic, hedonistic society, real culture has withered away and society itself grown static because of the concentration on the purely sensual.

3. Rossum’s Universal Robots.

Karel Capek’s stage play introduced the word ‘robot’ into the English language. It was one of the very first to explore the possibility that humans could one day be overthrown by their mechanical creations. The robots in the play aren’t mechanical so much as artificially created humans, very much like the Replicants in Ridley Scott’s Blade Runner. Capek was writing at the time working class, radical Socialist and Communist revolutions had broken out in central and eastern Europe, and the play can also be read as a parable about their threat to the bourgeois European order.

If anything, the book has become even more relevant today, as scientists and social activists have become increasingly alarmed at the threat that robots might shortly do exactly as described in the book. Kevin Warwick, the Reader in Cybernetics at Reading University and former cyborg, begins his pop-science book on robots, March of the Machines, with a chilling depiction of the world of 2050. In this world, the machines have very definitely taken over. The mass of humanity have been exterminated, with those few remaining either living wild, if lucky, or enslaved as domesticated animals by their mechanical masters.

Some international agencies share this alarm. There is a pressure group actively campaigning against the construction of killer robots. A few years ago the international authorities were so alarmed that they actively forbade the use of such robots on the battlefield after one country made the suggestion that such machines should be used today, based on existing technology.

4. Silent Running

After working on 2001, Doug Trumbull wanted to produce a less coldly-intellectual, more emotional SF film than Stanley Kubrick’s epic. This was film is one of the first with a ‘green’ message, about humanity’s destruction of the environment. It’s about one astronaut’s quest to save the last green spaces from Earth, now preserved on spaceships, from destruction. He disobeys the command to scupper his ship and return to Earth, and takes them to safety in the rings of Saturn.

Other films exploring similar themses include Zero Population Growth and Soylent Green. In Zero Population Growth, the world is massively overpopulated to the point where most animal and plant species, including domestic pets, have become extinct. The government therefore mandates a total cessation of reproduction for a generation. The film tells the story of a couple’s attempts to preserve the life of their child after the wife finds out she’s pregnant. The husband and father is played by Oliver Reed, who was a brilliant actor as well as notorious drunk.

Soylent Green, starring Charlton Heston, and based on Harry Harrison’s book, Make Room! Make Room!, was the first SF book to explore the possible consequences of the global population explosion and mass starvation.

5. Solaris

Based on Lem’s novel of the same name, Tarkovsky’s novel explores the problem of communicating with a genuinely alien intelligence, and what this would say in turn about human nature. The story follows the attempt of an astronaut to find out just what is happening aboard a space station orbiting the eponymous world. The planet itself is one vast organism, which creates replicas drawn from the human explorers’ own minds to try and work out what they are. One of these replicas takes the form of the hero’s ex-lover, with whom he begins a second, doomed romance.

Among its comments on space and humanity’s place in the universe are the lines ‘There are only a few billion of us. A mere handful. We don’t need spaceships. What man needs is man.’

The film was remade about a decade or so ago by Steven Soderbergh. His version is shorter, but apart from adding a sex scene and making Snow, the physicist, a Black woman rather than White man, there really isn’t much difference between the two, to the point where in some places they’re shot for shot the same. I prefer Tarkovsky’s original version, but you may feel differently.

6. Stalker

This is another movie by Tarkovsky, based on the novel by the Strugatsky brothers. The stalker of the title is an outlaw, who makes his money taking people into, and retrieving objects from, a mysterious, forbidden zone. In the book, the normal laws of nature do not apply within the zone, and its hinted that it is due to the crash of an extraterrestrial spacecraft. In Tarkovsky’s version, the zone is result of some kind of disaster. Tarkovsky’s film explores the nature of guilty and responsibility as the various characters attempt to venture further into the zone. The highly polluted, dangerous environment has a destructive effect on the biology of those entering into it. The Stalker himself has a disabled daughter, Monkey. Some hope for humanity is indicated by the fact that, although she cannot walk, Monkey nevertheless has developed psychokinesis.

Although this is another classic of Soviet, and indeed SF cinema generally, I think it’s seriously flawed. Tarkovsky cut out most of the special effects sequences from the books on which Stalker and Solaris were based, in order to concentrate on the human characters. As a result, the film suffers from a lack of genuine, shown menace, and instead is verbose and actually rather boring. Also, the central character in the book is far nastier. In the final scene in the novel, he wilfully sacrifices his accomplice to one of the Zone’s traps, so that he can retrieve the central, alien object coveted by everyone venturing into the zone – a golden ball that grants wishes. This is a film, which in my view does need to be remade by a director like Ridley Scott.

7. Blade Runner.

Apart from its sheer immense style, and the beauty of some of the scenes, this is another film that attempts to explore human nature through the mirror of its artificial, bio-mechanical opposite. Although it’s told from Deckard’s perspective, in many ways he’s actually the villain. The Replicants he hunts are bio-engineered slaves, who have escaped their bondage and come to Earth in the hope of extending their extremely short, artificial lifespans. They can’t, but in the process grow and develop in psychological depth and as moral beings. To the point where they are morally superior to their human creators. The penultimate scene where Batty saves Deckard from falling shows that he has passed the Voight-Comp test, which judges a subject’s a humanity according to their empathy and desire to save a trapped, struggling animal. It also has one of the most quoted poems in SF cinema – I have seen things you people wouldn’t believe, ships on fire off the shores of Orion…’

8. They Live.

This alien invasion drama is also a sharp satire on modern, global capitalism. A homeless construction worker discovers that the world is secretly dominated and exploited by skeletal aliens, who are at the heart of global capitalism. While it’s a low-budget action piece, Carpenter has said in interviews that he intended to give it an extra element by using it to criticise contemporary politics and economics. In the film, humanity’s exploitation by the interplanetary corporate business elite and their human shills and partners is responsibility for mass poverty, unemployment and homelessness – all to boost profits. If you cut out the aliens, this is pretty much what the bankers and global corporate elite have done and are still doing today. And it’s got the classic line, ‘I’ve come to do two things: kick ass and chew gum. And I’m all out of gum.’

9. V For Vendetta

This is another film, which has been denounced by the author of the work on which it’s based, in this case the SF strip of the same name by Alan Moore, which first appeared in the British anthology comic, Warrior before being published by DC in their Vertigo imprint. The strip was very much a product of its time – Thatcher’s Britain, and the new Cold War with the former Soviet Union. The strip envisaged the emergence of a Fascist Britain following a nuclear war between the US and the Eastern bloc. Moore has said in interviews that the strip attempted to explore the moral ambiguities of violence, whether it can be justified against innocents as part of a wider campaign against an unjust system. He also wanted to make the point that many of the supporters of the Fascist regime could be considered otherwise good people, just as many otherwise decent Germans supported the horrific Nazi regime.

It’s a superhero movie, which does nevertheless accurately show the realities of life in a Fascist dictatorship – the mass internment of political prisoners, arbitrary censorship, and experimentation on those considered subhuman or ‘dysgenic’ – in the language of eugenics – by the authorities. It lacks the contemporary relevance of the original strip, as Margaret Thatcher and the Tories did have strong links to the far right. Thatcher was an admirer of Pinochet, for example. The strip explored many of the issues thrown up by contemporary stories of corruption in the political, social and religious establishment, like paedophile clergy. Despite Moore’s rejection of the movie, it’s still a piece of genre, comic book cinema that does try to make an extremely serious point about Fascism and intolerance by placing it in modern, 21st century Britain.

10. Children of Men

Based on the book by P.D. James, and starring Clive Owen and Thandie Newton, this is another dystopian yarn. This time it takes a completely different view of the future and its perils from Soylent Green and Z.P.G. In this future, humanity has been afflicted with mass sterility. No children have been born for 18 years. Owen plays a policeman, charged with protecting an immigrant woman – Newton – who carries the only child to be conceived for over a decade. As a consequence of the sterility, society in volatile and unstable. Only Britain has a relatively stable system thanks to the establishment of a Fascist-style dictatorship.

Although fiction, James’ book nevertheless explores a genuine social issue. Globally, populations are falling, to the extent that some demographers have predicted a population crash sometime in the middle of this century. In Britain and much of Europe, they’re below population replacement level. This is particularly acute in Japan, and is one of the causes of that country’s massive investment in the development of robot workers. Much of the fall in birth rates is due simply to people limiting the number of children they have in order raise their quality of life. There is, however, the additional problem in that the sperm counts of western men is falling, to the point that during this century a significant number will be considered medically sterile. Children of Men is another dystopian work that is chillingly plausible.

It’s possible to go on, and add further works of serious SF cinema, such as Terry Gilliam’s Brazil and The Zero Theorem and Gattaca, with its depiction of a stratified society ruled by the genetically enhanced. Now I have to say that I agree with Pegg that an awful lot of SF films since Star Wars has been escapist fantasy, and can see his point about some of it having an infantilising effect. This is by no means true of all of it, as I’ve attempted to show.

Even films like Star Wars that are pure, or mostly spectacle can be worth serious discussion and consideration, if they’re done well. For all its escapism, Star Wars was astonishing because it showed a detailed, convincingly realised series of alien worlds, machines and space craft. Moreover, the second movie – The Empire Strikes Back – did present Luke Skywalker with a genuine moral dilemma. His friends Han Solo, Leia, Chewbacca and the droids have been captured and are being tortured by Vader and the imperials. Skywalker is faced with the choice of trying to help them, and in so doing losing his soul, or preserving his moral integrity by letting them suffer and die. His confrontation with Vader present him further with another, particularly acute moral dilemma. Vader reveals himself to be his father, and so if he kills him, he commits parricide, a particularly abhorrent crime. This also has literary antecedents. In one of the medieval Romances, the hero is faced with the revelation that the leader of the foreign army devastating his lord’s realm is his father, and so he is confronted with the terrible dilemma of having to kill him.

Now I don’t think that the potential of Science Fiction to explore mature issues and genuinely relevant problems has been fully explored in the cinema. One of the solutions to the problem is for fans of genre cinema to try and support the more intelligent SF movies that are released, such as Moon, which came out a few years ago. This would show producers and directors that there’s a ready audience for genuine, thought-provoking, intelligent SF as well as the gung-ho, action escapism.

Resign, Tyrant, Said the Type-Type Man

September 23, 2014

Harlan Ellison on being spied on by Big Brother in Reagan’s 1984 America

Okay, so I’ve been away from blogging for a few months now. I’ve been working on a book. It’s my doctoral thesis on the origins and growth of the town of Bridgwater in Somerset from prehistory to 1700. It’s now with the publishers, and hopefully it shouldn’t be too long before it comes out. I’ve also been taken up and somewhat distracted by a few other projects. Nevertheless, I hope to get back to blogging regularly.

Edward Snowden’s revelations of the sheer size and scale of the American intelligence agencies’ surveillance of their citizens, and British complicity with it, has raised questions about the gradual diminution of personal freedom and the transformation of our societies into Orwellian surveillance states. This is just part of process that has been going on for a very long time, since the 1980s. Alan Moore, the veteran comics writer and co-creator of the V for Vendetta comic strip with the artist David Lloyd, stated has stated in interviews how amazed he is by the complete acceptance of CCTV cameras on Britain’s streets. When he included them in the strip as a visible sign of the totalitarian Fascist state in which the strip was set, he was absolutely sure it would terrify everyone to the point where they simply wouldn’t accept them. Now, as he remarked, they’re everywhere. Niall Ferguson, the right-wing historian and columnist, has also made the same point. He remarked in an interview on how he first noticed them after he came back from a visit to China. He too felt that they were a threat to individual liberty, and could not understand why no-one else was alarmed by them or saw them this way.

This concerns have become more acute with the Tory and Lib Dem decision to establish secret courts, functioning as a Kafkaesque travesty of justice. In these courts, people will be able to be tried without knowing the evidence against them, nor who their accuser is. All for reasons of ‘national security’. It’s frighteningly like the corrupt and murderous judicial system of the former Soviet Union and Nazi Germany. It also bears more than a passing resemblance to Saddam Hussein’s legal code. In addition to the laws, which were made known to the Iraqi public, there were also six pieces of legislation which were kept secret. Very secret. They were so secret that even knowledge of these laws was a crime that could land you in prison or worse. For all their claims to be the defenders of personal freedom, with the establishment of these secret courts the Coalition is laying the foundations of the kind of totalitarian state described by Kafka and Moore, only in 21st century Britain. And the surveillance of citizens by the Western intelligence agencies, for merely having political views the authorities considered dangerous or subversive, goes back even further.

Looking through Youtube, I found this interview with Harlan Ellison, the veteran SF author and screenwriter, from 1984. It’s part of a discussion about the relevance of Orwell’s dystopian novel of the same name in contemporary America. When asked about this, Ellison states that he thinks it’s extremely relevant, because he’s lived through it in Reagan’s America. He described how, shortly after Reagan became governor of California, he began to hear clicks and noises on his telephone, suggesting that it was being tapped. He dismissed the idea, until he went out to empty his wastepaper basket in the trash one morning, and discovered an engineer for the telephone company outside, connected to the wire leading into his house. Checking with people he knew, who were in a position to know, he found out that it was indeed true, and his phone was indeed being tapped.

Ellison made sure, however, he had his revenge. Knowing that whatever he said on the phone would be written down and filed, he made sure that his phone conversations included some interesting and highly derogatory comments about the then leader of the free world and star of Bedtime for Bonzo, whose title character was a chimpanzee, and arguably the better actor. For example, the great author would remark that Reagan beat his mother and did not confine his romantic interests to those with the two legs, but also those with four, a wagging tail and wet nose. Here’s the interview:

It’s not hard to see why Reagan and his cohorts should view Ellison as a potential subversive. He’s an outspoken atheist and a card-carrying liberal. This was in sharp contrast to Reagan’s administration, which was strongly based on the American religious Right. Ellison had been a strong supporter of the Civil Rights movement. On one of his own videos on Youtube, he discusses his participation on the Civil Rights March on Selma with Martin Luther King. Under J. Edgar Hoover, the FBI was hostile and deeply suspicious of the Civil Rights Movement, which they suspected was a Communist initiative. So Ellison’s participation in that would have been enough to arouse the authorities’ interest and suspicions in him. In addition to writing some of the most outstanding episodes of the original Star Trek series, such as ‘City on the Edge of Forever’, Ellison was one of the major figures in the SF New Wave, whose other leading writers included Norman Spinrad, Brian Aldiss and Michael Moorcock’s New Worlds in Britain. This was markedly countercultural, and attacked contemporary literary and social conventions. In one of Ellison’s best known short stories, Repent, Harlequin, Said the Tick-Tock Man, for example, the hero is a lone, vigilante prankster. The story is set in a dystopian society in which time is rigidly controlled, the Tick-Tock Men of the title making sure that everyone perform their allotted tasks rigorously according to the time table. The hero, Harlequin, tries to subvert this by performing practical jokes deliberately intended to upset the time table, and the rigid social order that it supports. These include releasing a torrent of jelly beans all over people as they go to work in the morning. Ellison himself declared of the SF writers in the New Wave that ‘these guys is blasphemous!’ In Britain too the movement caused outcry, and questions were raised in the Houses of Parliament about Moorcock’s New Worlds. There was concern about the allegedly obscene nature of Norman Spinrad’s story, ‘Riders of the Purple Wage’, which was then being serialised in the magazine.

Eventually, Ellison says, the clicking noises simply faded away and the authorities presumably lost interest. This was probably when they realised that, no matter how objectionable they found his politics, one of SF’s greatest writers was not actually planning to overthrow the government of the US, invade Guatemala, or even deluge the sidewalk with a tide of jelly beans. They may even have agreed with his comments about Ronald Reagan. It does, however, show that under Reagan, prominent intellectuals that didn’t share the president’s highly reactionary and paranoid views could be spied upon, simply for having those views, regardless of whether they were innocent of any crime. And as Snowden’s revelations showed, the surveillance state has expanded massively since then.

We do need the security and intelligence services. According to today’s I, Isis, the Islamist terrorist organisation Iraq and Syria, has called on its supporters to attack and kill citizens of the US, Britain, France and the other coalition countries. The work of the various intelligence agencies and their surveillance is necessary to stop ISIS and other terrorist organisations from carrying out their threats. But individual freedom – freedom of conscience, speech and publication also needs to be preserved. These are also under threat from the Right, though legislation like the Coalition’s secret courts. They need to be strongly rejected, and proper safeguards against further encroachment on our civil liberties put in place. The answer to the old question ‘Who watches the watchers’ has always been: ‘The price of liberty is eternal vigilance’.