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119, No. 3, Special Topic: Science Fiction and Literary Studies: The Next Millennium (May, 2004), pp. 457-473 Published by: Modern Language Association Stable URL: http://www.jstor.org/stable/25486061 . Accessed: 05/11/2012 07:49
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i i9-3
Science
ERIC
S. RABKIN
THERE
Maureen
Zhang (1992) in which Zhang, at that point a "daoist engineer" in training (232), experiences what is to him a fundamentally new way of thinking. He is a institute. the world's?leading student at China's?and technological The institute's vast computer system is pervasive. Once one truly jacks in, to inquire is to learn, to think is to do, to play is to create. Or so he is told, for Zhang, born and raised in America, cannot lose himself enough to experience the system fully. To get Zhang there, his mentor sets him the task of designing
of every shape and
comes to see the doors around him more vividly than ever before. There is an overwhelming power in the multiplication of perspectives. He no tices that "China is obsessed with walls. The university iswalled, every factory, every school, every office complex or hotel is surrounded by a
wall. And so doors are very important because they represent vulnerabil
is a great metaphor
the exhilarating submission
and
human
that when
allows
writes
to design
something
such as He also
there
is no perspective
and
I am on
the edge
science
fiction
fantasy.
leads pedagogical and administrative efforts to integrate information tech nology in the academy.
unimaginably
2004
BY THE MODERN
LANGUAGE
ASSOCIATION
OF AMERICA
457
458
PMLA
am myself,
myself,
but
able
to think
and
have
publishes fanzines, supports small presses; is sues critical judgments in many forms, in the commercially crucial annual Hugo cluding Awards; and generally enters into a compelling conversation with professional writers and edi tors even as it functions as a farm club for their ranks. In these regards, science fiction fandom is the exemplar for all later fandoms. its many activities, science fiction Among fandom began to build resources for criticism. Pioneering fan enterprises, such as Advent Pub lishers, based in Chicago, brought out not only criticism by readers, writers, and editors in book works as such groundbreaking The Encyclopedia of Science Fiction and Fan form but also tasy (1974-82), by Donald Tuck, an Australian science fiction aficionado. If one is to do science fiction criticism as fully as possible, like Zhang told to study doors, one must expand oneself by giving oneself up to these resources. The old of literary criticism,
everything and issues
a part of me....
I feel whole,
(234)
so Zhang feared, as we Westerners often do, was losing his self through submersion in the mass. But the in the system, dissolution immense
becomes
system becomes
more capable than
critical theory and science fiction is that each is a version of the other" (xv). In the voice of sci ence fiction, McHugh urges us as readers to make something more capable than individual can be alone. In the voice of crit any ourselves
ical theory, she asks us as critics, as she asks
Zhang as designer, to make qualitatively more informed, imaginative, capacious judgments, that in their formation draw on a judgments vast, technologically
knowledge and
model
reads
in which
a personal
the critic
assess
mediated
set of collective
is, on a sys
experience?that
ment,
tem. This goal, nearly Utopian to Zhang, is one we may never fully reach, but in my view it is the future of criticism. Science
of any literary
eventually had to contend with the collec of fan critics wielding fan resources, and it tivity still does. Just as the World Wide Web was born at needs to serve the obvious collaborative
CERN
of worldwide
gry immigrant visionary, wrote and edited mag that had some azines, like Modern Electrics, science fiction content even before the genre had a name. When he founded Amazing, the first sci ence fiction magazine, in 1926, he sought to en so that they his readers in a community gage in order to dis would want to buy his magazine cuss its contents. active letters columns. He promised, and delivered, In 1934 he and Charles to launch the Sci a
science, appropriations of the power of theWeb served the obvious collaborative needs of worldwide science fiction. When
encyclopedic
the Web
efforts of
became
fandom
avail
were
able,
the
ready to be ported to digital form, the communi ties of collaborators extended, and the results made widely available. A fine current example Fiction DataBase is the Internet Speculative (von Ruff), a work dependent on volunteer labor that grew from earlier efforts of the New En gland Science Fiction Association valuable scholarly tool. to become a
Hornig used Wonder Stories ence Fiction League (Clute and Nicholls),
more and less successful attempt to give
struc
ture to that community. While mately failed as a commercial Gernsback Science conventions fiction and Hornig, fandom
The Web provided us not only with re sources for science fiction criticism but also with new fields for science fiction play. The same technology that supports democratic collabora tion supports multiplayer gaming. Long before
i 19
Eric S. Rabkin
459
the Internet spawned theWeb, text-based games flourished. And most of these were marked by the same tropes and elements that publishers as sociate with fantastic science adventure, called it, "ratiocination" you are fiction?techno-wizardry and, as Edgar Allan Poe
was not only appealing to the public but also re flective of the modes of modern science, which, unlike those of traditional criticism, are funda mentally networked and collaborative. to develop more They hoped, like Zhang, fully their ideas by opening a door to another system. In ti the organizers alluded to tling the conference, Aldous Huxley's Brave New World (1932), rec that one person's Utopia (unlimited ognizing is another's hell (love is forbidden). But did sex) they recall that Aldous Huxley was a grandson of T. H. Huxley, Charles Darwin's most famous adherent? Did they know that contemporary T. H. Huxley, that great promoter of evolution had for nearly two years a young ary thought, lab assistant named Herbert George Wells? Did
strange think your way to safety. When computer games became more visual, and bloody, they by and large continued to feature science fiction ele ments, although now a twitching thumb is often more valuable than a throbbing brain. If we ask what science fiction is, we may find many answers. One that I have promulgated, in The Fantastic in Literature, is that it is the literature that claims plausi a background of science. But that is bility against a narrow definition, quite workable for the text minded but inadequate to a broader criticism, the sort of criticism that science fiction invites, be cause science fiction is not limited to texts. In December igan hosted 2001, the University of Mich the fourth international Wiesner and policy. These sym inspired by Jerome B. branch of fantastic
(299): figure out where in an abandoned collect spaceship, and sometimes helpful objects, and
of Michigan alumnus, a an adviser to United States presidents, physicist, and president of perhaps the most prestigious institute in the real world, theMassa Institute of Technology, which is, not the home of the New England coincidentally, chusetts Science technical
with
In 2001, a year Association. and filmic resonances around the literary work of Arthur C. Clarke and Stanley Kubrick, the year in which the human genome was de Fiction territory, theWiesner Symposium theme was "Braving the New World: Benefits and Challenges of Genetic Knowledge." All the speakers save one, renowned scientists. The the kickoff speaker, were Iwas the kickoff speaker. asked me to introduce a clared known
organizers (1997). Their no showing of the film Gattaca tion of beginning the symposium with science fiction criticism and then with science fiction
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460
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461
they notice that Huxley's title in turn alluded to William The Tempest, in which Shakespeare's social order can be restored only after Prospero drowns his books that Shakespeare the term "brave new world" with both irony and hope? The conference subtitle suggests that they were mindful of the ambiguity. But I know from with them that they did not con sider that the object of science fiction criticism might be not only film and novel and play but also nonfiction The (like James D. Watson's conversation Double A Personal Account of the Dis the Structure of DNA [1968]), biogra covery of phy (like Paul de Kruif's The Microbe Hunters Helix: [1926]), Science, President policy the Endless [1945]), studies (like Vannevar Bush's Frontier: A Report to the itself (like (5.1.57)? And did they recall and Aldous Huxley each used
Einstein's
To gedankenexperiments). should add science fiction poetry, industrial design, city planning, architec
famous
ture, politics, fashion, and world's fairs. Science fiction, in other words, is no more limited to sci ence fiction literature than love is limited to love is what I would call, term, a cultural system, and adapting McHugh's the future of criticism lies in exploring cultural fiction systems. Toward this future, science fiction should lead the way. To suggest that science fiction is a system, something much larger than a genre, merely acknowledges Dictionary that it fulfills an Oxford English definition of system: "A set or as associated,
a complex
letters. Science
or in
unity."
Fie. 5
Catacomb in Them! nest
We
recognize
that assembled
unity when we
..<Ee .ei
462
PMLA
ex speak of Faustian bargains, Frankenstein Star Wars weaponry, and aliens who periments, move faster than a speeding bullet. The stream lining of house trailers may have made some practical sense, although it smacks more of ex oticism than of fuel conservation. The streamlin ing of dinky outboard motors makes no practical sense at all (fig. 1), unless one considers the de sign part of a cultural system in which the motor housing represents the fulfillment of a fantasy of in an alien element (water) and the practi speed cal impact of such streamlining is thus measured
wonderment
and streamlining. Science rally the most influential time like ours, in which
technological change constantly provokes hope, fear, guilt, and glory. But science fiction is not our only cultural system. The western offers us another, with its typical story so well articulated by John Cawelti and its characteristic landscape so well Its typical values are presented by Hollywood. embodied more in figures fictional, semifictional, and or less real, like Paul Bunyan, Davy and John Wayne;
type fonts, western in country-and-western
dominant
by the bottom line of the manufacturer. A cultural system, as Imean the term, may coordinate a set of typical dramatic situations,
recurring elements, even themes and styles, as
Crockett,
western movies;
in western
novels,
clothing,
in west
and western
music;
Fig. 4
Charlie Chaplin in Modern Times.
science fiction does by including, for example, the encounter with the alien, time machines,
ern cooking; and in western customs, like ro deos, which attract camp followers during the
rodeo season the same way science fiction con
9.3
Eric S. Rabkin
463
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ventions
other cultural
afraid of atomic
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Early telephone operators.
capture its history, politics, music, and legends in its own hall of fame in Cleveland. we deal with a cultural system, even if we believe we are dealing only with a novel or When a film, we must look widely. In a post-9/11 issue of theNew York Times, Rick Lyman wrote about the way horror films deal with the fears of their ages. Here is his first example: "In [the] climac tic scene from Them! (1954), the seminal giant bug movie from the age of post-atomic anxiety, ... becomes the Dr. Medford symbolic spokes man for all of the vague unease felt by a prosper ous and complacent American public wrapping its mind around the new, terrifying concept of nuclear radiation" (fig. 2). It is true that America
to the point, America bomb in the hands of the Soviet Union. fifth columnists
mies were
everywhere, among us, each one mindlessly placable orders from Moscow.
im following It is no accident
that the movie chose ants to be enlarged by radi ation or that they nest underground. The movie
poster's term "catacombs" refers to the ants'
nest (fig. 3). Life for the ants is death for Ameri cans. The poster makes clear that the conflict is a military one. The cultural system of science fic tion here coordinates politics, technology, and more enduring symbolic concerns about gender (ants are female, nests are evil, but men have and poetic space (aboveground flamethrowers) is good; belowground is bad).
464
PMLA
Fig. 6
Long-distance switchboard at Bell Telephone Ottawa, Co.,
The image of the ant is worth considera tion. In the Bible (Prov. 6.1: "Go to the ant, thou sluggard; consider her ways, and be wise") and the industry of the ant is extolled. In science fiction, the ant represents one unit of a there are hive mind. Such minds, of which in Aesop, countless Martians science fiction examples, such as the inOlaf Stapledon's Last and First Men (1930), are typically anathema: antihuman, evil.
Star Maker
such as the symbionts in Sta (1937), allow those in individuals, they good. To the extent this distinction?as
them to remain
Lund / National
inHar with the vicious emergent consciousness "I Have No Mouth, lan Ellison's and IMust Scream" (1967), tem inMcHugh's contrasting novel?the the computer sys distinction carries
ofCanada/PA-).
's
19.3
Eric S. Rabkin
465
Fig. 7
Aerial view of Levittown, PA,
to the
to under
system, individ is to be prized, but uality unalloyed individuality or unalloyed community is wanting. The system supports an articulable Frankenstein ideology from Mary Shelley's in community (1818) to the present. Few of us would suggest that Charlie Chap lin was a science fiction auteur, but his Modern in the cul Times (1936) certainly participates tural system of science fiction (fig. 4). The ma chine processes us, threatening to turn us into generalized pulp, the way telephone lines line us up (fig. 5) and eventually turn us into clones repro (fig. 6). In architecture, the homogenized the re duction of homes (fig. 7) homogenizes production of the family (fig. 8). More recently, that decoding our DNA is an the recognition
important step toward controlling us suggests that heroism may lie in a paraplegic's struggle to climb the double helix, as Eugene does in Gattaca
As
cultural
crossing the boundaries of individual contribu tors just as it crosses productive domains from household number appliance to political debate. As the of contributors increases, and as the
increases, criti body of shareable knowledge cism will inevitably add quantitative methods to
its ever-more-capacious qualitative methods.
At the University of Michigan, Carl Simon, a mathematician; Bobbi Low, a population biol ogist; and I, working with about fifteen student researchers each semester since January 1998, have taken a combined qualitative-quantitative
466
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Family in Levittown, NY, 1950 (Bernard Hoffman / Time
approach Evolution
to science fiction as part of our Genre Project (Rabkin and Simon). Allow
have been a sam
short ple of American science fiction magazine stories. In developing categories for the genres into which they fell, we found (or subgenres) it indispensable form and genre
forms and sixteen
by the student re searchers Adrienne Heckler and Zachary Wright of the possible associations between genre forms The initial examinations and genre contents led to provocative results that prompted Simon and me to explore further. When we consider all the stories (fig. 11), certain combinations of genre form and genre content stand out, particularly that of alien contact and
between fourteen
we were
genre genre
able
19.3
Eric S. Rabkin
467
_________________________________________________________________________
Fig. 9
Jude Law in Gattaca.
Fig. 10
Jude Law in Gattaca.
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468
PMLA
FlG.11 Number of EachCombination of Genre Form and Genre Content ina Representative Sample of 1,959 Science Fiction Short Stories Published inAmerican Science Fiction Magazines during 1926-2000 Number of Stories
10 0 20 30 40 50 60 70 80 90 100
Genre Contents
a Alien b i : Alternative history
^ jgjgllgl^_^ n o
__ ?3 P_
c d n e
Dystopia f [j Eutopia Exploration Invention Mad scientist ! i Monster Postapocalypse Psi powers Surreal novum Sword and sorcery Time travel
cd Crisis escape
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Number of Stories
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? _ Each is assigned one genre form and one genre content. A %2 test of these data shows novum occur very far more very far less often ? (p 0.0001). that the combinations often than they would alien in a
story
contact-alien, random
47?
Science
Fiction
and
the Future
of Criticism
PMLA
FlG.12 Number of EachCombination of Genre Form and Genre Content for the 159 Stories from the Set in Fig. 11ThatWere ReprintedMore Than Twice Number of Stories
012345678 _I_I_I_I_I_I_I_I
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Genre Contents
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Science
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alien.
But
when
we
consider
the
stories
that
re
almost
every
application
of new
cinema
technol
ceived
measure other
substantial
reprinting
thrive,
(fig. 12)?a
over as such satire
clear
time? and
of marketplace combinations
success
ogy, and just as it has again shown the way in of the many of the possibilities exfoliating Wide Web, itwill show the way in criti World cism. This leadership is already apparent in the new attempt by the Oxford English Dictionary to use the Web to enlist readers in its citation re search. In what field did this new sort of word the lexicographers study? Science fic
dystopia. It seems as if, to get a science fiction story printed at all, one is best advised to write
an alien contact-alien story; however, if one
hopes tomake a lasting contribution, one is best advised to write a dystopian satire.Why is that? in the scope of this argument pur sue a detailed answer to that question, but I can suggest quality that the answer will lie neither in some of each story's style or execution nor directly in what people like to read, since alien occur at the first publications contact-alien
same time as satire-dystopia republications. We
I cannot
begin tion (Prucher and Farmer). Science fiction right now is the cultural system from which systemic criticism is being born (fig. 13).
Works Cited
Carter, Paul A. The Creation azine Science Fiction. Cawelti, mula of Tomorrow: Fifty Years ofMag New York: Columbia UP, 1977. For U of
clearly
tion and
need
to know much
more
about
the
of distribu
in general
about the cultural system of science fiction. We do know this about the cultural system of science fiction: it is rich, broadly useful, and just as the God of apparently self-contradictory, the flood and the rainbow the Bible sends both fiction was born in part out of distrust of science, a distrust it continues to covenant. Science manifest
sters maine
Chicago
The Encyclopedia Clute, John, and Peter Nicholls. ence Fiction. New York: St. Martin's, 1993. Freedman, Carl. Critical Theory ver: Wesleyan UP, 2000. Lyman, Rick. "Horrors! Time phors? From Bug Movies Times 23 Oct. 2001: El. McHugh, Tor, Maureen 1992. and Science Fiction.
of Sci Hano
in works
As
like Gattaca,
editor plan so
F. China Mountain
Zhang.
New
York:
a faith. said,
the pioneer
"We must
hence
served 16).
Stories has
(Carter con
science" words,
Tales, by Nathaniel Poe, Edgar Allan. Rev. of Twice-Told Hawthorne. Graham's Maga Lady's and Gentleman's 1842:298-300. zine May Prucher, tions for Farmer. Science Fiction Cita Jeff, and Malcolm the OED. 30 Jan. 2004 <http://www.jessesword S. The Fantastic UP, 1976. Simon. Genre Evolution Proj in Literature. Princeton:
Science
sciously has been part of a larger cultural system in the early twentieth almost from the moment
century when the genre was first named.
that ultimately, as we see by com parison with critical writing about the western and about rock and roll, science fiction criticism, I believe like one of Zhang's doors, will open us to a more expansive criticism, one that will be more
systemic, tative. Just more as collaborative, science fiction and more showed quanti the way in
1. The Oxford
English
Dictionary.
Fiction DataBase. Al, ed. Internet Speculative 11 Jan. 2004. Cushing Lib. Science Fiction and Fantasy and Inst, for Scientific Computation, Research Collection Texas A&M U. 30 Jan. 2004 <http://isfdb.tamu.edu/>.
i 19
Eric S. Rabkin
473
-. an____Hlnlil^H^^^
'
Fie 13
Launch of the first rocket from Cape Canaveral, July
1950 (NASA).