By David Seed
A significant other to technology Fiction assembles essays through a world variety of students which debate the contexts, subject matters and strategies utilized by technological know-how fiction writers.
* This Companion conveys the size and diversity of technological know-how fiction.
* indicates how technological know-how fiction has been used as a way of debating cultural concerns.
* Essays by means of a world diversity of students speak about the contexts, subject matters and strategies utilized by technology fiction writers.
* Addresses common subject matters, resembling the background and origins of the style, its engagement with technology and gender, and nationwide diversifications of technology fiction round the English-speaking global.
* Maps out connections among technological know-how fiction, tv, the cinema, digital fact know-how, and different elements of the tradition.
* features a part targeting significant figures, akin to H.G. Wells, Arthur C. Clarke, and Ursula Le Guin.
* bargains shut readings of specific novels, from Mary Shelley’s Frankenstein to Margaret Atwood’s The Handmaid’s Tale.
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Additional resources for A Companion to Science Fiction (Blackwell Companions to Literature and Culture)
An argument could be made to say that this should not be so, that science fiction in fact provides a great deal of what modern critics (say they) have long wanted. Consider for instance one further extended passage, this time from Kingsley Amis’ “alternate world” novel, The Alteration (1976). Amis’ novel is set in a twentieth century in which the Reformation never took place, and the Catholic Church has accordingly remained dominant across Europe (though not America). Near the start he describes the national shrine of this alternative England, St George’s Cathedral at Coverley, Oxford, centre of the English Empire: Apart from Wren’s magnificent dome, the most renowned of the sights to be seen was the vast Turner ceiling in commemoration of the Holy Victory, the fruit of four-and-ahalf years’ virtually uninterrupted work; there was nothing like it anywhere.
It is hard to know how to react to this imagined mosaic. It seems to say: (a) in the alternate world Hockney would have had no need to go into exile, (b) he would have been brought into the center of the culture instead of being marginalized, (c) he would have been a traditionalist not a rebel, and (d) his talents would have been recognized and enlisted for religious ends. So far so good. But (e), perhaps, his homoeroticism would have been suppressed, and (f), even more uncertainly, it would have broken out in yet another way, in portrayals of masculine beauty in a religious mode.
That is what Orwell wants them to do. (3) The narrator’s life-style is a drab one. Whether this fact should be related to his class status, whether drabness is a necessary part of “low mimesis,” these are precisely the themes of the novel (which says in short that they are all related but, very passionately, ought not to be). Just the same, the fact is there, in the “beastly” morning, the “dirty” sky, the “little” square of window, the “bare” patch of garden, the “bluntish” razor-blade, and so on.