Hands Off! By Robert Sheckley

First published Galaxy Science Fiction, April 1954.

One of the great strengths of SF is its flexibility. You can take a lot of other genres and lay an SF gloss over them. That’s why we get space cops, mil SF, noirish cyberpunk novels and of course, space westerns. This is another of the  frontier stories that keep cropping up in these volum, featuring a heroic prospector and some hijacking varmints.

Hands Off! is a tale of two spaceships on a remote and undeveloped planet. The first – the near-derelict Endeavour – is crewed by a gang of pirates ready to do anything in the name of loot. The second is owned by a hard-working prospector trying to make a living.

The twist, of course, is that the honest miner is an alien.

The Last Day by Richard Matheson

First published in Amazing Stories, April-May 1953.

One of the things that genre fiction does very well is to isolate very specific aspects of life and bring them out in high contrast. You accept all the assumptions and conventions around a genre – the body in the library, the anthropomorphic aliens or fantasy race, the paranoid fantasies of the thrillers – because they provide circumstances where a perceptive writer can find elements of truth that are hard to spot amongst the noise of real life.

Genre fiction can explore life in moments of extremity. Characters can be subjected to the threat of violence or exposed to bizarre worlds and phenomena or have extravagant and extraordinary adventures of all unlikely sorts. By putting human nature under strain, great genre writers can reveal human truths and maybe make us reflect on what we really think is worth fighting for.

This story is a brillaint example of that type of story done well. It takes a really simple genre conceit – the end of the world – and simply and powerfully delivers a sublime description of the maternal bond.

They Fly So High by Ross Rocklynne

You know who else liked messianic protagonists....

First published in Amazing Stories, June 1952.

After World War 2 showed that many of SF’s warnings were not the fantasies that many believed, SF writers felt somewhat emboldened to give the world a good ticking off. That’s what Memorial is all about: it’s basically a scolding showing us what silly fools we are. It’s a popular form, and one that’s often aped by writers from outside the SF tradition when they want to make a point through the medium of the post-apocalypse or dystopian satire: You silly fools! See what you have done!

Within the genre, this type of highly didactic story has another form. In this form, the story centres on a messianic figure who stands in as a mouthpiece for the author to express his (always a him!) ideals to the captive audience. Hari Seldon, for example, gives us great slabs of Isaac Asimov’s political world view, Robert Heinlein wrote a string of opinionated novels climaxing with A Stranger in a Strange Land and Frank Herbert’s Dune is entirely focused on the transformational possibilities of radical politics.

Unsurprisingly, L Ron Hubbard, who made such a big impression on the SF community in the era covered in this volume, was also fond of this technique.

In defence of unmarried super heroes

And so the news that DCcomics has forbidden the marriage of Batwoman to her girlfriend, Maggie Sawyer and the predictable uproar follows. There are multiple sources of outrage to enjoy: editorial interfering in the sacred creative process, homophobia, dramatic stagnation, anti-marriage prejudice and of course the lingering hurt of a self-in-the-foot-shooting spree by DC over the last couple of years.

But I think it’s the right decision. I think splitting up Spidey and Mary Jane was the right decision and splitting up Superman and Lois was the right decision, too.

Earthman Beware! By Poul Anderson

First published in Super Science Stories, June 1951

I hope you all read this article in the Guardian I linked to earlier in the week about the main-streaming rise of geek culture. There are a number of reasons why this has happened that are touched on the article, but one that I think is only tangentially approached is the myth of self that’s expressed by the figure of ‘the geek’.

The geek is a loner. The geek never compromises. The geek is an expert in his specific field. The geek is so exceptional that he’s permitted – even expected – to act like an ass. Most of all, the geek’s power is hidden. Yes, they all think he’s just a poindexter, but if they only knew! Peter Parker is a geek. Clarke Kent is a geek. Bruce Wayne pretends to be all lah-de-dah but what does he do in his spare time? Geek!

In the olden days men grew up wanting to be their Dads. That lost it’s appeal after we all realised that Dads aren’t always the kindly figures they claim to be: it’s called the patriarchy for a reason. Starting after World War II, that all began to change and one of the places the change started was at the greasy fringes of pop culture, in sci fi mags. This story is an excellent example of the dawn of this geek myth of self-actualisation.

When everyone's different, we're all the same

A really interesting article in the Guardian today about the rise of geek culture. This is one of the other many things I hate about the modern world - I feel appropriated! Definitely worth a read.

This nugget in particular is worth mentioning, as it touches on Our Topic:

In turn, as cheap technology advances it has colonised what used to be the mental playground of the geek world, science fiction itself. What used to take place in a Gollancz paperback now happens in the real world. "A lot of people are arguing that the science fiction novel is dying," [Warren] Ellis explains, "but it's thriving everywhere else, in television, fashion, pop culture, everywhere."

The most interesting contemporary science fiction, he thinks, is being created in "design fiction". Here, otherwise staid design firms and architectural practices visualise future trends much as The Usborne Book Of the Future [large PDF] did for 70s kids – but with added plausibility underpinned by hard design and science. Design fiction is where the geeks roll up their sleeves and it can be dazzling.

I used to own that book too - it's on the kids bookshelves now, I think. What we see here is a culture so deeply steeped in science fiction imagery that science fiction itself is no longer necessary.

Print volumes from SF Gateway?

I don't usually get excited about consumables, but it looks like the SF Gateway digital imprint (of Orion/Gollancz) is going to start bringing out print editions. Check out this collection of Jack Vance goodies. A similar volumes coming out of Tim Powers' Last Call series and a rather nifty looking collection of Henry Kuttner (I think I might have The Best of Henry Kuttner in  box somewhere.

Publishing dates for these are still in the future (the Tim Powers doesn't come out til 2014!) and they're pricey (print on demand?) but it looks like a lot of reading for the money. I'll probably stick to the ebooks by and large, but those of you who still long for print - and maybe for the Jack Vance volume - these look like a fantastic deal!