That’s all the more the case here because science fiction is in general a highly reactionary genre that even as it uses advance technology either warns about the perils or uses it as an excuse to hearken back to a more romantic era. For example look how many science fiction stories and universes have feudal systems of government.
This is a little too broad for me to be comfortable with. There are certainly subgenres and authors who are reactionary but then there are those that are quite the opposite. Military SF and space opera (which, frankly, is just fantasy with lasers) are usually quite reactionary. Cyberpunk is cautionary but not so much about technology as about capitalism. Post-apocalyptic sf is sometimes about technology getting to great for us to handle but the jewel of the genre, A Canticle for Leibowitz is about the tragedy of a nationwide book burning. Post-cyberpunk is characterized by it’s relative optimism. Hard sf varies in its political sensibilities (there seem to be a lot of libertarians) but it’s almost always pro-tech for obvious reasons.
I’m having a hard time coming up with authors that fit the reactionary bill, but that might be because I read the wrong subgenres. And the libertarians are hard to classify. Michael Crichton is the obvious one that occurs to me. Larry Niven, I suppose. Card and Heinlein could be put there though both are more complicated than that. Herbert. In the other camp: Brin, Kim Stanley Robinson, LeGuin, Dick, Neil Stephenson, Gibson, Vonnegut, Orwell, Doctorow, Bradbury. Asimov and Clark probably fall in the second camp...
I think it would be fair to say that the more famous authors in general are less reactionary. But if I had to list reactionaries I’d list Herbert, Crichton, Pournelle, Weber, Anderson, McCaffrey’ (arguable, but definite aspects in Pern), Koontz, Shelley, Lovecraft and to some extent Niven and Card.
Also, there seems to be a lot more of a general reactionary bent in the less successful scifi. The major authors seem to have less of that (possibly because their views are so unique that they override anything as simple as being reactionary or not).
The example you give of a Canticle for Liebowitz is more complicated: While book burning and such is portrayed as bad, that’s still a response to a nuclear apocalypse. Indeed, in that regard, almost any science fiction that’s post nuclear war has a reactionary aspect.
If we move outside literature directly, and say into movies and TV the general pattern is pretty clear. While people often think of Star Trek as optimistic about technology, even in TOS many episodes dealt with the threat of new technologies (androids and intelligent computers both came up). The Outer Limits in both its original form and reincarnation were generally anti-technology. It was a safe bet in any episode of the reincarnation that any new knowledge or new technology was going to fail or cause horribly disturbing side effects that would be summarized with a moralistic voice over at the end that would make Leon Kass proud. Similarly Doctor Who has had multiple incarnations of the Doctor lecture about how bad trying to be immortal is. Movies have a similar track record (The Terminator, Hollowman, The Sixth Day, for just a few examples. Many more examples can be given)
I agree that overall this was likely a hasty generalization. Science fiction has reactionary elements but it is by no means an intrinsically reactionary genre.
Shelley and Lovecraft are good calls, I had forgotten to think about the early stuff. We can put Vern in the progressive camp, I think.
There is sort of an interesting division among the “cautionary tales”. There’s the Crichton/Shelley/Romero zombie tradition of humans try to play God and get their asses kicked as punishment unless traditional values/folkways come to the rescue. And then theres the more leftist tradition: new technology has implications capitalism or statism isn’t equipped to deal with, here we include H.G. Wells, Brave New World and other dystopias, cyberpunk, Gattaca, a lot of post-nuke war stuff, etc.
Are both groups reactionary under your definition or just the first?
I totally agree about Hollywood. There is also the whole alien invasion subgenre which originally was really about Cold War anxiety. Cloverfield is probably counts as a modern-day equivalent.
There’s the Crichton/Shelley/Romero zombie tradition of humans try to play God and get their asses kicked as punishment unless traditional values/folkways come to the rescue.
How do you classify Egan? Pretty pro-tech in his novels, iirc, but a pretty high proportion of his short stories are effectively horror about new tech.
That isn’t how his short stories have struck me. A handful that come to mind about near-future technology, not having the books in front of me, are Axiomatic, Silver Fire, The Moral Virologist, Worthless, and one whose name I forget about artificial nanomcguffins that let you gradually reprogram your own mind just by wishing the change you want. They’re pretty dark, but I wouldn’t classify them as horror. That is, I don’t read them as saying “these are things that man should not know”, but “after such knowledge, these are issues that must be faced”.
The original The War of the Worlds by H.G. Wells has many similarities to the era’s “invasion stories” in which a hostile foreign power (usually Germany or France) launches a very successful surprise invasion of Great Britain. Wells just replaced Germany with Martians.
The point about there being different categories is one I had not thought about. I agree that the first is unambiguously iin the reactionary form. I’m not sure that the second is always reactionary: It might depend on the degree at which the technology is caricatured. Thus for example, Brave New World and Gattaca both seem to be such extreme caricatures of what might happen with those technologies that they seem reactionary. That’s in contrast with say “A Deepness in the Sky” which takes the same technologies and shows different societal responses to them (careful use, arguable abuse and outright tyranny). Similar, a lot of Bujold’s works raise serious issues about the ethical and policy issues brought up by specific, plausible technologies, but she’s generally careful to show both use and abuse, not just horrific dystopias.
agree that the first is unambiguously iin the reactionary form. I’m not sure that the second is always reactionary: It might depend on the degree at which the technology is caricatured.
This sounds a lot like just debating definitions—is “reactionary” such a useful term here? Sounds to me like you’re trying to shoehorn it in a context where it doesn’t really fit? Wouldn’t replacing it with a more precise and narrow terms make the discussion clearer—such as “romantic about traditional societies” or something?
That’s a valid point. Maybe split into two forms: 1) Romantic attitudes towards traditional societies and 2) extreme caricatures of the potential negative ramifications of new technologies. 1 and 2 both seem to be highly correlated in science fiction. Many of the examples given show aspects of both.
This is a little too broad for me to be comfortable with. There are certainly subgenres and authors who are reactionary but then there are those that are quite the opposite. Military SF and space opera (which, frankly, is just fantasy with lasers) are usually quite reactionary. Cyberpunk is cautionary but not so much about technology as about capitalism. Post-apocalyptic sf is sometimes about technology getting to great for us to handle but the jewel of the genre, A Canticle for Leibowitz is about the tragedy of a nationwide book burning. Post-cyberpunk is characterized by it’s relative optimism. Hard sf varies in its political sensibilities (there seem to be a lot of libertarians) but it’s almost always pro-tech for obvious reasons.
I’m having a hard time coming up with authors that fit the reactionary bill, but that might be because I read the wrong subgenres. And the libertarians are hard to classify. Michael Crichton is the obvious one that occurs to me. Larry Niven, I suppose. Card and Heinlein could be put there though both are more complicated than that. Herbert. In the other camp: Brin, Kim Stanley Robinson, LeGuin, Dick, Neil Stephenson, Gibson, Vonnegut, Orwell, Doctorow, Bradbury. Asimov and Clark probably fall in the second camp...
Am I just missing the reactionary stuff?
I think it would be fair to say that the more famous authors in general are less reactionary. But if I had to list reactionaries I’d list Herbert, Crichton, Pournelle, Weber, Anderson, McCaffrey’ (arguable, but definite aspects in Pern), Koontz, Shelley, Lovecraft and to some extent Niven and Card.
Also, there seems to be a lot more of a general reactionary bent in the less successful scifi. The major authors seem to have less of that (possibly because their views are so unique that they override anything as simple as being reactionary or not).
The example you give of a Canticle for Liebowitz is more complicated: While book burning and such is portrayed as bad, that’s still a response to a nuclear apocalypse. Indeed, in that regard, almost any science fiction that’s post nuclear war has a reactionary aspect.
If we move outside literature directly, and say into movies and TV the general pattern is pretty clear. While people often think of Star Trek as optimistic about technology, even in TOS many episodes dealt with the threat of new technologies (androids and intelligent computers both came up). The Outer Limits in both its original form and reincarnation were generally anti-technology. It was a safe bet in any episode of the reincarnation that any new knowledge or new technology was going to fail or cause horribly disturbing side effects that would be summarized with a moralistic voice over at the end that would make Leon Kass proud. Similarly Doctor Who has had multiple incarnations of the Doctor lecture about how bad trying to be immortal is. Movies have a similar track record (The Terminator, Hollowman, The Sixth Day, for just a few examples. Many more examples can be given)
I agree that overall this was likely a hasty generalization. Science fiction has reactionary elements but it is by no means an intrinsically reactionary genre.
Shelley and Lovecraft are good calls, I had forgotten to think about the early stuff. We can put Vern in the progressive camp, I think.
There is sort of an interesting division among the “cautionary tales”. There’s the Crichton/Shelley/Romero zombie tradition of humans try to play God and get their asses kicked as punishment unless traditional values/folkways come to the rescue. And then theres the more leftist tradition: new technology has implications capitalism or statism isn’t equipped to deal with, here we include H.G. Wells, Brave New World and other dystopias, cyberpunk, Gattaca, a lot of post-nuke war stuff, etc.
Are both groups reactionary under your definition or just the first?
I totally agree about Hollywood. There is also the whole alien invasion subgenre which originally was really about Cold War anxiety. Cloverfield is probably counts as a modern-day equivalent.
For anyone who hasn’t already seen it — Caveman Science Fiction!
How do you classify Egan? Pretty pro-tech in his novels, iirc, but a pretty high proportion of his short stories are effectively horror about new tech.
That isn’t how his short stories have struck me. A handful that come to mind about near-future technology, not having the books in front of me, are Axiomatic, Silver Fire, The Moral Virologist, Worthless, and one whose name I forget about artificial nanomcguffins that let you gradually reprogram your own mind just by wishing the change you want. They’re pretty dark, but I wouldn’t classify them as horror. That is, I don’t read them as saying “these are things that man should not know”, but “after such knowledge, these are issues that must be faced”.
I think those are the “Grey Knights” from “Chaff”.
Was this intended to be a reply to Jack’s post?
Yes, sorry.
The original The War of the Worlds by H.G. Wells has many similarities to the era’s “invasion stories” in which a hostile foreign power (usually Germany or France) launches a very successful surprise invasion of Great Britain. Wells just replaced Germany with Martians.
The point about there being different categories is one I had not thought about. I agree that the first is unambiguously iin the reactionary form. I’m not sure that the second is always reactionary: It might depend on the degree at which the technology is caricatured. Thus for example, Brave New World and Gattaca both seem to be such extreme caricatures of what might happen with those technologies that they seem reactionary. That’s in contrast with say “A Deepness in the Sky” which takes the same technologies and shows different societal responses to them (careful use, arguable abuse and outright tyranny). Similar, a lot of Bujold’s works raise serious issues about the ethical and policy issues brought up by specific, plausible technologies, but she’s generally careful to show both use and abuse, not just horrific dystopias.
This sounds a lot like just debating definitions—is “reactionary” such a useful term here? Sounds to me like you’re trying to shoehorn it in a context where it doesn’t really fit? Wouldn’t replacing it with a more precise and narrow terms make the discussion clearer—such as “romantic about traditional societies” or something?
That’s a valid point. Maybe split into two forms: 1) Romantic attitudes towards traditional societies and 2) extreme caricatures of the potential negative ramifications of new technologies. 1 and 2 both seem to be highly correlated in science fiction. Many of the examples given show aspects of both.