Abstract

Pop and camp nostalgia for the lofty ziggurats, teardrop automobiles, sleek ships of the airstream, and even the alien BEMs with imperiled women in their clutches, are one thing; the cyberpunk critique of “wrongheadedness,” whether in Gibson’s elegant fiction or Sterling’s flip criticism, is another. Each provides us with a stylized way of approaching SF’s early formative years, years usually described as “uncritical” in their outlook on technological progress. But neither perspective can give us much sense of the sociohistorical landscape of the thirties on which these gleaming technofantasies were raised. To have some idea of the historical power of what Gibson calls the “Gernsback Continuum,” we need to know more, for example, about the entrepreneurial activities and scientific convictions of Hugo Gernsback himself, a man often termed the “father” of science fiction because he presided over its market specialization as a cultural genre. In Gernsback’s view, SF was more of a social than a literary movement. We need to know more about the hallowed place of engineers and scientists in public consciousness in the years of boom and crisis between the wars, the consolidation of industrial research science at the heart of corporate capitalism, and the redemptive role cast for technology in the drama of national recovery and growth. We also need to know about the traditions of progressive thought that stood behind the often radical technocratic philosophy of progressive futurism in the thirties. My description of North American SF’s period of genre formation will show the crucial influence of the national cults of science, engineering, and invention as well as discuss the role of technocracy in the social thought of the day. I will also consider the ways in which pulp SF escaped or resisted the recruitist role allotted to it not only by shaping figures like Gernsback, who devoted himself directly to enlisting his readers in the cause of “science,” but also by subsequent critics of early SF, including those writers, like Gibson and Sterling, who have lamented its naïve celebration of technological innovation. Andrew Ross teaches English at Princeton University and is the author of The Failure of Modernism: Symptoms of American Poetry and No Respect: Intellectuals and Popular Culture . He is also the editor of Universal Abandon?: The Politics of Postmodernism and the coeditor, with Constance Penley, of Technoculture