Despite the occasional upsurge of climate change scepticism amongst conservative politicians and journalists, there is a near-consensus amongst scientists that current levels of atmospheric greenhouse gas are sufficient to alter global weather patterns to possibly disastrous effect. Like the hole in the ozone layer as described by Bruno Latour, global warming is a ‘hybrid’ natural-social-discursive phenomenon. And science fiction seems to occupy a critical location within this nature/culture nexus. This paper takes as its subject matter what Daniel Bloom dubs ‘cli-fi’. (...) It seeks to describe how a genre defined in relation to science finds itself obliged to produce fictional responses to problems actually thrown up by contemporary scientific research. It argues against the view that ‘catastrophic’ SF is best understood as a variant of the kind of ‘apocalyptic’ fiction inspired by the Christian Book of Revelation, or Apokalypsis, on the grounds that this tends to downplay the historical novelty of SF as a genre defined primarily in relation to modern science and technology. And it examines the narrative strategies pursued in both print and audio-visual SF texts that deal with anthropogenic climate change. (shrink)

This introduction to a special issue of Thesis Eleven devoted to science fiction begins by exploring the way the genre has been handled by German and French critical theory and their Anglophone equivalents. It proceeds to a discussion of the historical sociology of the genre and, thence, to an account of what it terms the dialectic of science fiction endangerment. Finally, it concludes with a brief overview of the various contributions to the issue.

ABSTRACT According to Lyman Tower Sargent, utopias are repositories for individual and collective hopes and fears, which sometimes unleash energies that can achieve at least part of what is hoped for. The Australian green bans movement of 1971–75 can be understood as a utopian project in this sense. During this period, the construction workers organized in the New South Wales branch of a labor union, known as the Builders Labourers' Federation, refused to work on ecologically or socially harmful projects and (...) publicly argued for their collective right to socially responsible labor. Coining the term “green bans” to describe environmentally motivated withdrawals of labor, they halted projects worth five billion Australian dollars at 1970s prices. When enthusiastic resident action groups mobilized in support of these bans, the union grew into the core of a more general social movement. The success of the green bans movement suggests that the power of subversive imagining can be especially effective if coupled with the power of workers at the point of production. The movement's basic premise—that workers, acting in the general public interest, should decide what can be built and where—represented a direct challenge to the dominant power relations. Ultimately, such impossible demands could not be conceded either by the employers or by the state. But the practical effects of this utopianism nonetheless secured substantial environmental improvements, which brought the green bans activists significantly closer to their dreams. (shrink)

Abstractabstract:Marjorie Barnard (1897–1987) and Flora Eldershaw (1897–1956) were prolific Australian authors who co-wrote, under the pseudonym "M. Barnard Eldershaw," five novels and four works of nonfiction published between 1929 and 1947. Their final collaboration, a future fiction entitled Tomorrow and Tomorrow, first appeared in Melbourne in 1947 and was reissued by the London feminist publisher Virago in 1983. Lyman Tower Sargent's bibliography of Australian utopian fiction describes the novel thus: "Dystopia. Public opinion sampling used to limit liberty." This is a (...) reasonable enough shorthand description of the novel's frame narrative, set in the "Tenth Commune" located somewhere in what is now the Riverina district on the border of New South Wales and Victoria, at some time in the twenty-fourth century. This article will argue, however, that the Tenth Commune is closer to a flawed eutopia than an outright dystopia; and that the novel's truly dystopian content lies in its core narrative, Knarf's novelistic account of mid-twentieth century Australia, which culminates in a quasi-apocalyptic destruction by fire of the city of Sydney. The extraordinary violence of this account will be contrasted to the essentially nonviolent character of the Tenth Commune and both will be situated in relation to Barnard's growing involvement in the pacifist Peace Pledge Union. (shrink)

Kim Stanley Robinson is a declared eco-socialist and arguably the most distinguished acolyte of Fredric Jameson, America's leading Marxist literary critic. Robinson's Mars trilogy develops a detailed account of three political revolutions. Robinson explains that this was a deliberate choice on his part, because he felt that in his first utopian novel, Pacific Edge, he “dodged the necessity of revolution.” He describes Antarctica and The Years of Rice and Salt as his next utopian novels, but these, too, dodge the “necessity (...) of revolution,” the first by substituting science for politics, the second by projecting an alternative history into an alternative future. In the Science in the Capital trilogy, politics becomes paramount, and it continues to be so in his more recent fiction. This article will explore how Robinson negotiates the transition to utopia in his later work, from Forty Signs of Rain through to New York 2140 and Red Moon. (shrink)

The article begins with a sociologically triumphalist critique of philosophical aesthetics, grounded in the work of Ernest Gellner and Emile Durkheim. It proceeds to note the practical failure of this kind of sociology to become institutionalized within the wider discipline. It explores a number of possible explanations for this failure, but finally suggests that a normalized sociology of art requires a normalized conception of art itself, such as that tentatively advanced by Pierre Bourdieu and Franco Moretti. The article also has (...) an autobiographical subtext. (shrink)

Darko Suvin’s Metamorphoses of Science Fiction, first published by Yale University Press in 1979, has been the single most influential work in the history of academic science-fiction studies. As Veronica Hollinger observed: “Metamorphoses is the significant forerunner of all the major examinations of the genre”. Mark Bould and Sherryl Vint make more or less the same point: “Disagreeing with him [Suvin] is a considerable part of SF scholarship—he... set... the terms by which SF has subsequently been studied”. Perhaps not quite (...) so significant for utopian studies, Metamorphoses was nonetheless a crucially important text here too. For the fundamental novelty of its argument lies in the... (shrink)

This paper begins with the proposition that Fredric Jameson's Archaeologies of the Future is the most important theoretical contribution to utopian and science-fiction studies since Darko Suvin's Metamorphoses of Science Fiction. It argues that Jameson's derivation of 'anti-anti-Utopianism' from Sartrean anti-anti-communism will provide 'the party of Utopia' with as good a slogan as it is likely to find in the foreseeable future. It takes issue with Jameson over two key issues: his overwhelming concentration on American science-fiction, which seems strangely parochial (...) in such a distinguished comparativist; and his understanding of Orwell's Nineteen Eighty-Four as an 'anti-Utopia' rather than a dystopia. The paper argues that, for Nineteen Eighty-Four, as for any other science-fiction novel, the key question is that identified by Jameson: not 'did it get the future right?', but rather 'did it sufficiently shock its own present as to force a meditation on the impossible?'. It concludes that Jameson fails to understand how this process works for dystopia as well as utopia, for barbarism as well as socialism. (shrink)