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The Ascent Of Wonder: The Evolution of Hard SF, edited by David G Hartwell and Kathryn Cramer

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Introductions

‘Real Science, Imaginary Worlds’ by Gregory Benford
‘On Science And Science Fiction’ by Kathryn Cramer
‘Hard Science Fiction’ by David G Hartwell

Part 1

‘Nine Lives’ by Ursula K. LeGuin
‘Light Of Other Days’ by Bob Shaw
‘Rappaccini’s Daughter’ by Nathaniel Hawthorne
‘The Star’ by Arthur C. Clarke
‘Proof’ by Hal Clement
‘It’s Great To Be Back’ by Robert A. Heinlein
‘Mimsy Were The Borogoves’ by Henry Kuttner and C. L. Moore
‘Davy Jones’ Ambassador’ by Raymond Z. Gallun
‘The Life And Times Of Multivac’ by Isaac Asimov
‘The Singing Diamond’ by Robert L Forward
‘Down And Out On Ellfive’ by Dean Ing
‘Send Me A Kiss By Wire’ by Hilbert Schenck
‘The Xi Effect’ by Philip Latham
‘A Descent Into The Maelström’ by Edgar Allen Poe
‘Exposures’ by Gregory Benford
‘The Planners’ by Kate Wilhelm
‘Beep’ by James Blish
‘Drode’s Equations’ by Richard Grant
‘The Weather Man’ by Theodore L Thomas

Part 2

‘Transit Of Earth’ by Arthur C. Clarke
‘Prima Belladonna’ by JG Ballard
‘To Bring In The Steel’ by Donald Kingsbury
‘Gomez’ by C.M. Kornbluth
‘Waterclap’ by Isaac Asimov
‘Weyr Search’ by Anne McCaffrey
‘Message Found in a Copy of “Flatland”‘ by Rudy Rucker
‘The Cold Equations’ by Tom Goodwin
‘The Land Ironclads’ by HG Wells
‘The Hole Man’ by Larry Niven
‘Atomic Power’ by Don A. Stuart
‘Stop Evolution in Its Tracks!’ by John T. Sladek
‘The Hungry Guinea Pig’ by Miles J. Breuer, M.D.
‘The Very Slow Time Machine’ by Ian Watson
‘The Beautiful And The Sublime’ by Bruce Sterling
‘The Author of the Acacia Seeds’ by Ursula K LeGuin
‘Heat Of Fusion’ by John M. Ford
‘Dolphin’s Way’ by Gordon R. Dickson
‘All The Hues Of Hell’ by Gene Wolfe
‘Occam’s Scalpel’ by Theodore Sturgeon
‘giANTS’ by Edward Bryant
‘Time Fuze’ by Randall Garrett
‘Desertion’ by Clifford D. Simak

Part 3

‘Kyrie’ by Poul Anderson
‘The Person From Porlock’ by Raymond F. Jones
‘Day Million’ by Frederik Pohl
‘Cage Of Sand’ by JG Ballard
‘The Psychologist Who Wouldn’t Do Awful Things To Rats’ by James Tiptree Jr.
‘In the Year 2889′ by Jules Verne
‘Surface Tension’ by James Blish
 ‘No, No, Not Rogov!’ by Cordwainer Smith
‘In A Petri Dish Upstairs’ by George Turner
‘With The Night Mail’ by Rudyard Kipling
‘The Longest Science Fiction Story In The World’ by Arthur C Clarke
‘The Pi Man’ by Alfred Bester
‘Relativistic Effects’ by Gregory Benford
‘Making Light’ by James P. Hogan
‘The Last Question’ by Isaac Asimov
‘The Indefatigable Frog’ by Philip K. Dick
‘Chromatic’ by John M. Ford
‘The Snowball Effect’ by Katherine McLean
‘The Morphology Of The Kirkham Wreck’ by Hilbert Schenck
‘Tangents’ by Greg Bear
‘Johnny Mnemonic’ by William Gibson
‘What Continues, What Fails…’ by David Brin
‘Mammy Morgan Played the Organ; Her Daddy Beat the Drum’ by Michael F. Flynn
‘Bookworm, Run!’ by Vernor Vinge

So, having read 67 stories over twelve months, 990 pages and three mysterious sections, I have now finally finished The Ascent Of Wonder. Was it worth it? I would have to say no. A fiction anthology may have a historical or critical purpose but, for me, it lives or dies by the quality of its stories. The problem is that the standard of stories collected here simply isn’t high enough to justify the investment in such a mammoth volume.

A further inescapable problem is that Hartwell and Cramer have subtitled their anthology ‘The Evolution of Hard SF’ but they have singularly failed to put forward a clear definition of what hard science fiction actually is. Nor does a definition emerge organically from what are frankly a fairly disparate bunch of stories. There are certainly stories here that I would point to when asked to point to hard SF but is that enough? Many of the stories here clearly aren’t hard SF, no matter how hard you squint, and in their introductions Hartwell and Cramer frequently acknowledge this, making the inclusion of these stories particularly willful. (I have seen it suggested in several places that Hartwell alone wrote these introductions.)

As well as the baffling individual introductions, the three (three!) main introductions provided me with no helpful guide: Benford is childish, offensive and represents the worst of the genre, Cramer merely impenetrable and Hartwell relies solely on handwaving and unsupported assertion. Other critics were equally bemused. I have decided to give the editors one last chance, however, in the form of Cramer’s chapter on hard SF in The Cambridge Companion To Science Fiction, edited by Edward James and Farah Mendlesohn.

After a page or so of prevarication, Cramer defines her approach to hard SF in way that reads an awful lot like a justification for The Ascent Of Wonder:

Since a literary genre is a form of conversation among writers, one useful approach is to find writers who say they are writing hard sf and see what they do and say about it. This means including writers who seem out of place, have a bad attitude (that is, who display inadequate faith in and enthusiasm for science and technology) or choose unorthodox tactics for yoking the science to the fiction. This approach occasionally enrages hard sf purists, as it results in a more sprawling sub-genre.

There is much to argue with here. Is a literary genre primarily a form of conversation among writers? Examining writers who claim to write hard SF is certainly one approach but how justifiable are these claims? How well examined are the writers own beliefs about their work? Are they simply delusional? I would hope that a critic would give a bit more thought to these issues rather than simply taking such assertions at face value. We then have a kitchen sink second sentence which allows us to include anything we want under the umbrella of hard SF and provides the rationale for The Ascent Of Wonder. I’m not surprised this enrages hard SF purists, it presumably enrages purists of all stripes who foolishly believe that a definition should actually define something. It certainly enrages me. That final sentence gives an example of one of those alleged enraged hard SF purist but when turn to the reference we find this:

Of this approach in David G. Hartwell and Kathryn Cramer, eds., The Ascent of Wonder (New York: Tor, 1994), David Samuelson complains in ‘A Softening of the Hard-SF Concept’, at p. 409, that ‘[it] deprecate[s] the real thing, watering it down so much as to virtually destroy any generic consistency’

So yes, Cramer is talking about her own book here, although she doesn’t come out and say that in the body of the text. But who is Samuelson and at p. 409 where? A quick Google reveals she is actually referring to David N. Samuelson and the unattributed source for ‘A Softening of the Hard-SF Concept’ is Science Fiction Studies Vol. 21, No. 3 (1994). This source is revealed in the Further Reading section at the back of the book but it seems perverse to give a full reference to subject of the criticism and leave the reader to root out the source of the criticism itself. Errors do happen but this seems abysmally sloppy. Anyway, Samuelson’s review is, as you might expect, pretty damning:

Hartwell’s stated aim is to make accessible to a larger audience something which, depending on one’s side in the argument, is the most hidebound or most authentic form of sf. His and Cramer’s means of achieving that goal, however, cast doubt on both the quality of hard sf as literature and its claim to be called a distinctive branch, let alone the center of the sf universe, as alleged by all three of the book’s introductions… Like his essay, this collection of stories is disorderly and diffuse, trying to serve not only the announced purpose, but others as well, among them a history lesson, a pleading for literary quality which may imply terms antithetical to sf “hardness,” and a questioning of the very bases outlined in the introductions that supposedly constitute the subject at hand.

Back to Cramer’s definition. It seems clear that by approaching hard SF as a “contentious conversation”, Hartwell and Cramer have been forced to attempt a synthesis of irreconcilable viewpoints. The result is that they are left with no single coherent thread on which to hang The Ascent Of Wonder. Cramer herself warns of the dangers of “solipsistic definitions” but that is exactly what they have lapsed into. Works of hard SF “are usually characterized by attitudes found in previous examples of hard sf, but may instead be characterized by attitudes found in opposition to or in argument or dialogue with such attitudes.” To which I can only say: pft. Frankly, I’ve had enough.

Samuelson charitable concludes his review by saying: “I would grant that a third of the sixty-seven stories are quite good”. So let’s move on to the stories themselves…

The Good

It would be impossible to publish an anthology as big as The Ascent Of Wonder and not include a few gems. For me, the best thing about the book was that it brought John M. Ford to my attention. ‘Heat Of Fusion’ is wonderful; a great hard SF story, a great SF story, a great story full stop. It makes you believe that not only does hard SF exist but it is a good thing it does. His other story, ‘Chromatic’, is also good but – as with so many of the stories – out of place here.

Then we have Gregory Benford whose introduction almost turned me off his fiction for life. Luckily it didn’t because, despite the fact he is clearly an arse, he remains one of the few authors who can actually write hard SF as demonstrated here by ‘Relativistic Effects’. The same is true of a pair of classics: James Blish’s ‘Surface Tension and Day Million’ by Frederik Pohl’. ‘The Author of the Acacia Seeds’ by Ursula K LeGuin, on the other hand, is an example of one of those stories Cramer refers to as violating the attitude of the subgenre whilst remaining hard. Unfortunately this only throws into starker relief those which do not.

For example, we get a clutch of excellent (then) contemporary science fiction in the form of ‘Johnny Mnemonic’ by William Gibson, ‘The Beautiful And The Sublime’ by Bruce Sterling and ‘The Very Slow Time Machine’ by Ian Watson which have only a passing aquaintance with that part of the genre. Other stories are superb but don’t even inhabit the same universe as hard SF. ‘Drode’s Equations’ made me want to seek out more by Richard Grant but unfortunately there doesn’t seem to be much. Similarly, ‘The Psychologist Who Wouldn’t Do Awful Things To Rats’ by James Tiptree Jr and ‘The Planners’ by Kate Wilhelm made resolve again to properly approach their respective back catalogues. (Both were presumably included to bump up the abysmal number of stories by women, just seven out of 67.)

The Hard

It is fair to say my tastes don’t naturally incline towards classic hard science fiction. There are a clutch of stories – ‘What Continues, What Fails…’ by David Brin, ‘giANTS’ by Edward Bryant, ‘Proof’ by Hal Clement, Benford’s ‘Exposures’ – that, whilst they didn’t do it for me, I would commend to a fan of the hard stuff. To be honest, I was expecting many more stories of this type so you can imagine how bitterly disappoint I was with what I did get.

Some of the older stories make a good case for the subgenre’s existence prior to Mission Of Gravity, Hal Clement’s 1953 novel which the editors identify as the birth of modern hard SF. ‘The Land Ironclads’ by HG Wells and ‘A Descent Into The Maelström’ by Edgar Allen Poe make excellent proto-hard SF stories and I was completely charmed by Raymond Z Gallun’s ‘Davy Jones’ Ambassador’ which I think is the real deal.

Then we have ‘The Cold Equations’ by Tom Goodwin. It is quintessentially hard science fiction. It is a steaming pile of shit. When people think of hard SF this is what they think of and it is a pinched, ugly subgenre which hates the written word. Supposed grandmasters like Isaac Asimov and Robert A. Heinlein make contributions to this anthology that make me wonder how on Earth the canon was formed (I felt similarly about ‘The Star’ by Arthur C. Clarke but there was such an outpouring of support for the story that I think this has to be just me.)

It is the bread and butter stories that really show the subgenre’s weakness though. I summed up ‘The Singing Diamond’ by Robert L Forward as “very hard, very short, strong on science, weak on character” and there are several more of this ilk: ‘The Person From Porlock’ by Raymond F. Jones, ‘Atomic Power’ by Don A. Stuart (AKA John W Campbell Jr), ‘The Xi Effect’ by Philip Latham. For me, these represent the antithesis of what fiction should be; for others, they represent the very heart of science fiction.

And The Ugly

Many, many of the stories are neither good nor hard. I have forced myself to read them and forced myself to write brief assessments but I am going to say no more about them. Occassionally, however, this dreadful monotony has been broken by some stories that are easy to write about for all the wrong reasons. Women are conspicuous by their absence in this anthology but even when they are depicted it is often in breathtakingly sexist terms. ‘In A Petri Dish Upstairs’ by George Turner and ‘The Weather Man’ by Theodore L Thomas impress but the gold star for wrongness goes to Donald Kingsbury’s ‘To Bring In The Steel’ though. This really has to be read to be believed but if you don’t have access to a copy check out my post and marvel at this story of an asteroid miner and his happy whore.

Finally, a special word needs to go to ‘Making Light’ by James P. Hogan. This is the fictional equivalent of Benford’s smug, conceited introduction. The attitude that fans are slans and belief that hard SF is the high church of science fiction are one of the main reasons I am so ambivalent about fandom. A story like this – and to a lesser extent The Ascent Of Wonder itself – is almost enough to put me off science fiction completely.

Written by Martin

23 February 2011 at 14:50

15 Responses

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  1. So when do you start on “The Space Opera Renaissance”?

    Rich

    25 February 2011 at 19:13

  2. Supposed grandmasters like Isaac Asimov and Robert A. Heinlein make contributions to this anthology that make me wonder how on Earth the canon was formed

    Heinlein never really was a hard sf writer and the story included here is one of his weaker in the first place, unbearably smug if you’re not on the side of the protagonist.

    Asimov is an odd case. Few of his stories on their own are the kind that make you an instant fan, like the John M. Ford story did to you, but the culminative effect of his stories is what made him a grandmaster. For good or bad he was a major contribution to sf’s furniture, what with the three laws of robotics, the idea of the Galactic Empire doomed to fall and rise again and again and so on.

    Martin Wisse

    25 February 2011 at 19:44

  3. I’ve never thought that “The Last Question” was one of Asimov’s better stories. He often said that it was one of his favorites, which leads me to believe he liked it a bit too much for his own good. His best stories were probably his earlier ones, in my opinion.

    Patrick Lutz

    26 February 2011 at 00:48

  4. Asimov has undeniably made an important contribution to the genre but I would see this contribution in the same way as a booster stage which now needs to fall away and be forgotten. I read tons of Asimov as a kid – Foundation, Lucky Starr, the Robots novels – but I’d outgrown it by the age of 12. I can see Asimov’s historical importance but I’d never recommend anyone (child or adult) actually read him.

    As for Patrick’s point, it is unclear why they have picked the authors they have but it is even less clear why they have picked these particular stories to represent them. So yes, I can well believe they aren’t Asimov’s best.

    Oh, and The Space Opera Renaissance? Maybe in a decade or so once I’ve forgotten the trauma of this.

    Martin

    26 February 2011 at 10:05

  5. Good evaluation. A parallel take:

    To the Hard Members of the Truthy SF Club
    http://www.starshipreckless.com/blog/?p=3336

    Athena Andreadis

    26 February 2011 at 13:46

  6. On Asimov, did you see this piece on re-reading him? “If you are one of those people who, like myself, remains committed to the primitive, cellulose-based habits of reading, the pages on which you read this will be yellowed and flaking; but the voice will be as strong and as vitally alive as ever.”

    Niall

    26 February 2011 at 21:19

  7. I’m afraid the type of nostalgia Lesser details in her review is completely alien to me. Perhaps it is because she is twice my age.

    Martin

    27 February 2011 at 10:36

  8. I was given this about release time and it was pretty much my gateway to the wider world of SF. However, I’ve not finished the book…

    cowfish

    28 February 2011 at 03:39

  9. [...] The Ascent Of Wonder: The Evolution of Hard SF, edited by David G Hartwell and Kathryn Cramer (everythingisnice.wordpress.com) [...]

  10. [...] Response To Athena Andreadis – in which I make extensive use of my right to reply. 6) The Ascent Of Wonder: The Evolution of Hard SF, edited by David G Hartwell and Kathryn Cramer – in which I dislike a very large anthology. 7) At Least It’s An Ethos – in which [...]

    Three « Everything Is Nice

    27 October 2011 at 16:07

  11. Somehow I’ve just managed to purchase The Space Opera Renaissance so expect to see that being covered some time in 2012.

    Martin

    31 October 2011 at 14:54

  12. [...] Next on my list would be Martin Lewis’ blog Everything Is Nice.  I’ve spoken lovingly about Martin here, especially his ability to eviscerate a short story, a number examples of which you can find in this section of his blog. [...]

  13. [...] opens with a brief section that serves as a defence for their previous monumental anthology, The Ascent Of Wonder: The Evolution Of Hard Science Fiction. That volume opened with three contradictory introductions that did absolutely nothing to [...]

  14. [...] your face, SEO). ‘The Star’ continues to receive loads of hits as do other stories from The Ascent Of Wonder. So if you want long-tail hit-bait, short fiction is where it is [...]

    Four « Everything Is Nice

    24 September 2012 at 13:20

  15. [...] note that ‘Escape route’ is much more of a hard SF story than the majority collected in The Ascent Of Wonder.) The rest of the paragraph is given over to a quote from Hamilton (sloppily identified as [...]


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