Where Is The New New Wave?
My review of Osiris by EJ Swift is up now at Strange Horizons.
There is a problem beyond this, though, a problem with contemporary SF as a whole. Osiris, like The Windup Girl by Bacigalupi (widely heralded as the most important science fiction debut of the last decade), addresses itself to the central problem of post-Twentieth Century life but makes no attempt to escape the trap of the trappings of modern genre fiction. What one might call Resource SF could make a vital contribution to literature but the commitment only ever seems to be political rather than artistic. The only novel I can think of that attempts both is Adam Roberts’s By Light Alone (2011). The concerns are similar to Swift’s—the remorseless march of the Gini coefficient bears its inevitable fruit—but it seeks to be not just a science fiction novel but a novel in its own right. No one else seems to be trying.
I wrote this review not long after Paul Kincaid published a review of several year’s best collections in the LA Review of Books. I imagine it shows. Problems with the state of the genre were on Kincaid’s mind too and his diagnosis was as follows:
The problem may be, I think, that science fiction has lost confidence in the future. Or perhaps it would be more accurate to say that it has lost confidence that the future can be comprehended.
Jonathan McCalmont makes the moral and political failing of this crisis of confidence explicit in a follow up article which glories in the typically restrained title ‘Cowardice, Laziness and Irony: How Science Fiction Lost the Future’:
This conceptual blockage was most evident in the immediate aftermath of the subprime mortgage crisis when the housing bubble burst and banks across the world began to collapse. Exposed as nothing more than a vast pyramid scheme, global capitalism lurched and stumbled but never quite fell… Having failed to identify this culture-wide conceptual blockage as any kind of failure or flaw, science fiction never bothered to rout around it.
And yet this is not my problem; Resource SF does not turn its back. In fact, Kincaid expands on his review in a long interview with Nerds Of A Feather where here he draws the distinction between three different forms of crisis facing SF: a crisis of ideas, of identity and of confidence. It is the former – an entirely aesthetic crisis – that I believe Swift succumbs to. On this point, Kincaid says:
Within any art form there are individuals or movements that attempt to push the boundaries in various ways. They are concerned with seeing what new can be done, what more can be done with the form. Often, though not always, they are initially viewed with dismay or disdain by aficionados of the art, though in retrospect they are generally viewed as being the innovators who mark an important developmental stage in the history of the form… What they do may be good or bad (and in science fiction a lot of the so-called innovations of the new wave in the 1960s were, frankly, very bad indeed), but I think they are important for the health of the form.
Alongside this, and by far the majority of the exponents of any art form, there are the traditionalists, concerned to do more of what the form has always done. Some of these can be very good, there can be great artistic achievements that make no effort whatsoever to challenge the nature of the form. What I found, reading the three books, and it bore out something I had been aware of in previous best of the year volumes I’ve read, was that practically everything belonged in the second camp.
Kincaid adds that “I don’t think this perception holds when it comes to the novel” but I’m not at all sure of that. If you pick up a science fiction novel I think there is a pretty good chance that it will read exactly like most other science fiction novels. There are exceptions – Kincaid lists M John Harrison and Christopher Priest in his interview; I mention Adam Roberts in my review – but it is, by and large, homogeneous in a way that literary fiction (regardless of quality) is not.
Helpfully Roberts has given his perspective from someone on the other side of the fence. Well, both sides, really. But what it all made me think was, can you imagine any contemporary Nebula-winner writing Through The Valley Of The Nest Of Spiders?