En månad kvar till premiären av The Hunger Games: Catching Fire

Catching Fire (Fatta Eld på svenska) är andra delen av Suzanne Collins boktrilogi Hunger Games. Det är också andra delen av filmserien som gjorts utifrån böckerna. Filmserien kommer sannolikt att bestå av 4 filmer då den tredje boken delas på två filmer. Den andra delen av filmserien ska ha premiär om en månad och handlingen i filmen såväl som i andra boken beskriv så här på film- och biobolagens sajter:

Katniss trodde att en vinst i Hungerspelen var lika med framgång, lycka och berömmelse, men istället skulle det bara leda till fruktan. Huvudstaden är inte nöjd med henne. Hennes prestationer på arenan har gjutit mod i rebellstyrkorna – och i takt med att upproret växer sig starkare, ökar också riskerna för Katniss och de hon älskar – inklusive Gale och Peeta som slåss om hennes gunst. Varje val hon gör får ödesdigra konsekvenser. Och det är då huvudstaden blottar sin slutgiltiga fälla.

Enligt folk som kommenterat mina tidigare inlägg om serien kommer det att bli mer och mer klasskamp i den. Radikalare, viktigare. Så är det tydligen i böckerna, vi får se om det är likadant i filmerna.

[imdblt]The Hunger Games: Catching Fire[/imdblt]

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Bokus

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Reavers – zombies i rymden

Reavers förekommer i den eminenta TV-serien Firefly. De är människor som slutat vara människor. De våldtar, rövar och äter människor. De är brutala blodiga kannibaler och det är till en början oklart varför de existerar. Hur de har kommit till.

ReaverHelt klart är de att jämföra med zombies i moderna skräckfilmer. De kan också sägas motsvarar indianerna i gamla vilda västern filmer, en jämförelse som ju ligger nära till hands med tanke på att Firefly är en serie om den US-amerikanska vilda västern fast förflyttad till rymden. Reavers lever i utkanten av den mänskliga civilisationen och i filmen Serenity avslöjas att de ä resultat av försök att droga människor till snällhet, att droga människor så att våld och hat skulle upphöra. Resultatet av experimentet blev en katastrof och istället skapades Reavers som en biefffekt.

Människor som uppför sig exakt som Reavers, som ser ut som Reavers och uppvisar ett i stort sett i allt liknande uppförande förekommer i en film som gjordes året innan Firefly. Nämligen Ghosts of Mars. I det fallet handlar det om människor blir besatta av en slags levande väsen som kan ta andra kroppar i besittning. Levande väsen som kan vara resterna av det som en gång var de som levde på Mars, innan liv på planeten utrotades. Men med samma effekt som när det gäller det misslyckade experimentett i Firefly. Zombies i rymden. Eller i detta fall i alla fall på Mars. Ghosts of Mars är dock inte i närheten av att vara bra. Trots att den är gjord av John Carpenter. Det är en film som går att se, men inte mer. En Jason Statham-rulle kan man säga. Periodvis full fart alltså. En småkorkad actionrulle i SF-miljö kan man också säga. Med Natasha Henstridge som debuterade i SF-filmen Species i huvudrollen.

Idén som användes i Firefly med ett experiment att göra människor lydiga och ordningssamma använder Per Wahlöö i en av de bästa svenska SF-böcker, tillika deckare, som skrivits. Stålsprånget, skriven 1968. Också det slutade i katastrof. Civilisationsundergång, våld och kaos. I detta fall dock enbart i Sverige.

Firefly:4 out of 5 stars (4 / 5)
Ghosts of Mars:2 out of 5 stars (2 / 5)

[imdblt]Ghosts of Mars[/imdblt]

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Red Peppers tio SF-favoriter – en klar dag kan man se revolutionen

Red Pepper är en radikal brittisk tidskrift som skriver så här om sig själva:

Red Pepper is a bi-monthly magazine and website of left politics and culture. We’re a socialist publication drawing on feminist, green and libertarian politics. We seek to be a space for debate on the left, a resource for movements for social justice, and a home for anyone who wants to see a world based on equality, meaningful democracy and freedom.

Red Pepper is completely independent, and whilst not rejecting party politics, seeks to help build the kind of pluralistic, dynamic movements which can fundamentally challenge our economic system, with its entrenched injustice, structures of power and oppression, and tendency towards war and environmental destruction. Although based in London, we have links around Britain, and have always covered events and perspectives from outside the capital.

Jag citerade i ett annat inlägg tidningens intervjuer med några kända SF-författare med hjärtat till vänster. De beskrev på ett bra sätt varför jag tycker om science-fiction. Tidningen har också gjort en lista på 10 favoriter bland SF-böcker:

  • Iron Council, China Miéville
  • Body of Glass, Marge Piercy
  • The Star Fraction, Ken MacLeod
  • White Queen, Gwyneth Jones
  • The Dispossessed, Ursula K Le Guin
  • Swastika Night, Katharine Burdekin, writing as Murray Constantine
  • Fahrenheit 451, Ray Bradbury
  • Babel-17, Samuel R Delany
  • Culture Series, Iain M Banks
  • Forty Signs of Rain, Kim Stanley Robinson

CultureTre av mina favoritförfattare i genren finns med på listan, Ursula K. LeGuin, Iain M Banks och Ken MacLeod. Om Iain M Banks Cultureserie skriver Red Pepper så här:

Banks just has to be included here but it’s pretty much impossible to select one from among the ten books in the decades-spanning Culture series. What Star Trek would have been if the Federation was organised on anarchist principles and the Enterprise was a living ship guided by a prodigious artificial intelligence with a nice line in wry humour, the Culture universe is a provocative playground for committed post-humanists. The sad news of Banks’ death means the series is at a close, but these books will be read, re-read, pondered and critiqued long after the rest of us have returned to galactic dust.

The Star FractionCulture-serien är bland det bästa som skrivits i SF-genren. Bland de bästa är förstås också The Dispossessed av Ursula K. LeGuin, från vilken bok namnet på denna blogg hämtats. Men jag tycker Left Hand of Darkness är hennes bästa bok. Värt att citera är också det som Red Pepper skriver om Ken MacLeods The Star Fraction:

First in the ‘Fall Revolutions’ series and a somewhat wry dig at the factionalisation of the left in the wake of neoliberalism. A near-future UK is split into mini-states with competing ideologies; a small part of north London exists as a libertarian/anarchist enclave and the green eco-warriors are armed and dangerous. Riffing on cyberpunk’s preoccupation with artificial intelligence and its ubiquitous multi-functioning mirrorshades (here called ‘glades’), The Star Fraction is part send-up of conspiracy theorising paranoia and part serious call-to-arms for an entrenched left. ‘On a clear day,’ writes MacLeod, ‘you can see the revolution.’

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Därför gillar jag science fiction

Ken MacLeod

Ken MacLeod

Några radikala brittiska SF-författare har i intervjuer i den radikala tidningen Red Pepper tillfrågats om vad science fiction har att säga oss om framtiden, om idag och om alternativen. Det är klart intressant och beskriver på ett bra sätt varför jag gillar SF:

Kim Stanley Robinson Yes, it can. The help science fiction can give culture is not a matter of prediction, but rather repeated speculations that help create the habit of historical thinking – which includes the idea that what we do now has consequences later, and that we can plan some things and try to create a sustainable civilisation, which should be the point of human history now.

[…]

Gwyneth JonesThe science fiction of protest – a strong tradition, embedded in a recalcitrantly right-wing genre – imagines how change could be achieved: a route to gender equality, a world beyond the collapse of capitalism. But these fictions are not solutions, they are stories about solutions. Plus they all have the problem that Zizek chastised in Occupy. The writer’s ideas are embedded in the dismal present, doomed to be addressing a bad consensus, always making the best of bad material. So maybe no, not directly.

On the other hand, intensely felt fantasies don’t have to be materially effective to open pathways in people’s minds and make the impossible – what we’re told is impossible – seem possible. So I’d say yes. Art has always inspired revolutionary movements, and vice-versa. Why shouldn’t sci-fi, the art of inventing the future, inspire fundamental change?

[…]

Ken MacLeod Just under two billion people went into the 20th century and six billion came out. Most of humanity went in as peasants and colonial or semi-colonial subjects under the domination of a handful of advanced countries, and almost all came out as citizens of independent states and nearly half as urban workers.
We went in with only a minority of extremists preaching universal suffrage and the equality of the races and sexes, to general ridicule, and came out with general agreement on all these – though practice lags, as always, and there’s still much to be done.

What do we mainly have to thank for that? The Russian and Chinese revolutions, that’s what! The Allied victory in the second world war, that’s what! What has made views like Zizek’s so commonplace? The absolute shameless bare-faced robbery of our history, that’s what! Orwell was right about this: ‘Who controls the past controls the future.’

Kids in Britain are taught about colonialism and the Nazis as terrible warnings about human evil, and are never encouraged to identify with the heroic millions – often enough their own parents and grandparents – who brought the empires and the Nazis down. The socialist revolutions are taught as if nothing happened but famines and gulags – which were real enough, and must never be denied, but are very far from the whole story. I don’t mean in the slightest that these experiences should be repeated. I mean the left should stop disavowing them as ‘not real socialism’ or whatever, which means refusing to learn from them and guarantees making the same mistakes again under the delusion that ‘real socialists’ wouldn’t do all these awful or stupid things.

In a less apocalyptic way, the post-war settlement and what it achieved has been hacked back and edited out of our common memory, to the extent that some aspects of the society I grew up in in the 1960s and early 1970s sound today like utopian dreams.

If we’re going to imagine better futures we have first to recover the real past, including the recent past, for ourselves.

[…]

Marge Piercy Science fiction is not really about prefiguring. It’s about getting people to see alternatives now. If we go on this way, this is likely to happen. If we did things this way, wouldn’t things be better? What would it look like if we recognised that gender and sex are not dichotomies but rather continuums, as the research of Fausto-Sterling has revealed? What would happen if we ran out of water?

It’s making possible outcomes concrete and real. It’s creating characters that embody choices for good or bad. It’s using the imagination to say that there are far more futures than we have guessed or assumed.

I intervjun ställs fler frågor och det är långa och mycket intressanta svar. Läs den. Och läs böcker av de intervjuade författarna, av vilka jag gillar Ken MacLeod bäst.

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Vad är steampunk?

Steampunk

Med anledning av min tidigare post om ett steampunkkonvent i Alingsås kan det vara intressant att ge några beskrivningar av vad steampunk är. Kortfattade sådana, det finns en del som är lite väl långa. Jag hämtar beskrivningar från lite olika sidor. Hemsidan för konventet i Alingsås skriver så här:

Steampunk kan förklaras som en återskapning av en alternativ historia från 1800-talet. Det är det sena 1800-talet eller sekelskiftet som det kunde ha varit om personer som Ada Lovelace och Jules Verne hade fått se sina visioner om framtiden förverkligas i sin egen tid. Genren har sitt ursprung i 1800-talets science fiction och fick en renässans under 1980-talet då några författare myntade begreppet steampunk som en utveckling av det då redan existerande ordet cyberpunk.

Framför allt har genren varit litterär och estetisk men under senare tid har även flera andra sammanhang anammat genren. Steampunk flyttar sig även i tiden och det är numer inte bara den viktorianska tiden som genren grundar sig i, hela den moderna tiden från reformationen till en avlägsen framtid speglas genom steampunk.

Med anledning av konventet skriver Alingsås kommun lite annorlunda och ger några exempel:

Steampunk är en stil inom film, mode, musik och litteratur, som blandar science-fiction med 1800-tal och industrialism till en egen, spännande värld full av mäktig mekanik och fantasirika uppfinningar. Det är en fantasibild av en framtid, som den hade kunnat se ut om allt drevs av ånga och inte av el eller olja (som idag). Har du sett filmer som Sherlock Holmes, Guldkompassen, En världsomsegling under havet, Bladerunner och Mad Max så har du träffat på Steampunk.
Steampunk och Alingsås har mer gemensamt än man tror – i Alingsås har industrialismen spelat en huvudroll historiskt.

Jag hålelr dock inte med om exemplen. Sherlock Holmes är inte setampunk, bara historisk litteratur, Mad Max är knappast steampunk, men har väl kanske drag gemensamt med steampunk, Blade Runner är väl inte direkt steampunk det heller. Däremot kan nog filmen Iron Sky liksom rollspelet DragonMech anses vara steampunk.

DragonMech

Men kanske handlar det om att det är svårt att dra gränsen för vad som steampunk och inte steampunk. Steampunk som begrepp tycks dock först ha uppstått på 1980-talet:

Själva begreppet, ordet steampunk, myntades av K.W. Jeter och spreds genom ett par brev han skrev till tidskriften Locus. Hans kommentar till en recension av sin egen bok Infernal Devices 1987 har blivit citerad så ofta att den blivit tröttsam:

Personally, I think Victorian fantasies are going to be the next big thing, as long as we can come up with a fitting collective term for Powers, Blaylock and myself. Something based on the appropriate technology of the era; like ‘steampunks’, perhaps.

De verk Jeter refererade till är The Anubis Gates av Tim Powers (på svenska Anubisportarna) och Homunculus av James P. Blaylock (som följdes upp med Lord Kelvin’s Machine). Samtidigt påpekade han att hans egen Morlock Night skrevs före dessa två och kom ut redan 1979. Det var dessa få det handlade om då. Fantasy med viktorianska London som bakgrund, eller förgrund, eller i centrum.

En sak Jeter inte nämnde, eller inte visste, men som somliga tycker om att påpeka var att Michael Moorcock hela luftskeppsgrejen redan 1971 i sin Warlord of the Air. Man kan tvista om vem som var först, men i praktiken spelar inte det så stor roll. Det började i liten skala med att olika författare uppfann just den här retrovinklingen på sin fantastik på egen hand. Sedan fick det ett namn, och man kunde tala om steampunk, söka upp steampunk, och bli inspirerad av steampunk. Jag gissar att det inte alls hade blivit samma sak utan det här namnet. Vem sade att namn inte spelar någon roll?

Detta ska inte bli någon fullständig litteraturhistoria över steampunken, men jag kan inte låta bli att nämna The Difference Engine av William Gibson och Bruce Sterling. Detta är boken som är den logiska länken mellan cyberpunk och steampunk i litteraturens värld. Här har informationsåldern kommit tidigare med hjälp av den differensmaskin som Charles Babbage tänkte ut.

Numera verkar begreppet steampunk ha satt fart på mångas fantasi, och det har blivit en subgenre som spretar åt alla möjliga håll. Mekaniska datorer, ångdrivna drakar, monstruösa experiment, städer på räls, eller en industriell revolution satt ur spel av magi. Det kan vara ganska realistisk alternativhistoria, eller urban fantasy i det viktorianska London, eller helt främmande världar där man återfinner ångteknologi och klasskillnader.

Åtminstone de tidiga steampunk-verken var nog mer influerade av Charles Dickens än av Jules Verne och H G Wells. London står i centrum, och perspektivet är ofta de mindre lyckligt lottades. Verne och Wells är ändå av begripliga skäl stora inspirationskällor för steampunk numera, med sina tidstypiska visioner av fantastisk teknik. Jag undrar vad verneåwells hade tyckt om de fått ta del av nutidens spekulationer i hur det hade kunnat vara ifall deras underbara infall hade varit verklighet.

Egentligen borde det väl var så att steampunk innebär en framtid där dagens verkliga teknologi inte uppfunnits utan man har utvecklat ett framtida samhälle utifrån andra premisser och med annan teknologi (ånga istället för förbränningsmotorer och krut, mekanik istället för elektronik etc). Det handlar alltså inte som samhällen som gått bakåt i utvecklingen eller utvecklats på annat sätt som Mad Max, Waterworld och Blade Runner.

Det är också tydligt att det finns beröringspunkter mellan goth och steampunk i klädstil och mode. Fast med svart utbytt mot brunt och grått:

När vi ändå är inne på det visuella finns det blandade bud om hur goth-kulturen egentligen hänger ihop med steampunk. Helt klart är att där finns en hel del överlapp, och somliga har skämtsamt beskrivit steampunk (eller åtminstone mode-aspekten av det hela) som ”goths discover brown”. Här finns hur som helst en hel del intressant subkultursteori och -arkeologi man kan ägna sig åt. Steampunk har lockat många, inte bara gamla gothare, som vill bort från det massproducerade, uttjatade och invanda. Steampunk är oexploaterat, och känns äkta och gediget därför att man måste göra det själv.

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Bästa fantasybokserier

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Kosmisk fri vilja

KosmosBoktips
Kosmos – en kortkort historik
Hawking & Mlodinow
Prisma

Kosmisk fri vilja

Detta är en förenklad (renodlad), förkortad (avteknifierad) och förnyad (uppdaterad) version av Hawkings storsäljande succébok ”Kosmos – en kort historik”. Och den är lättare – men inte lätt. Vår hjärna är inte skapad för att förstå det minsta och största i universum, eftersom vi själva lever på medelnivån. Vem kan exempelvis begripa sig på tidsresor?

Bäst gillar jag att det verkar stå allt klarare att tidigare teorier om vetenskaplig determinism inte håller. Alltså tanken att allt går att räkna ut, vilket skulle innebära att allt mänskligt beteende skulle kunna förutsägas.

Detta skulle i sin tur omöjliggöra existensen av mänskliga valmöjligheter. Den nya kvantteorins tankar om slumpmässighet verkar ge oss en chans till fri vilja!

Hans Norebrink

Tidigare publicerad på Svensson-bloggen.

Läs mer: GoogleKnuff,

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Om zombiekrig, oändlig kapitalackumulation och en rimlig framtid

varldskrig-zBoknytt
Max Brooks
Världskrig Z
Modernista
ISBN: 9789186629267

Om zombiekrig, oändlig kapitalackumulation och en rimlig framtid

Lennart Lundqvist konstaterade i Arbetet att det inte är så kul att spela tennis utan linjer. Hans poäng var att oändlig valfrihet inte är eftersträvansvärt. Han fortsatte med att berätta om sin brors roligaste dag i livet: dagen då radhusområdet belägrades av snökaos och all normal verksamhet kollapsade. Vilken gemenskap grannskapet utvecklade tillsammans för att överleva. Bristen skapade kreativitet och ömsesidighet men även trivsel. Temat genomsyrar Max Brooks fiktiva rapport Världskrig Z: En muntlig historik över zombiekriget.

Utbrottet av sjukdomen sker i Kina, bakgrunden är oklar men spridningen sker snabbt. Trots upprättandet av karantäner så finns det andra vägar för att sprida vidare den (o)dödliga smittan. Den globala kapitalismens infrastruktur är flerdimensionell där legala och illegala nivåer överlappar varandra. Med väl upparbetade kanaler för illegal organhandel och människosmuggling är det omöjligt även för en auktoritär regim som den kinesiska att kväsa utbrottet. Det som möjliggör zombifieringens globala karaktär är kapitalismens smörjmedel av korruption och trafficking.

Upplägget är enkelt men effektivt. Genom en serie intervjuer av olika personer återskapas händelseförloppet; från förebudet över den stora paniken till det totala kriget erbjuds vi brottstycken från alla kontinenter, från hög som låg. Tyvärr går det i stå mot slutet och det glider över i inträngande detaljstudier över hur man tvingades lösa zombieproblemet på militär taktisk nivå. Jag misstänker att denna aspekt tyvärr har dominerat filmatiseringen med Brad Pitt i huvudrollen som FN-tjänsteman (premiär senare i år.)

Levande döda i ett sammanhang

Zombier i all ära, men det var det övergripande samhälleliga ramverket som överraskade. De hungriga horderna av stapplande odöda befinner sig i ett politiskt och ekonomiskt sammanhang. Utan att bli skriven på näsan är det inte svårt att läsa in en hård kritik av den rådande marknadsfundamentalismens krassa människosyn. I ett lysande litet stycke återfinner vi kapitalismens kärna – den oändliga kapitalackumulationen – beskriven av en amerikansk general: ”För första gången i historien mötte vi en fiende som faktiskt kunde föra totalt krig. De hade ingen utmattningsgräns. De skulle aldrig förhandla, aldrig ge upp. De skulle kämpa till slutet eftersom var och en av dem, till skillnad från oss. ägnade varje sekund på dygnet åt att sluka allt liv på jorden.”

Enda sättet att hantera situationen var att agera gemensamt. Den effektivaste metoden att motverka asocialt beteende var att införa offentliga skamstraff – något som bekräftar bilden av oss som sociala djur, inte autonoma nyttomaximerare. När avgrunden knackar på, är det inte ”bostadsområden med yrkesarbetande människor ur övre medelklasen där alla saknade till och med de mest grundläggande kunskaper för att byta ut ett trasigt fönster” som behövdes. Där alla ”var någon form av ’verkställande’. ’representant’, ‘analytiker’ eller ’konsult’…  [och] fullständigt funktionsodugliga i den förestående krisen”.

När rollerna i ett slag ställs på huvudet uppstår problem. Arthur Sinclair Junior, chef för USA:s departement för strategiska resurser förklarar: ”Tänk dig att du är en högt uppsatt företagsjurist. Du har tillbringat större delen av ditt liv med att granska kontrakt, förhandla avtal, prata i telefon. Det är det du är bra på, det är det som har gjort dig rik och som har gjort att du fortsätter att prata i telefon. Ju mer du jobbar, ju mer pengar du tjänar, desto fler slavar anlitar du för att frigöra tid när du kan tjäna mer pengar. Det är så världen funkar. Men en dag gör den inte det. Ingen behöver få ett kontrakt granskat eller förhandla ett avtal. Vad folk behöver är fungerande toaletter. Och plötsligt är slaven din lärare. kanske till och med din chef. För somliga var detta mer skrämmande än de levande döda.”

Hoppet om en rimligare framtid

Där får vi nog även svaret på varför en del hellre kör planeten i botten än ställer om samhället för att undvika en klimatkollaps. De vet att de egentligen inte behövs, att deras välavlönade uppgifter är parasitära. Mellanskiktet är högst medvetet om sin priviligerade position under den nuvarande klassordningen. Så tyvärr krävs det nog ett rejält snökaos, en ordentlig kris för att steget ska kunna tas för det gemensamma projektet. Som Joe Mohammed påpekar i boken: ”Jag kommer inte att säga att kriget var någonting bra. Så sjuk är jag inte, men du måste medge att det förde människor samman.”

Att göra tillsammans är vår lott, vårt hopp. Men som även Lundqvist påpekade, det handlar inte om att vilja ha det som i Nordkorea eller att gå i kloster. Det handlar kort och gott om att livet ska vara mer rimligt. En ytterst radikal och subversiv tanke idag.

Abe Bergegårdh

Ursprungligen publicerad på Vardagens Politik.

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Bokus

Adlibris 

George Orwells 1984

Har skrivit en recension av George Orwells 1984 på Svensson-bloggen. Kompletterar den här med att infoga recensioner från Goodreads. Det är i allra högsta grad aktuell bok idag som vi sett genom avslöjandet av den stora US-amerikanska övervakningen av världens människor.

[goodreviews isbn=”0451524934″ buyinfo=”off”]

Läs mer: Röda Malmö, Zellys, Dagens Bok, Hem utan böcker, SR, Harpolekaren, Tekoppen, Malin Johansson, Snigel, Montessoriskolan läser, Gradvall, Loke, Nellon, Diichan,

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Köp boken hos Bokus

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Game of Thrones – feminism och sexism

TV-serien Game of Thrones innehåller utan tvivel en hel del sexism. Och nakenhet. Vilket ju inte är samma sak. Böckerna i serien A Song of Ice and Fire kanske innehåller mindre. Eftersom jag inte läst dem har jag ingen aning om det är så eller inte. Samtidigt skildrar TV-serien en värld som är sexistisk.

Men ändå finns det en hel del feminism i TV-serien och böckerna (som jag inte läst, men jag förstår att det är så). Det finns gott om starka och självständiga kvinnor, Daenerys Targaryen, Catelyn Stark, Arya Stark, Brienne of Tarth, Yara Greyjoy, Margaery Tyrell, Cersei Lannister, Shae, Ygritte och Olenna Redwyne för att nämna några. Den som dock kanske framträder starkast är dock min favorit Daenerys Targaryen. I alla fall menar Opinioness of the World det:

Daenerys makes a trade for all 8,000 Unsullied warriors, appearing as if she’s going to give up her dragon Drogon to make the exchange. But it’s all a ruse. When the brutal slaver Kraznys — who has insulted Dany with sexist, slut-shaming insults, erroneously thinking she didn’t understand the Valeryian language — is irritated that her dragon doesn’t obey him, she retorts that of course he doesn’t, “a dragon is a not a slave.” Dany then orders the Unsullied, now in her command, to murder the slavers and break the chains off the slaves. She frees the enslaved warriors, asking them to fight for her as free men. Daenerys then drops the whip equating ownership of the slaves. In essence, she drops the symbolic weapon of tyranny and oppression, heralding rebellion.

If there was ever any question, Daenerys is clearly here to dismantle the patriarchy.

Not only is she a woman leader, her very existence challenging the status quo. But Daenerys openly questions and challenges patriarchal norms. She refuses to abide by societal gender limitations mandating men must rule. She’s determined to forge a different path. Rather than follow in the footsteps of leaders embodying toxic masculinity, she’s determined to rule through respect, kindness and fairness — not through intimidation or fear. Daenerys refuses to enslave people. She wants to emancipate them.

The Mother of Dragons cares for the dragons as if they were her own babies. Could it be that Daenerys will become the archetypal mother of humanity? Perhaps. She’s wielding justice, crushing oppression and protecting the weak. Yet it is the loss of her son that enables Daenerys to envision herself in the role of leader. No longer is she supporting a man to be a great leader. She has become that leader.

The princess has become a queen.

Det finns även andra som anser att serien inte är sexistisk utan feministisk, Cornucopia är en, Nanna Johansson en annan och Feminist Fiction en tredje. Andra har en betydligt mer kritisk inställning till Game of Thrones.

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Mer: SVD, Feminist Fiction1, 2, FemPers, Piruett, Skålpund kött,
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Fint om Ray Bradbury

the-martian-chronicles-book-coverCecilia Verdinelli skriver fint om en av min favoritförfattare inom science-fictiongenren. Ray Bradbury. Hon gör det i GP:

Jag läste nyligen om boken, med den försiktighet man läser om böcker man idiotälskat som mycket ung. Jag blev inte besviken, däremot lite generad över att bokens budskap till stor del gått mig förbi som tonåring. Boken är framförallt en kritik av imperialism och kolonialism. Med tanke på att novellerna skrevs under sent 1940-tal är det en sanslöst radikal kritik.

[…]

Bradburys marsnoveller säger ungefär samma saker som det som i dag skrivs inom postkoloniala studier. Han gör det helt utan tungfotad teoribildning och i en form som är begriplig för envar. Beteckningar som ”finkultur” och ”populärkultur” är irrelevanta i förhållande till Bradburys verk. Han överskrider majestätiskt de flesta genrebeteckningar. För Bradbury handlar science fiction varken om teknologi eller nödvändigtvis om framtiden. Genom att förlägga sin berättelse utanför vår verklighets fysiska begränsningar ger han narrationen en lätthet som i själva verket blixtbelyser vårt här-och-nu. Från Mars ser vi jorden klarare. Jag önskar att fler författare tillät sig själva den lättheten.

Den bok hon skriver om är Invasion på Mars. En bok som är nästan lika bra som Den illustrerade mannen.

Jag läste också Bradbury när jag var ung. Första gången alltså. Jag har läst flera av hans böcker ytterligare ett antal gånger sen dess. I motsats till Verdinelli greppade jag budskapet när jag var ung och har förstått det än bättre med tiden. Jag kan inte heller se vad böckerna har gemensamt med postkoloniala studier. När det gäller äldre sådan kan jag se det, men inte moderna postkoloniala studier med rötter i postmodernism. Det är för mig i det mesta obegriplig och oanvändbar teroibildning. Men kanske vet jag för lite om det hela.

Oavsett vilket så duger Bradbury bättre. Det är lättare att förstå, lättare att ta in. Det ger helt enkelt mer. Bättre. Det är skolande med science-fiction.

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Världsalltet som musik

Ett utsökt universumBoktips
Ett utsökt universum
Brian Greene
Norstedts

Världsalltet som musik

Populärvetenskap är kul. Universum är spännande. Ja, både vetandets jättestora, yttre kosmiska front, och dess pyttelilla, inre atomära front är fascinerande. De väcker filosofiska frågor om allts ursprung, framtid och mening. Materia och energi, tid och rum – hur hänger allt ihop i rymden och på partikelnivå?

Ett svar är att det inte hänger ihop. Den moderna fysiken förklarar med hjälp av Einsteins relativitetsteori hur det fungerar uppe på stjärnhimlen ovanför oss. Kvantfysiken beskriver hur atomer och elektroner beter sig. Men dessa två förklaringsmodeller går inte att förena.

Tills nu. Nu finns äntligen en Teori för Allting (TfA) kallad supersträngsteorin. Den förklarar allt i universum, och förenar relativitetsteori och kvantfysik. Det menar en av världens ledande strängteoretiker i sin egen bok  ”Ett utsökt universum – supersträngar, dolda dimensioner och sökandet efter den slutgiltiga teorin” (översatt av en svensk teoretisk fysiker).

Oerhört intressant ämne. Ödmjuk bok som erkänner att vi kanske aldrig får veta den slutliga sanningen. Hoppfull i konstaterandet att universum inte är ett deterministiskt klockverk, vilket lämnar plats för vår älskade fria vilja. Vacker i beskrivningen av världen som musikaliskt uppbyggd av vibrerande strängar.

Men boken är svår. Vi människor är nog inte evolutionärt skapade till att behöva begripa dessa mega-mikro-sammanhang. Och personligen tror och hoppas jag att vi i slutändan tvingas konstatera det som alla andra generationer gjort före oss. Det behövs en gud som yttersta förklaring.

Tyvärr. Jag tycker boken är flyhänt välskriven, men för svår för en rent populärvetenskaplig publik. Alldeles för lång med sina 500 sidor. Alldeles för detaljerad. Jag orkar inte hålla mig skärpt i läsandet och tänkandet så länge och på en sådan nivå. Trots att ämnet är allt annat än torrt.

För nybörjarstudenter i fysik och astronomi däremot fungerar boken säkert perfekt. Vi vanliga människor skulle istället behöva något kortare och mer i stora drag. Men jag håller öppet för att ämnet är så svårt i sig att detta kanske helt enkelt inte låter sig göras.

Hans Norebrink

Tidigare publicerat på Svensson-bloggen.

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Frontforskning

Universums gåtaBoktips
Universums gåta
John M Charap
Santérus förlag
ISBN: 9789189449619

Frontforskning

Finns det något mer fantasieggande än det mänskliga vetandets två frontlinjer; makrokosmos stjärnvärld och mikrokosmos atomvärld – och sambanden dem emellan? Dessa spännande forskningsfält ges full rättvisa i ”Universums gåta ­– Den moderna fysikens revolutioner”. Läsbart även om man, som jag, inte begriper allt,

Bakterier som hjälper oss med nanoteknik, elva dimensioner, vita hål, teorin om allt, att vi är gjorda av stjärnstoft, imaginär tid, materians fem tillstånd, universums födelse och öde, ny energi till u-länderna, livets ihärdighet, samt ur kaos komplexa självorganiserande system vars lagar även kan gälla på samhällsnivå! Svåra saker, men jätteintressanta.

Hans Norebrink

Tidigare publicerat på Svensson-bloggen.

Läs mer: Google,

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Rymdskepp i the Culture heter som skotska fiskebåtar

Författaren Iain Banks har skrivit en massa SF-böcker om ”The Culture”. De är bland annat kända för sina märkliga, makalösa och fantastiska rymdskeppsnamn. Alla skeppen är intelligenta och många av namnen har de gett sig själva. Bland namnen märks sådana som: Very Little Gravitas Indeed, What Are The Civilian Applications?, Congenital Optimist, Size Isn’t Everything, Sweet and Full of Grace, Helpless In The Face Of Your Beauty, The Precise Nature Of The Catastrophe och Unacceptable Behaviour.

Andra namn är enklare: Profit Margin, Trade Surplus, Cargo Cult, Prime Mover, Problem Child, Steely Glint, Honest Mistake, Yawning Angel, Furious Purpose, Winter Storm etc.

Den senare typen av namn påminner kraftigt om den typ av namn som skotska fiskebåtar har som exempelvis: Devotion, Loyal Friend, Serene Dawn, Good Intent, Gracious, Harvest Moon, Lead Us, Celestial Dawn, Harvest Reaper, Forever Grateful osv.

Frågan är om det bara är en tillfällighet, ett namnskick som ger oss en hint om skotsk kultur eller om Iain Banks som ju är skotte influerats av det namnskicks för båtar som tycks finnas i Skottland. Kanske är det en kombination av alla tre sakerna.

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En marxistisk analys av Tolkien – del 4

TolkienAnalysen är gjord av den brittiske marxisten John Molyneux som var (är?) medlem i brittiska och irländska SWP. Den är lång, så jag delar upp den på flera inlägg. Detta är det fjärde. Texten är tagen från Molyneux egen blogg.

Tolkien’s world – a Marxist Analysis, part 4

Tolkien’s Appeal

We can now return to the question posed at the beginning of this essay, namely explaining how work based on such a conservative outlook has enjoyed such immense popularity. The question is the more interesting because it does not seem to be popularity on a right wing or conservative basis, in the way that the Bond novels and films appeal mainly to the macho male, or Agatha Christie murder mysteries appeal to middle class nostalgia for the English village and mansion of yesteryear. Rather a major part of Tolkien’s appeal, and what turned him into an international best seller, was to the ‘hippy’ counter culture in America in the sixties.

One obvious and tempting answer is simply to say that the ‘average’ or typical reader is not interested in the kind of social and political issues discussed here but is simply swept along by the good writing and dramatic story line. In a sense this is obviously true and good writing and gripping action are doubtless necessary conditions of the work’s success, but in themselves they are not a sufficient explanation. The affection in which The Lord of the Rings is held by so many involves not just being gripped by the story line but being ‘enchanted’ or ‘inspired’ by its vision and its values, and that ‘vision’ and those ‘values’ cannot be separated from the social relations in which they are embedded – even if the ‘average’ reader is not aware of this in these terms.

So how does a vision of a feudal society imbued with deeply conservative values, which in the real world, in a modern bourgeois democratic society, would have practically zero political support, manage to exercise such an attraction?

First, because what we are presented with is a totally idealised feudal society. The most obvious and fundamental feature of feudalism and medieval society, namely its poverty and hence the poverty of most of its people is simply airbrushed out. Even in contemporary America or Europe there is large scale poverty, never mind Latin America, South Asia or Africa or Europe in the Middle Ages, but not in Middle Earth. Neither in The Shire, nor Rohan, nor Gondor, nor anywhere else, do we encounter ordinary, run of the mill poverty. From time to time we encounter ‘lowly’ or ‘humble’ people, such as Sam Gamgee and his Gaffer, or Beregond in Minas Tirith, but never anyone actually suffering privation. Nor do we find any of the conconcomitants of poverty such as squalor or disease or even grinding hard work. The real Middle Ages had the Black Death and numerous other plagues and famines. I offer a couple of paragraphs from Wikipedia on famine in the Middle Ages ( it matters not whether the details are correct or not for the general picture is abundantly clear):

Famine in the Medieval European context meant that people died of starvation on a massive scale. As brutal as they were, famines were familiar occurrences in Medieval Europe. As an example, localized famines occurred in France during the fourteenth century in 1304, 1305, 1310, 1315–1317 (the Great Famine), 1330–1334, 1349–1351, 1358–1360, 1371, 1374–1375 and 1390. In England, the most prosperous kingdom affected by the Great Famine, years of famine included 1315–1317, 1321, 1351, and 1369. For most people there was often not enough to eat and life expectancy was relatively short since many children died. According to records of the British Royal family, the best off in society, the average life expectancy in 1276 was 35.28 years. Between 1301 and 1325 during the Great Famine it was 29.84 while between 1348-1375, during the Black Death and subsequent plagues, it went to 17.33.

The height of the famine was reached in 1317 as the wet weather hung on. Finally, in the summer the weather returned to its normal patterns. By now, however, people were so weakened by diseases such as pneumonia, bronchitis, tuberculosis, and other sicknesses, and so much of the seed stock had been eaten, that it was not until 1325 that the food supply returned to relatively normal conditions and the population began to increase again. Historians debate the toll but it is estimated that 10%-25% of the population of many cities and towns died. While the Black Death (1338–1375) would kill more, for many the Great Famine was worse. While the plague swept through an area in a matter of months, the Great Famine lingered for years, drawing out the suffering of those who would slowly starve to death and face cannibalism, child-murder and rampant crime.*

Nothing like this ever happens in Middle Earth, not in the 10,000 years of its Three Ages. Average life expectancy in medieval Europe was about 30 – it was so low because of the high infant mortality. Infant mortality was ever the scourge of the poor and it remained high until well into the twentieth century. The infant mortality rate was well over 100 per 1000 births in Victorian Britain and 150 per 1000 worldwide in 1950. Today it is 6.3 per 1000 in the USA, and 2.75 in Sweden but 180 in Angola and 154 in Sierra Leone. No such problem exists in Tolkien world. Nor is there cholera or TB or cancer or heart attacks.

Crucially, also, there is no exploitation or systematic oppression or slavery except where carried out by Morgoth, Sauron or his agents and allies. The extreme moral bi-polarity of Middle Earth (which I think is an important aesthetic weakness) is very useful here. Middle Earth is not a boringly happy utopia, on the contrary it is filled with danger and evil, without Tolkien ever having to deal with any issues of social justice because all injustice and oppression is simply laid at the door of the Enemy.

Another factor in the appeal of The Hobbit and The Lord of the Rings is that the entry point into this feudal world and our immediate point of identification throughout the saga is via the Hobbits, Bilbo and Frodo in particular, and The Shire (and not as it is in the much less popular Silmarillion, via the One, the Ainur and the Eldar). The Shire, especially The Shire as it is first presented at the start of The Hobbit, exists within a feudal context – wizard and Dwarves turn up at the door, but is not itself feudal. Here is the description of Bag End on page 1 of The Hobbit:

It had a perfectly round door like a porthole, painted green, with a shiny yellow brass knob in the exact middle. The door opened on to a tube shaped hall like a tunnel: a very comfortable tunnel without smoke, with panelled walls, and floors tiled and carpeted, provided with polished chairs, and lots and lots of pegs for hats and coats…..No going upstairs for the hobbit: bedrooms, bathrooms, cellars, pantries (lots of these), wardrobes, (he had whole rooms devoted to clothes), kitchens, dining rooms, all were on the same floor… This hobbit was a very well-to-do hobbit, and his name was Baggins.

This is not medieval or feudal: it is England, very definitely England, [The name, Bag End, comes from the farmhouse in the tiny Worcestershire village of Dormston, in which Tolkien’s aunt lived] somewhere between the early modern period of the Tudors (in terms of its technology and being pre- Cromwell) and the Cotswolds of Cider with Rosie, or even later, in terms of its cosiness. It is worth noting that although The Shire has a Thain (an Anglo-Saxon term), an office held by the chief member of the Took family, ‘the Thainship had ceased to be more than a nominal dignity’ and ‘…The only real official in the Shire at this date was the Mayor of Michel Delving (or of the Shire) who was elected every seven years’ (The Fellowship of the Ring, p21, my emphasis). I think this is the only example of such a modern and democratic notion as election in the saga and significantly it is Sam who becomes Mayor when he returns from the War. Tolkien confirms this geographical/ historical location and his nostalgia for it in the Foreword to the Second Edition:

It has been supposed by some that ‘The Scouring of the Shire’ reflects the situation in England at the time when I was finishing my tale. It does not….It has indeed some basis in experience, though slender…The country in which I lived in childhood was being shabbily destroyed before I was ten, in days when motor-cars were rare objects (I had never seen one) and men were still building suburban railways. (The Fellowship of the Ring, p.9)

The Shire, of course, is just as much an idealised image of rural England in the late nineteenth century (or any other time) as Middle Earth is of the middle ages. No enclosures, no hanging poachers, no Poor Laws, no Tolpuddle Martyrs and so on.

But there is a further point and it is the most important. This idealised view of the pre-capitalist, or early capitalist past, can form the basis for a critique of modern industrial capitalism. Marx refers to this in the, not very well known, section of The Communist Manifesto on ‘Feudal Socialism’:

Owing to their historical position, it became the vocation of the aristocracies of France and England to write pamphlets against modern bourgeois society….In order to arouse sympathy, the aristocracy was obliged to lose sight, apparently, of its own interests, and to formulate their indictment against the bourgeoisie in the interest of the exploited working class alone. Thus, the aristocracy took their revenge by singing lampoons on their new masters and whispering in his ears sinister prophesies of coming catastrophe.

In this way arose feudal Socialism: half lamentation, half lampoon; half an echo of the past, half menace of the future; at times, by its bitter, witty and incisive criticism, striking the bourgeoisie to the very heart’s core; but always ludicrous in its effect, through total incapacity to comprehend the march of modern history….

Tolkien is not a ‘feudal socialist’ but he does favourably contrast the pre-industrial past with the industrial present. Earlier in the Manifesto Marx writes:

The bourgeoisie, wherever it has got the upper hand, has put an end to all feudal, patriarchal, idyllic relations. It has pitilessly torn asunder the motley feudal ties that bound man to his “natural superiors”, and has left remaining no other nexus between man and man than naked self-interest, than callous “cash payment”. It has drowned the most heavenly ecstasies of religious fervour, of chivalrous enthusiasm, of philistine sentimentalism, in the icy water of egotistical calculation.

Tolkien runs this film backwards. From the world of ‘egotistical calculation’ and ‘callous “cash payment”’ , he harks back to the ‘feudal ties that bound man to his “natural superiors”’ and ‘feudal patriarchal idyllic relations’. This is the real key to Tolkien’s mass appeal, including his appeal to Haight-Ashbury hippies. Because IF one abstracts from the poverty, famine, disease, exploitation, oppression etc. then the Middle Ages CAN be held up as a purer, nobler time than the dirty modern world of factories, pollution, profit, money grubbing, vulgar commercial interest, shoddy goods, advertising and extreme alienation, and in some respects it WAS.. In real life, in actual politics, this abstraction is completely impossible, of course, and what one ends with is either tragedy (Pol Pot) or farce (Colonel Blimp, new age Druids) or some mixture of the two ( Mussolini perhaps) but in fantasy, indeed in literature and art, it is perfectly possible.

Nor does this just apply to Tolkien. It is why a romantic anti-capitalist feudalizing tendency, leaning sometimes to the left and sometimes to the right has been a substantial cultural force ever since the Industrial Revolution. Elements of it are present in William Blake (‘England’s green and pleasant land’ versus ‘the dark Satanic mills’) and the Romantic poets generally. It is explicit in the Pre-Raphaelites, and mixed with socialism and Marxism in William Morris (who was a significant influence on Tolkien). In Ireland we find it in Yeats’s invocation of the Celtic Twilight. It is a significant component underlying the brilliant critique (and the disgust tinged with anti-semitism) of T.S. Eliot’s most powerful poetry ( ‘The Waste Land’, ‘Gerontion’, ‘The Hollow Men’ etc) and probably receives its most extreme expression in the poetry, literary criticism and politics of Ezra Pound, which combined affection for Anglo-Saxon, Ancient Chinese, and Troubador poetry with right wing Social Credit economics (against usury and the bankers) and ended up broadcasting for Mussolini in the Second World War.

It this, I believe, which explains why Eliot and Pound could write major poetry while being, respectively, an Anglo-Catholic Royalist who thought the rot set in with the murder of Thomas a Beckett, and a real fascist; and why a conservative Catholic Professor of Anglo-Saxon at Oxford could write books that have sold in the tens of millions.

John Molyneux
31 October , 2010

Del 1 (Part 1)Del 2 (Part 2), Del 3 (Part3), Del 5 (Part5)

* Once again I have thought it reasonable and convenient to cite Wikipedia because nothing turns on the accuracy of the specific figures. It is simply an easy way of pointing up well known general conditions.

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Mer: Tolkien Society, Wikipedia, Guardian, AB, Forodrim,
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En marxistisk analys av Tolkien – del 3

Analysen är gjord av den brittiske marxisten John Molyneux som var (är?) medlem i brittiska och irländska SWP. Den är lång, så jag delar upp den på flera inlägg. Detta är det tredje. Texten är tagen från Molyneux egen blogg.

Arwen

Arwen

Tolkien’s world – a Marxist Analysis, part 3

Racism and Sexism

The world view that I have just analysed was, give or take certain elements, by no means confined to Tolkien but existed as a definite strand on the intellectual wing of British upper and middle class culture; other members of The Inklings (C S Lewis, Hugo Dyson etc) shared it to a degree, as did the likes of T S Eliot and Ezra Pound. And within this outlook there was clearly a tendency towards racism – witness anti-semitism in Eliot and Pound. This is partly because it contained elements, e.g. the emphasis on inherited characteristics and kinship, which leant themselves to racial views, and partly because, as a result particularly of imperialism, racist attitudes were endemic in the upper reaches of British society in Tolkien’s formative years. It is therefore necessary to pose the question of how much racism there is to be found in Tolkien’s work.

The answer, it seems to me, is not simple. On the one hand, the existence of different races with deeply ingrained physical and psychological characteristics is absolutely central to the story from beginning to end. In the course of the saga we meet elves, men, dwarves, hobbits, orcs, ents and, marginally, trolls, all of whom are speaking peoples. Of these the elves, especially the High Elves or Eldar, who have dwelt in the Undying Lands, are clearly in some sense ‘the highest’ i.e. the most refined, the ‘fairest’ in Tolkien’s words, the most gifted in craft and learned in lore, the most farsighted, literally and figuratively, and, above all, are ‘immortal’ unless slain. They are by no means perfect, capable of both error and ‘sin’ and at various times are seduced by the wiles of Morgoth or Sauron, but, unless I am mistaken, no Elf in the whole history of Arda ever actually joins the ‘dark side’ and fights with the Enemy. Men, by contrast, are mortal, less learned, much more various (with types ranging from Butterbur to Aragorn, Faramir to the Haradrim, and Denethor to the Wild Men of Druadan), more fertile and more numerous, and more morally ambiguous. The Numenorians under Ar- Pharazon attempted to make war on the Valar and the Undying Lands (in the Second Age) and in the War of the Ring large numbers of men, Easterlings, Haradrim etc, fight with Sauron.

Dwarves are called by Tolkien ‘a race apart’: they were created not by Iluvatar but by the Valar Aule. They are shorter than elves or men, mortal but longer lived than most humans, and have definite behavioural and psychological characteristics: love of mountains, caves, mining, jewels, stonework; they are proud and jealous of their rights, sturdy and stiff-necked, and they fight with axes not swords or bows. Hobbits are of unknown origin (they don’t figure in The Silmarillion) but, of course, are small, jolly, tough underneath etc., and the Ents, the shepherds of the Trees, were created at the request of the Valar Yavanna: they are tree- like in appearance and strength and somewhat slow, though by no means stupid. Lastly, and crucially, there are the Orcs who began (probably – Tolkien is not categorical on this) as Elves imprisoned, enslaved and corrupted by Melkor in his first stronghold of Utumno. I say crucially because the Orcs became and remain all bad, utterly and universally evil, without any redeeming or mitigating qualities whatsoever. At no point in the entire narrative do we encounter an Orc who is anything other than a merciless enemy, and consequently at no point do we as readers feel anything for them other than delight in their defeat and slaughter. On the face of it this is outright racism.

And yet it doesn’t feel like it; nor is this a purely personal judgement. I know many people with a visceral hatred of racism who would react with disgust to any manifestation of it, who nonetheless love The Lord of the Rings. And there are reasons for this. There are three main grounds for opposing, indeed hating racism. 1) The biological fact that different human races do not exist, that there is only one human race or species and therefore all racial prejudice, discrimination, and oppression involves not only stupidity but also inherent injustice. It fundamentally violates the humanity of those who are its victims. 2) The social and historical fact that racism, because it denies people’s essential humanity, is associated with, leads to and is used to justify the most appalling treatment of human beings, the worst crimes against humanity (slavery, colonialism, genocide, apartheid and so on).3) The specifically socialist argument that racism is used by ruling classes to divide and rule the oppressed and to provide scapegoats onto whom anger of the oppressed can be diverted.

But if we examine Tolkien’s work in the light of these arguments it can be seen that none of them quite applies. In the real world racism is false and denies our common humanity but in Tolkien’s imaginary world there really are different races. In the real world racism leads to barbaric behaviour, but in Tolkien’s story the narrative, and his disguised authorial voice, consistently opposes any gratuitous cruelty to or maltreatment of the weak, the defeated, or even the enemy. Orcs are consistently killed but the story is such that they are only encountered as enemies in battle. Within the terms of the story they are never imprisoned, enslaved, executed or tortured so the fact that they seen as inherently evil (and within the terms of the story ARE inherently evil) does not lead to any especially barbaric behaviour beyond the barbarism inherent in war.. Racism may be a ruling class weapon in the class struggle to which socialists counterpose working class unity, but in Tolkien’s world there is no class struggle – the struggle is between the free peoples and the enemy and in this struggle Tolkien consistently advocates inter-racial unity: Aragorn, by lineage and behaviour, epitomises the unity of elves and men and, together with Gandalf, secures the unity of Rohan and Gondor; the friendship between Legolas and Gimli and Gimli’s adoration of Galadriel overcomes grievances between Elves and Dwarves that stretch back to the slaying of King Thingol in the dispute over the Nauglamir (Necklace of the Dwarves containing a Silmaril) in the Elder Days; the Hobbits (Merry and Pippin) draw Treebeard and the Ents (and the Huorns) into the War, where they play a vital role in defeating the treacherous Saruman.

Unfortunately Tolkien does not get off this hook quite so easily. Three issues remain. The first, and I owe this point to China Mieville, is that Tolkien has, of course, chosen to imagine a world in which ‘races’ with inherent racial characteristics ‘really’ exist and that is a definite political/ideological choice. The second is the way the saga is constructed throughout around a West/East dichotomy in which West is invariably identified with goodness and light and east with darkness and frequently evil. In the uttermost west is located the seat of the gods and the blessed Aman or Undying Realm and other locations are judged more or less fair in terms of their relation to this. In the Lord of the Rings Gondor is west, Mordor is east and the force that marches against Mordor for the final battle on the Field of Cormallen are the ‘Men of the West’ or the ‘Host of the West’ led by the ‘Captains of the West’. Sometimes this has been read as a reflection of the Cold War but we know that the main lines of the story were formulated as early as the First World War. Rather it is imperial ‘orientalism’ (as famously analysed by Edward Said) that is the influence here and this undoubtedly contains serious elements of racism.

The third, linked to the first and second, is the characterisation of the men of the east and south. In the war the Easterlings and Southrons and Corsairs of Umbar (also from the far south) are allies of Sauron. This seems to be taken for granted as part of the natural order of things and not requiring of any particular explanation, nor are we offered any account or detailed description of these peoples. Boromir, in his report to the Council of Elrond, refers to ‘the cruel Haradrim’(The Fellowship of the Ring, p.236), and again in the account of the Siege of Gondor we are told of ‘regiments from the South, Haradrim, cruel and tall’ (The Return of the King, p.90) and then offered this description ‘Easterlings with axes, and Variags of Khand, Southrons in Scarlet, and out of Far Harad black men like half-trolls with white eyes and red tongues.’ (The Return of the King, p.121).The element of racist stereotyping here is clear. It is a minor element in the story as a whole but it is there.

Taken together these three points leave Tolkien and The Lord of the Rings guilty of racism but with mitigating circumstances and the mitigation is such that for most readers the racism will not be one of the reasons for the appeal of the book.

The question of sexism is, I think, much more straightforward, as one would expect given the near universality of sexism in the culture and literature preceding the nineteen seventies. I will begin with a quotation about Dwarf women, from Appendix A to The Return of the King.

Dis was the daughter of Thrain II. She is the only dwarf-woman named in these histories. It was said by Gimli that there are few dwarf- women, probably no more than a third of the whole people. They seldom walk abroad except at great need. They are in voice and appearance, and in garb if they must go on a journey, so like to the dwarf-men that the eyes and ears of other peoples cannot tell them apart. This has given rise to the foolish opinion among Men that there are no dwarf-women, and that Dwarves ‘grow out of stone’.

It is because of the fewness of women among them that the kind of the dwarves increases slowly, and is in peril when they have no secure dwellings. For Dwarves take only one wife or husband each in their lives, and are jealous, as in all matters of their rights. The number of dwarf-men that marry is actually less than one-third. For not all the women take husbands: some desire none; some desire one that they cannot get, and so will have no other. As for the men, very many do not desire marriage, being engrossed in their crafts.

This situation of dwarf- women is only an extreme version of the overall situation of women in The Lord of the Rings – above all they distinguished by their absence. In the whole story there are only three significant female characters – Arwen, Galadriel and Eowyn and of these Arwen remains very shadowy. In addition I can think only of walk-on parts for Lobelia Sackville-Baggins, Rose Cotton, Goldberry (Tom Bombadil’s wife), and Ioreth, of whom Lobelia and Ioreth are part comic relief. There are no women members of the Fellowship of the Ring, no Ent Women (though the past existence of Ent wives is acknowledged) and no Orc women. In The Hobbit to the best of my recall there is NO woman character at all. In a way it is extraordinary.

Equally extraordinary in contemporary terms, though less extraordinary in the extremely prudish middle class culture of pre-war England, is the almost complete silence on matters of sex and sexuality. Bilbo and Frodo appear to live their entire lives in celibate bachelorhood (without the least concern). Elrond is at least 4000 years old before he marries and it is then thirty nine years before his sons are born and another 102 years before the birth of Arwen. Aragorn is twenty when he falls in love with Arwen (who is about 2500 and, we are told, a’ maiden’), forty nine when he and Arwen ‘plight their troth’ in Lothlorien, and eighty eight before they are able to marry, until which time we must presume he remains celibate. Now Aragorn has been told that he is due an exceptionally long life span (thrice that of ordinary men) but even so it is something of a tall order. Boromir and Faramir are forty one and thirty six respectively, but both still single, and so on. As Carl Freedman comments, ‘Through three thick volumes, there is, for example, hardly a single important instance of sexual desire’ (Carl Freedman, ‘A Note on Marxism and Fantasy’ op.cit. p.263).

This combination of rarity and absence of sex enables Tolkien to place his main female characters on very high pedestals. Galadriel and Arwen are both wondrously beautiful (‘fair’), dignified, noble and kind. Goldberry, though not developed as a character is clearly cut from the same cloth. Eowyn, from a feminist standpoint the most interesting, is a kind of Joan of Arc figure, until she settles for regal domestic bliss with her second choice, Faramir.

Tolkien’s sexism is of the old fashioned gentlemanly ‘chivalrous’ kind, not the active misogyny found in Ian Fleming or Norman Mailer. There are no wicked women or femme fatales (unless you count Shelob, the female spider) and his very few key characters are certainly not weak or subservient. Galadriel is clearly superior – wiser and stronger – to her husband Celeborn and Eowyn is given one of the most dramatic and heroic moments in the whole of The Lord of the Rings, when, in a straight lift from Shakespeare’s Macbeth, she slays the Lord of the Nazgul.

‘ Hinder me? Thou fool. No living man may hinder me!’ [says the Nazgul as he stands over the fallen Theoden]

Then Merry heard of all sounds in that hour the strangest. It seemed that Dernhelm laughed, and the clear was like the ring of steel, ‘But no living man am I! You look upon a woman. Eowyn I am, Eomund’s daughter. You stand between me and my lord and kin. Begone if you be not deathless! For living or dark undead, I will smite you if you touch him’.

(The Return of the King p.116)

The issue of homophobia does not arise in Tolkien because, of course, there is no such thing as homosexuality in the imaginary world of Middle Earth.

John Molyneux
31 October , 2010

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En marxistisk analys av Tolkien – del 2

Analysen är gjord av den brittiske marxisten John Molyneux som var (är?) medlem i brittiska och irländska SWP. Den är lång, så jag delar upp den på flera inlägg. Detta är det andra. Texten är tagen från Molyneux egen blogg.

Tolkien’s world – a Marxist Analysis, part 2

The World of Middle Earth.

The reason the social relations of Middle Earth are so easily recognised is that they are (with one important exception) essentially feudal. We do not live in a feudal society, but feudalism is the social order that immediately preceded capitalism in Europe, and that existed alongside capitalism in many parts of the world until well into the twentieth century. Moreover, there still survive, even in the twenty first century, hangovers of feudalism such as the British monarchy, aristocracy and the House of Lords. In addition feudal social relations permeate a large part of our classic literature (Shakespeare, Chaucer, Beowulf etc) of our mythology, (the Arthurian legends, Robin Hood etc) and our children’s fairy tales (Jack and the Beanstalk, Sleeping Beauty, Snow White etc).

According to Marx social relations correspond to a certain level of development of the forces of production (technology, plus labour, plus science). The productive forces of Middle Earth are resolutely medieval. Not only are they pre- industrial, they are pre- early modern – no steam engines or power driven machinery, no printing, no transport more advanced than the ship and the horse (except eagles in extremis), importantly no guns or cannon (the only explosions or fireworks are courtesy of wizardry or sorcery). Actually very little attention is paid to production at all. It is clear that Middle Earth is overwhelmingly rural – Minas Tirith in Gondor is the only real city we encounter in the whole epic – and therefore it is more or less assumed that most people are farmers of some sort and not worthy of much mention.

Middle Earth is a world of Kings and Queens, Princes and Princesses, Lords and Ladies. The role of heridity and lineage, of what sociologists call ascribed (as opposed to achieved) status and what in everyday language would be called class, is absolutely overwhelming and completely taken for granted. Almost every single character’s social position and part in the story is determined, in the first instance, by their birth. This applies from the very top to the very bottom, in small matters and large. Why, for example, is Sam Gamgee Frodo’s servant? It is not age – Merry and Pippin are young but from higher families in the Shire social order – it is class. Aragorn, not Boromir or Faramir, is destined to rule Gondor because he is the heir of Isildur, albeit this was 3000 years ago, and has ancestry stretching even further back to Earendil and the Elven kings of the First Age, whereas they are merely sons of a Steward. True, he has to prove himself and win his throne in many battles but his leadership role is predestined. And Aragorn will love and wed Arwen not Eowyn because she is of matching birth – they are repeating the ancient union of Luthien and Beren. Eowyn, who originally loves Aragorn, instead marries Faramir who is of roughly equivalent standing in the Middle Earth hierarchy.

At first glance the central character of Gandalf may appear not to fit this mould in that his lineage is not spelt out in The Lord of the Rings, and that Saruman not Gandalf is at first cast as the senior wizard; moreover wizards do not seem to have a fixed position in the Middle Earth social order (compare the relatively lowly Radagast). But in The Silmarillion, the prequel to the saga of the Rings, which provides a creation myth for Middle Earth and tells the history of its First Age, this gap is filled. Gandalf, we are told, was originally Olorin and a Maiar . The Maiar were the servants of the Valar, the Lords of Arda (guardians of creation made in the beginning by Iluvatar, the One) in Valinor, beyond the confines of the world. Gandalf is thus of higher lineage even than Elrond or Galadriel, but, interestingly, matches that of his two great foes, the Balrog in Moria ( Balrogs were Maiar perverted by Melkor/Morgoth, the fallen Ainur/Valar and Great Enemy) and Sauron, Morgoth’s emissary, just as Frodo’s descent and social status matches that of his nemesis Smeagol/Gollum.

At no point in The Lord of The Rings is this hierarchical social structure subject to any form of critique or challenge, either by an individual character or a collective group, or even implicitly by the logic of the narrative. The history of Middle Earth contains no Wat Tylers, John Lilburnes or Tom Paines. On the contrary acceptance of traditional and inherited authority is invariably a sign of ‘good’ character, resistance to it a sign of siding, or potentially siding, with the enemy. For example one of the things that marks Faramir as the ‘good’ brother in contrast to Boromir, is his more or less instant recognition and acceptance of Aragorn as his ruler.

Indeed, in a parallel with the Christian story of Lucifer the fallen archangel, the origin of all evil in Tolkien’s world is the rebellion against authority of Melkor, the Ainur. In The Silmarillion it is told how at the beginning of creation Iluvatar revealed to the Ainur a ‘mighty theme’ of which they were to ‘make in harmony together a Great Music’.

But now Iluvatar sat and hearkened, and for a great while it seemed good to him, for in the music there were no flaws. But as the theme progressed, it came into the heart of Melkor to interweave matters of his own imagining that were not in accord with the theme of Iluvatar; for he sought therein to increase the power and glory of the part assigned to himself. (The Silmarillion, 1977, p.16)

From this act of insubordination flows all the misfortunes of Arda – the temptation of Feanor, the darkening of Valinor, the great war at the end of the First Age, the fall of Numenor, and the rise of Sauron. Thus from first to last Tolkien’s worldview is imbued with a deep seated respect for traditional authority.

To add to this there runs through the whole saga another hallmark of conservatism, namely the belief that things are not what they used to be, that the world is in decline, and that the old days were finer, nobler, more dignified, more heroic than the present. As Elrond puts it when recounting the mustering of the hosts of Gil-galad and Elendil for the assault on Sauron at the end of the Second Age, ‘I remember well the splendour of their banners … It recalled to me the glory of the Elder Days and the hosts of Beleriand, so many great princes and captains were assembled. And yet not so many, nor so fair [ my emphasis], as when Thangorodrim was broken’. (The Fellowship of the Ring, 1974, p.233)

Finally there is a view of fate, predestination and ‘the will of the Gods’ that is not only pre-modern and pre-enlightment but reminiscent of Ancient Greece and the plays of Aeschylus and Sophocles. When, at the Council of Elrond, Frodo announces that he will undertake the task of taking the Ring to the Cracks of Doom, Elrond says ‘I think this task is appointed for you, Frodo’, and indeed the whole episode has been foretold in lines which came to both Faramir and Boromir in dreams:

Seek for the Sword that was broken:
In Imladris it dwells
There shall be counsels taken
Stronger than Morgul-spells.
There shall be shown a token
That Doom is near at hand,
For Isildur’s Bane shall waken,
And the Halfling forth shall stand.

[The Fellowship of the Ring p.236]

Similarly Smeagol/Gollum is fated ‘to play his part before the end’ – an absolutely crucial part as it turns out – and the various acts of mercy that are shown to him by Gandalf, Aragorn, the Elves of Mirkwood, and Frodo himself all facilitate this predetermined destiny. Predictions and prophesies are scattered throughout the story and they always come true. As in Greek tragedy anyone who attempts to frustrate or avoid their fate merely ends up contributing to its inevitable fulfilment. The centrality of this conception of fate, which turns out ultimately to be the will of God, for Tolkien’s whole vision is made clear by Iluvatar’s response to Melkor’s aforementioned original sin of musical innovation.

Then Iluvatar spoke, and he said: ’Mighty are the Ainur, and mightiest among them is Melkor; but that he may know, and all the Ainur, that I am Iluvatar, those things that ye have sung, I will show them forth, that ye may see what ye have done. And thou, Melkor, shalt see that no theme may be played that hath not its uttermost source in me, nor can any alter the music in my despite. For he that attempteth this shall prove but mine instrument in the devising of things more wonderful, which he himself hath not imagined.’[The Silmarillion p.17]

This view of destiny is highly conservative because it both reflects the fact that human beings are not in control of their society or their own lives (in Marxist terms, alienated and dominated by the products of their own labour) and reinforces the idea that that they can never become so.

John Molyneux
31 October , 2010

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En marxistisk analys av Tolkien – del 1

Den enda ringenAnalysen är gjord av den brittiske marxisten John Molyneux som var (är?) medlem i brittiska och irländska SWP. Den är lång, så jag delar upp den på flera inlägg. Detta är det första. Texten är tagen från Molyneux egen blogg.

Tolkien’s world – a Marxist Analysis, part 1

The writings of J.R.R.Tolkien might seem a somewhat unusual subject for Marxist analysis, and indeed for me. I usually write about visual art or politics rather than literature and when Marxists write about literature they are more likely to focus on issues of method, or on figures from the canon of high culture – Shakespeare, Dickens, Tolstoy etc – or modernism – Kafka, Joyce. Beckett – or with avowed radical politics – Gorky, Brecht, O’Casey, Steinbeck etc. Tolkien fits none of these categories. Indeed he is a writer to whom many Marxists would take an instant dislike, who some would decline to read altogether (as not serious literature) or who, if they did like him, they might be slightly shame -faced about, almost as if they had a private taste for James Bond or Mills and Boon, for if Tolkien is not pulp fiction, he is not quite regarded as high culture either.

Nevertheless there already exists a small body of Marxist writing on Tolkien including several articles in Historical Materialism Volume 10, issue 4 ( Ishay Landa, ‘Slaves of the Ring: Tolkien’s Political Unconscious’, Ben Watson, ‘Fantasy and Judgement: Adorno, Tolkien, Burroughs’, Carl Freedman, ‘A Note on Marxism and Fantasy’). Moreover there is a serious justification for writing seriously about Tolkien; namely, his exceptional popularity and the need to account for that popularity.

This popularity is truly extraordinary. According to Wikipedia The Lord of the Rings, with 150 million sales world wide, is the second best selling novel of all time (after Dickens’ Tale of Two Cities with 200 million) and the seventh best selling book of any kind (after The Bible, Mao’s Little Red Book, The Qu’ran, the Chinese Dictionary etc). It has sold more than The Da Vinci Code and The Catcher in the Rye combined, five times as many as War and Peace or 1984 or To Kill a Mocking Bird and fifteen times as many as Catch 22. The Hobbit, with 100 million sales, comes in fourth among novels and twelfth of all books. To this must be added the fact that The Lord of the Rings: The Return of the King, with takings of $1,119,110,941, was the third highest grossing film of all time, after Avatar and Titanic, with The Lord of the Rings: The Two Towers only just behind.*

Popularity on this scale means that the ideological content of this work is a factor of at least some significance in the consciousness of many millions of people, and thus worthy of analysis.

Moreover this popularity bears with it a conundrum. It is clear that Tolkien’s world view is in many respects right wing and reactionary, but if this is the case how come his work is so popular? Is it despite or because of this reactionary outlook? Or what is the relation between Tolkien’s worldview and his audience? Investigating, and hopefully resolving, this puzzle is one of the main aims of this essay. It also throws up a number of interesting points about history, ideology and art.

When I refer to Tolkien’s worldview, I mean not his personal political opinions but his outlook as embodied in his novels. Although the personal opinions undoubtedly influenced the outlook of the novels, it is the latter, not the former, that matters. The latter has influenced many, many millions; the former are known only to a tiny minority. Moreover, that worldview is expressed primarily not in the details of the plot of either The Hobbit or The Lord of The Rings but in the overall vision of Middle Earth as an imagined society.

The Lord of the Rings is not, in my opinion, an allegory. In this I concur with Tolkien who was most insistent on this point in the Forward to the Second Edition (The Fellowship of the Ring , 1974 pp 8-9) Unlike, say, Animal Farm, which is manifestly an allegory for the Russian Revolution and the rise of Stalin, the story of the war of the rings does not correspond to [still less is it an elaborate code for] the First World War, or The Second World War or any other actual historical episode. **

The real history it most closely resembles is that of the Cold War but we know that it was conceived long before the Cold War began. The plot of The Lord of The Rings therefore, is largely sui generis. The social relations of Middle Earth, however, are not and could not be. It is very easy to imagine futuristic technology – intergalactic spaceships, death stars, transporter beams and the like – and it is relatively easy to imagine strange non-existent creatures – Orcs, Ents, insect people, Cactacae,etc – but it is close to impossible to invent non-existent social relations and the social relations of Middle Earth are readily recognisable.

John Molyneux
31 October , 2010

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* I am well aware that citing Wikipedia is academically disapproved of but in this case it doesn’t matter in the slightest whether these figures are exact and I make no claim for their precise accuracy. They are merely indicative of the vast scale of Tolkien’s popularity and for this purpose Wikipedia seems perfectly adequate.

** Ishay Landa, in his aforementioned ‘Slaves of the Ring: Tolkien’s Political Unconscious’, rejects the term allegory but, in effect, argues that Tolkien’s work is an allegory for, or at least a reflection of, ‘ the crisis of capitalist property relations at the beginning of the twentieth century culminating in the First World War and the Bolshevik revolution’ (p.117). Tolkien, he argues, was ‘deeply aware of the calamitous consequences of imperialism, but at the same time was even more alarmed at the prospect of revolution,’ (p.117) . He sees the goblins/orcs (he quotes The Hobbit) as embodying ‘Tolkien’s underlying terror at the prospect of revolution’ (p.120) , but also that ‘The Ring’s essence is that of global expansion, of unlimited monopoly, of the unquenchable thirst for surplus value’ and that ‘the Ring is capitalism, mythically grasped’(p.124). I find this reading forced and unconvincing but a detailed critique of it would take me too far from the main theme of this article.

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Böcker om marxism och science-fiction

Det finns ett par betydande nutida böcker som diskuterar marxism och science-fiction. Jag har inte läst dem men när jag gjort det ämnar jag återkomma i ämnet. De böcker jag tänker på är Fredric Jamesons Archaeologies of the FutureThe Desire Called Utopia and Other Science Fictions (2005) och Red Planets: Marxism & Science Fiction (2009) med China Miéville och Mark Bould som redaktörer.

Archaelogies of the FutureOm Jamesons bok skriver Matthew Beaumont i vänstertidskriften International Socialism så här:

As its title insists, Archaeologies of the Future represents a self-conscious, and triumphantly self-confident, attempt to find traces of an alternative future that lie embedded in the alienated cultural forms of the present. The first section, an essay on “The Desire Called Utopia”, asks whether culture can be political, “which is to say critical and subversive”, or whether it is instead “necessarily reappropriated and co-opted by the social system of which it is part”. There Fredric Jameson carefully sifts the dialectical relationship of the ideological and the utopian. He insists that, after the convulsive shift signalled by the rise of neoliberalism, “the commitment to imagining possible Utopias as such”, as opposed to the outdated or perhaps simply untimely attempt to create utopian blueprints, is itself potentially emancipatory.

This substantial section of almost 250 pages is written with Jameson’s characteristic skill. Without ever quite losing his exhilarated and finally exhausted reader, he pursues sophisticated and often intricately argued points both across vast tracts of theoretical and historical reflection and through dense though colourful passages of textual analysis. Among the former there is an especially interesting engagement with Theodor Adorno. Among the latter there are fascinating interpretations of utopists, as they are sometimes called, from Thomas More through William Morris to Stanislaw Lem.

This utopian corpus is elaborated and further explored in the second section of Archaeologies of the Future, entitled “As Far as Thought Can Reach”. Most of its chapters have in fact been published previously, but this book makes readily available for the first time a pioneering body of criticism on science fiction and related forms—most of them originally published in comparatively specialist journals, such as Science Fiction Studies—over the past 35 years.

There are fascinating articles in this section on Brian Aldiss, Ursula Le Guin, Philip K Dick and others, all of them in some respect illustrative of the provocative but convincing claim that science fiction’s “deepest vocation is to bring home, in local and determinate ways and with a fullness of concrete detail, our constitutional inability to imagine Utopia itself”. The name of this “constitutional inability to imagine Utopia” is ideology. So imagining the unimaginable Utopia is, according to Jameson, an attempt to traverse the limits of ideology—like a spaceship struggling to escape a planet’s gravitational pull.

Jameson proceeds according to the principle that “the ostensible content, the manifest topic or subject matter, always masks a deeper one of an entirely different nature”. So in an essay on George Bernard Shaw’s Back to Methuselah (1921), which he provocatively couples with Robert A Heinlein’s Time Enough for Love (1973), Jameson interprets “Longevity as Class Struggle” and argues that utopian or dystopian representations of immortality are a displaced image of the class conflicts that create social contradictions in the present and that demand to be resolved collectively in the future.

Science fiction is thus for Jameson a privileged literary genre, one that has assumed the role that the historical novel played in the 19th century, because the attempt to represent society as a totality is absolutely structural to its narrative form. For the benefit of “outsiders to SF”, he emphasises that “the unique new possibilities of this representational discourse…are social, political and historical far more than they are technological or narrowly scientific”.

Red PlanetsPaul Kincaid skriver på SF-sajten SF-site om Red Planets:

Marxist thought in turn informed much of the science fiction being written, writers from Wells to the Futurians were on the political left. And from the 1970s onwards, Marxist theory became almost the default academic approach to the study of science fiction, building primarily on Darko Suvin’s notions of cognitive estrangement and the novum, ideas that are only now coming in for revision in, for example, The Seven Beauties of Science Fiction by Istvan Csicsery-Ronay Jr.

Marxist theory has been incredibly productive and valuable in the study of sf, but I have never been totally comfortable with it. For a start, as this volume demonstrates, it can be authoritarian. It is authoritarian in the obvious sense that these essays constantly appeal to authority. Names like Adorno, Benjamin, Jameson and Zizek litter the book not to raise debate but to settle it. The only time that the inarguable authority of these giant figures is disputed comes towards the end of the volume, when Althusser is pitted against Jameson (in ’Towards a Revolutionary Science Fiction: Althusser’s Critique of Historicity’ by Darren Jorgensen) and Raymond Williams is pitted against Suvin (’Utopia and Science Fiction Revisited’ by Andrew Milner); though this does no more than measure one giant authority figure against another.

It is authoritarian in other senses also. It uses a language that, in effect if not necessarily in intent, excludes many potential readers. Thus, in one of the less cluttered sentences in the entire book, Jorgensen argues:

”Jameson defers to history as the ground of his analysis while discursively constructing this history, relying on texts to construct that which is also a material horizon for the production of meaning.”

This is plain English, the words used are common and familiar, it is not an exercise in jargon, yet the sentence itself is virtually impenetrable. I have read it several times, I think I know what Jorgensen is saying, though I have still got to determine the rhetorical point in the precise placing of some of these words. Elsewhere, the specific language of Marxist theory makes many sentences in every one of the essays collected here even less plain. In other words, you have to learn Marxist theory in order to read Marxist theory, which seems to the outsider at least a recursive exercise in elitism.

And it is authoritarian in the way that, once an idea is ”theorized” (a favourite word of all the contributors), it becomes retrospectively true. This particular take on the history of ideas, for instance, allows William J. Burling (’Art as ”The Basic Technique of Life”: Utopian Art and Art in Utopia in The Dispossessed and Blue Mars’) to castigate Ursula K. Le Guin for failing, in her 1974 novel, to accommodate theories of art first formulated in 1978, and Rob Latham (’The Urban Question in New Wave SF’) to compare and contrast stories by Thomas M. Disch first written in the late 1960s with Marxist urban theories first formulated around 1975 as if they were exact contemporaries. This is not a value judgement on my part, I happen to consider the Burling one of the weakest essays in the book and the Latham one of the best, but it is a comment on the way theory is dominant. In a work that supposedly puts Marxist theory and science fiction on an equal footing, the contributors refer to many more theorists than they do sf writers. And, indeed, however radical their take on theory, their views of science fiction tend to be conventional; no-one seems to imagine any earlier work of sf than Frankenstein, no-one seeks to place science fiction within a spectrum of the fantastic (indeed all seem to regard sf as fully definable, even if they don’t all conform to Suvin’s definition), no-one cites an sf film more recent than The Matrix.

[…]

Not surprisingly, those essays which engage with specific works seem to have the most focussed and therefore the most interesting things to say: Phillip Wegner’s analysis of Ken MacLeod’s Fall Revolution quartet (and the internecine warfare between factions of the left familiar from so many of MacLeod’s stories are a good way of approaching the theory wars that seem to be glimpsed from the corner of the eye so often in this collection); Rob Latham on Disch; Steven Shaviro on Charles Stross’s Accelerando. Among the essays on film (Carl Freedman very readably comparing science fiction and film noir, John Rieder on Until the End of the World by Wim Wenders) the one that stood out for me was ’”Madonna in moon rocket with breeches”: Weimar SF Film Criticism during the Stabilisation Period’ which examines contemporary leftist film criticism of Lang’s Frau im Mond, perhaps because this is a topic I know little about.

In the end, though, and perhaps perversely given what I have said so far, the essay I most engaged with was ’Utopia and Science Fiction Revisited’ by Andrew Milner, one of the more heavily theoretical of the contributions. It uses the work of Raymond Williams to offer a contrast to Suvin’s definition of science fiction, approaching it primarily from the position that utopian literature is separate from science fiction. I don’t agree with much of what Milner has to say, I think he is too wedded to the notion that there is a hard and fast definition of science fiction that clearly differentiates it from other forms of the fantastic, a position that I believe to be increasingly difficult to sustain. Nevertheless, it is a good essay to disagree with because it is well argued and does offer an insightful way of approaching the genre.

Även på andra håll har dessa två böcker berörts, hanterats, recenserats, ofta kritiskt eller mycket kritiskt: Monthly Review, MUSE1, 2Reviews in Cultural Theory, Historical Materialism, Kasama, THE, Marx & Philosophy, Goodreads1, 2Google1, 2, Politics and Culture, Posthuman Destinies, The Future – a Rough Guide, Cosmos & History, Charles LaBelle, Paris Review, Oxford Journals, Locus Online,

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