I added several best science fiction book lists to our database of citations. See the List of Lists to see the kind of lists we use. The new lists were from 2022, 2023, and even a few from 2024. Whenever I do this, some titles reach a total of 12 citations. We call all forms of lists citations. 12 citations is the minimum number for getting on the Classics of Science Fiction List v. 5. Before I started there were 127 titles on the list, now there are 137. With version 5 of the list, an online database, I can add new lists anytime and the totals are recalculated. If any book reaches 12 citations, it automatically gets on the list.
This is how newer books eventually get remembered and recognized. We now have two titles from 2014, the most recently published on the list. That suggests it takes about a decade to be remembered well enough to make it to the Classics of Science Fiction List. Here are the new titles with links to Wikipedia in case you want to know more about them:
If you look at the Classics of Science Fiction List, be sure to click on the citation number to show where the citations come from. Or you can click on “Show Citations” at the top of the list to see the citations for all the books. The CSF list has been in production since 1989. See our About page.
It’s interesting that only one old novel finally made it onto the list, Hothouse by Brian W. Aldiss. The YouTube book reviewer Bookpilled put it on his “15 Best Sci-Fi Books I’ve Ever Read” video. That one citation was all Hothouse needed. Bookpilled is my favorite YouTube reviewer. He’s young, but he’s quickly reading all the classics of science fiction and he’s very discerning about what are still credible reads today.
I try to use only lists created by people who are well read in science fiction, or lists made from polls. Younger readers tend to know the most recent books or the most famous science fiction books of all time. So, when I add new lists, the standard classics get more citations, while some newer titles get more recognition. For example, The Left Hand of Darkness now has 52 citations, the most of any title.
Of the ten new titles, I haven’t read Oryx and Crake or Blindsight. That increases my list of books I need to finish reading the entire list. My TBR of CSF now includes the titles below. Their current number of total citations is in brackets.
We’ve been without our connection to the internet for ten days now, and it will be many more before we are reconnected. I type this with one finger on my iPhone.
I’ve been sidetracked from my reviewing projects, making me restless. Living without the internet is revealing, reminding me of life back in the 1980s, but it also shows just how much I depend on high-speed internet in my daily living.
I can’t pursue my social media activities, stream TV, music, audio books, or chat with Alexa. I’m cut off from my security cameras, printer, and cloud storage. My tablets are useless. I can write with Word like it’s 1989 but the results just sit on the hard drive.
I can turn on a Wi-Fi hotspot on my phone, but the one bar service only lets Microsoft Edge run in an unusable slow mode. There are so many background processes going on in a modern computer that they need high speed internet to function.
I’m left feeling restless. I would be feeling much worse if I didn’t have my iPhone. This experience has shown me that I’ve built a life around being connected. But it also makes me wonder if I shouldn’t reevaluate how I live.
I grew up addicted to television and now I’m also addicted to computers and the internet. We’re evolving towards a hive mind. The second AT&T repairman who came to the house told me he likes living in the country and getting away from computers and networks. I don’t know if I could do that anymore.
You’d think I’d just read books, but my feelings of Internet withdrawal won’t let me. I wonder how long it will take to get over that. Could I ever go back to living like we did in the 1980s, or 1970s?
I’m trying to imagine a society where the only people you talk to must be in the same room. It boggles my mind.
Just imagine living without smartphones! Or even cellphones. I’ve tried watching over the air TV but it’s abysmal. I’m back to playing CDs and DVDs, but it’s so damn restrictive. I wonder what life would be like if I was limited to vinyl, paperbacks, newspapers, and TV from an antenna. Hell — thing about going back to typewriters!!!
They say you don’t know what you miss until it’s gone. Damn, those old sayings can be painfully true.
“Nine Lives” by Ursula K. Le Guin is story #31 of 52 from The World Treasury of Science Fiction edited by David G. Hartwell (1989), an anthology my short story club is group reading. Stories are discussed on Tuesdays, Thursdays, and Saturdays. “Nine Lives” was first published in Playboy (November 1969). This story has been reprinted an amazing number of times, and translated into several languages. And it has 13 citations in the CSFquery database.
“Nine Lives” is about two experienced planetary explorers, Martin and Pugh stationed at the Libra Exploratory Mission Base who are about to be relieved. Before they can, they must help a new crew from the Passerine, and Exploit Team, settle in to start mining the planet. Martin and Pugh are surprised when the mining crew turns out to be a 10-person clone — five men and five women. The clones look very much alike, work and play together as a tight unit, and pretty much ignore the old-timers. Then there is an accident, and 9 of the 10 clones are killed. The story is about the singleton struggling to survive as an individual.
Strangely, Le Guin uses up most characterization development on Martin and Pugh. I was hoping to know more about being a clone, instead, it’s really Martin and Pugh’s story.
“Nine Lives” is well done but it didn’t have the impact for me that “The Ones Who Walk Away From Omelas” or even “The Day Before the Revolution” or “Vaster Than Empires and More Slow” did. I’m used to Le Guin making a big social, political, or philosophical statement, and I just didn’t get one from “Nine Lives.”
I guess we’re supposed to contemplate the idea of clones, and in particular, the idea of a clone group. Clones don’t interest me. A DNA replica won’t be a replica of a person. I suppose ten cloned brothers and sisters should be more interesting than the Dionne quintuplets but I didn’t find that so.
I tried to imagine living with nine copies of myself and that produced a very weird sensation. Maybe I need to think about that for a while to really get into the story. In “Nine Lives” the ten clones form a utopian relationship. I’m not sure I’d get along so well with people like me.
There’s another story that explores this idea in a variant way, The Man Who Folded Himself by David Gerrold. It’s about a time traveler who gets together with different versions of himself. In both stories, all the selves get along, but I don’t know if that would be true. I might bring out the worst in myself. I’m pretty sure my wife wouldn’t want ten of me.
However, as a kid, I always wished I had been a twin. I wonder if “Nine Lines” would have had a greater emotional impact on me if there had only been two clones. It’s logical to have ten for a group of workers, but it would have been easier to relate to if the story was only about a pair. And in the story, the clones tended to pair off and work together.
David Hartwell liked “Nine Lives” so much that he included it in another one of his giant retrospective anthologies of science fiction, The Ascent of Wonder.
I think this story is for people who wish they had more friends like themselves.
“The Golem” by Avram Davidson is story #8 of 52 from the anthology The World Treasury of Science Fiction edited by David G. Hartwell (1989) that my short story club is group reading. Stories are discussed on Tuesdays, Thursdays, and Saturdays. “The Golem” was first published in the March 1955 issue of The Magazine of Fantasy and Science Fiction.
You can read or listen to “The Golem” online here.
Avram Davidson (1923-1993) uses his own childhood pop culture references to get us to visualize the setting “The Golem” at the beginning of this 1955 story:
Anyone who attended the movies in the twenties or the early thirties has seen that street a thousand times. Past these bungalows with their half-double roofs, Edmund Lowe walked arm-in-arm with Leatrice Joy, and Harold Lloyd was chased by Chinamen waving hatchets. Under these squamous palm trees Laurel kicked Hardy and Woolsey beat Wheeler upon the head with a codfish. Across these pocket-handkerchief-sized lawns, the juveniles of the Our Gang comedies pursued one another and were pursued by angry fat men in golf knickers. On this same street—or perhaps on some other one of five hundred streets exactly like it.
And he does the same thing at the end:
Presently the sound of the lawnmower whirred through the quiet air in the street just like the street where Jackie Cooper shed huge tears on Wallace Beery’s shirt and Chester Conklin rolled his eyes at Marie Dressler.
I assume that Davidson was nostalgic for the films he saw as a kid in the 1920s and 1930s but how many readers today will know them? I was familiar with all those names and images, but his story keyed in another era for me, the late 1950s and The Twilight Zone. I visualized Mr. and Mrs. Gumbeiner, an old Jewish couple sitting on their porch with their uninvited Golem guest as one of the comic episodes of that classic TV show.
The tone of the story reminded me of Ray Bradbury, Charles Beaumont, and Richard Matheson, so in 1955, Avram Davidson was ahead of his times — by four years.
Of course, in 2023 we’re starting to get worried about AI and real robots while science fiction readers are still enchanted by stories about friendly androids, cute robots, or sexy sexbots. So I assume modern readers could still be enchanted by this quaint old-fashion story. It’s the kind of Jewish comedy schtick that was once very popular, but I wonder if modern readers concerned with cultural correctness might consider it a stereotype? Essentially, “The Golem” is a time capsule of history, that mixes 1955 science fiction with Jewish folklore while asking us to remember old Hollywood films that kids loved twenty and thirty years earlier.
It’s interesting that David Hartwell included “The Golem” in The World Treasury of Science Fiction. How many stories in that anthology are there because of Hartwell’s own nostalgia? Other editors have loved this story too, just look at the long list of reprints it’s gotten over the last several decades.
However, even though I enjoyed this little blast from the past, I have to wonder if its storytelling hasn’t become too quaint for modern readers. Right after reading it, I started listening to “The Affinity Charm” by Jennifer Egan, the first story in her fix-novel The Candy House. The setting for that story is an apartment where people have gathered after a lecture to discuss what everyone thought. Egan presents a diverse group of intellectuals all arguing from different academic perspectives. To these modern sophisticates, “The Golem” would be an overly simplistic tale they’d quickly dismiss. I wonder if even uneducated young people today would be too sophisticated intellectually to enjoy this story?
I only considered “The Golem” mildly entertaining, mostly for its nostalgia. But then I can remember 1955. How will people born after 1985 or 1995 see it? Hartwell’s anthology came out in 1989, and I’m starting to wonder from its first eight stories if it isn’t already a relic of the past?
Starting in 1950, Heinlein’s short stories were collected into several regular-sized collections as his career progressed. Then in 1967, he published his first super-collection, The Past Through Tomorrow. That single volume assembled nearly all of his Future History stories into one big book. It’s been reprinted a number of times, sometimes as a two-volume paperback. They are all out of print at the moment, and the various hardback and SFBC editions can sometimes be rather expensive to buy used. However, until someone publishes a well-considered Best of Robert A. Heinlein collection, The Past Through Tomorrow is the best single-volume collection of his short stories.
One of the most interesting of The Past Through Tomorrow reprints was from Gateway/Orion because it included the stories “Let There Be Light,” “Universe,” and “Common Sense,” three titles in the Future History series left out of the original hardback. There was even an ebook edition from that publisher, so you were lucky if you snagged it when it was in print. Not only does it seem to be the only complete version of the Future History stories according to ISFDB, but the stories are ordered by how they were set in Heinlein’s imaginary future. I’d love a great audiobook edition of this super-collection.
However, this still out leaves many of Heinlein’s most famous stories. Heinlein’s next super-collection came out in 1980, Expanded Universe: The New Worlds of Robert A. Heinlein. I don’t recommend readers new to Heinlein buying this volume. It’s mostly rarely reprinted stories along with some obscure essays and trunk stories. Perfect for the hardcore Heinlein fan, but it will probably be disappointing to average readers. Nor do I recommend new readers buy Requiem: New Collected Works by Robert A. Heinlein and Tributes to the Grand Master which came out in 1992, four years after Heinlein died. It does have some nice rare selections for the devoted Heinlein fan, but nothing that would impress a reader new to Heinlein. It does contain tributes by writers who loved Heinlein.
The next super-collection that contains good to great stories is The Fantasies of Robert A. Heinlein, which came out in 1999. Again, out of print, but it contains some of Heinlein’s best stories and is the perfect supplement to The Past Through Tomorrow.
The last super-collection is Off the Main Sequence: The Other Science Fiction Stories of Robert A. Heinlein. It was from the Science Fiction Book Club in 2005. The goal of the collection was to collect stories left out of The Past Through Tomorrow and other odds and ends that haven’t been well collected or anthologized. Again, I don’t recommend this volume for new Heinlein readers.
If you like what you read in The Past Through Tomorrow and The Fantasies of Robert A. Heinlein then I’d recommend tracking down a used copy of Off the Main Sequence. However, it might be easier to buy Heinlein’s original collection Assignment in Eternity that’s still in print to get “Jerry Was a Man,” which is a good story, “Gulf” which is an infamous story that I particularly dislike, and two rather bizarre stories “Elsewhen,” and “Lost Legacy.” But we’re treading into hardcore fan territory here.
Heinlein’s original collections seem to stay in print, in one form or another, and if you buy all of them, along with Methuselah’s Children you can mostly reassemble The Past Through Tomorrow. Here are their original covers:
In 1939 Heinlein wrote several stories that were rejected by John W. Campbell. Heinlein wanted to save his name for stories appearing in Astounding and invented pen names for “lesser” publications. I think that was a bad idea. He sold “Let There Be Light” to Frederik Pohl for Super Science Stories and it was run under the Lyle Monroe byline. But if you look at the table of contents below, you’ll see that L. Sprague de Camp and P. Schuyler Miller weren’t protecting their Astounding reputations.
Heinlein should have used his own name for all of his stories. It would have helped out the smaller markets. Frederik Pohl practically begged Heinlein to let him publish it under his real name. Heinlein evidently felt anything Campbell rejected wasn’t first-class and he didn’t want his name associated with such stories. Heinlein obviously wanted to shape his public persona. Doesn’t that reveal a kind of egotism that disassociates flaws from their self-identity? Heinlein is perfect. Who knows who those other guys are?
Even when Campbell published two stories by Heinlein in a single issue he should have put Heinlein’s own name on them. Heinlein would have been an even greater phenomenon than he was, even with his flawed stories. Using all those names split up his reputation and momentum. And Heinlein shouldn’t have assumed Campbell was the arbiter of quality in science fiction.
“Let There Be Light” opens with Dr. Archibald Douglas getting a telegram from Dr. M. L. Martin. Martin informs Douglas “ARRIVING CITY LATE TODAY STOP DESIRE CONFERENCE COLD LIGHT YOUR LABORATORY TEN PM.” Douglas is affronted at the presumption that an unknown character could barge into his lab. Douglas consults Who’s Who in Science, and discovers Martin has a string of degrees and many prestige appointments and papers but is a biologist. Douglas figured a biologist cannot possibly connect to his work in physics.
When Douglas finally meets Martin, M. L. turns out to be Mary Lou, and she’s a beautiful young blonde. This is rather amusing since Heinlein makes all beautiful women redheads after he marries his third wife Virginia. In the 1940 magazine version, Mary Lou is compared to Sally Rand, who Heinlein and his wife Leslyn knew. In the 1950 book version, she’s compared to Marilyn Monroe. I’m surprised he didn’t switch it to a famous redhead. And Mary Lou can’t believe Archie is Dr. Douglas because he looks like a gangster. In the 1940 version, he’s compared to George Raft, but in the book version, no person is mentioned.
Heinlein did some other minor tweaking to the story when it was reprinted in book form. Strangely, the magazine version used the word hell frequently, and I think a damn was in there too, and Heinlein removed them. He also took out some of the gooiest of the sweet talk.
“Let There Be Light” turns into an invention story, but instead of featuring a mad scientist, Heinlein gives us two movie star lookalikes whose dialog sounds like it was written for a 1930s Warner Brothers picture. There’s a fair amount of scientific infodumping which lets the couple invent lighting that sounds like the LED overhead panel in my kitchen, and then solar panels. Of course, this isn’t much of a plot, so Heinlein throws in the conflict of evil corporations keeping innovative inventions off the market to protect the economics of older technology. That’s still not much of a plot.
Heinlein had spent years involved with California politics and was still griping about corruption. Even in the 1960s, I used to hear stories, often from my uncles, about how inventions were kept off the market, such as car engines that could get 200 miles to the gallon. There have always been conspiracy stories. Heinlein expresses other leftist ideas in the story too.
According to William Patterson, “Let There Be Light” was originally titled “Prometheus ‘Carries the Torch'” and it was also rejected by Thrilling Wonder Stories.
“Let There Be Light” isn’t a particularly good story. Its pluses, at least for us today, is it features a positive role for a female character. And it predicts solar power. So why did Campbell reject it? Patterson quotes Campbell’s rejection letter to Heinlein:
So Campbell is afraid of brainy women? That could explain a lot about Astounding/Analog. Heinlein loved brainy women, Leslyn and Virginia proved it. It’s just a shame he couldn’t write better dialogue when it came to men and women. It often seemed like poor dialogue cribbed from B-movie screwball comedies, and in his later novels, flirty dialogue sounded like a twelve-year-old girl trying to write a grownup romance after studying porn films.
Still, I enjoyed the story. It has no lasting value. We can stick a star on it for having a smart woman character, and another for predicting the solar energy industry. But that’s hardly enough to make it a good story for modern readers. Heinlein should have published it with his own name. He should have owned up to it. No one expects a writer to hit one out of the park every time they’re up to bat. And isn’t it odd that he wouldn’t put his name on it in 1940 for a magazine that few people would read, but would admit paternity when it came to a hardback publication in 1950?
Heinlein wasn’t the only contributor showing powerful women, the cover artist paints a fully-clothed woman shooting a BEM.
J. G. Ballard made his science fiction debut in two magazines, New Worlds Science Fiction and Science Fantasy, both dated December 1956. These are the first two stories in The Complete Stories of J. G. Ballard which I just began listening to on audio. You can borrow a copy of the scanned hardback from the Internet Archive for one hour here. Amazon has a Kindle edition for just under $15. Or you can read “Prima Belladonna” online here, and listen to “Escapement” here. Links to radio and film versions are here.
New Worlds also profiled Ballard on the inside front cover.
Ballard’s story for New Worlds, “Escapement” was a very early time loop tale. “Prima Belladonna” in Science Fantasy was Ballard’s first Vermillion Sands story. Both stories were well-written and entertaining and both struck me as pure storytelling. No message, no theme, no psychological insights. As far as I could tell, neither had a point other than being an interesting story.
I was completely satisfied with both short stories, but I wondered if I should dismiss them for having no depth? Right after reading those stories, I read “The Cinderella Machine” by Michael G. Coney, first published in F&SF (Aug. 1976). It reminded me of a Vermillion Sands story. I checked and Coney is a British writer from Ballard’s generation. It too was a pure story. I wondered if Coney had been inspired by Ballard, or if writers from that generation just tended to write those kind of stories.
I suppose in each of these stories I could dig around and find something insightful or meaningful about them, but they seemed complete and self-contained, so why bother? I feel little need to describing these stories because the very act of reading them are what they are about. “Prima Belladonna” and “The Cinderella Machine” are set in artist colonies, featuring a striking women character who is not necessarily nice, and both include an exotic science fictional creature. “Escapement” is about a man who can’t understand why his wife doesn’t notice technical difficulties in the television show they are watching.
I could say Ballard and Coney are expressing some science fictional ideas. These ideas aren’t meaningful, or significant, or even insightful. They are just some weird creative shit that both authors thought up.
All the best stories are stories that feature solid storytelling. But it seems to me, all great stories go one step further. A perfect example is Bob Shaw’s “The Light of Other Days.” It’s a solid story. It has a science fiction invention. But it’s deeply moving. You can listen to it here.
Ballard’s and Coney’s stories lack the moving part. Does that mean they can never be 5-star stories? I consider “Escapement” a three-star plus story. I consider “Belladonna” and “The Cinderella Machine” to be just squeaking by four-star stories. By the way, I give stories I believe are well-written and professional three stars. If I like them a lot, I add a plus. Four-star stories are ones I look forward to reading again. Five-star stories are classics that will stand the test of time, and are often ones I’ve read several times over my lifetime.
I really admire pure story stories. I just don’t know if I should recommend them to other people.
I do know one thing though. I’d rather read a good pure story without depth than a poorly told story that tries to be deep.
I’ve been reading recursive science fiction lately, and one of the most famous recursive science fiction stories is Barry N. Malzberg’s “A Galaxy Called Rome.” Recursive science fiction is science fiction about science fiction. Sometimes this is a story that mentions science fiction, sometimes it’s a story about science fiction writers, their fans, and science fiction conventions, and sometimes it’s in-jokes about the genre, other times recursive science fiction is about the writing of science fiction, and that’s the case with “A Galaxy Called Rome.”
Malzberg is known for his recursive science fiction, especially since he seems to have experienced a great deal of existential angst over being a science fiction writer. NESFA even came out with a collection of his recursive SF called The Passage of the Light: The Recursive Science Fiction of Barry N. Malzberg.
“A Galaxy Called Rome” is a novelette composed of 14 short chapters. It first appeared in the July 1975 issue of F&SF and has been anthologized a number of times. It is probably Malzberg’s most famous work of short science fiction.
Malzberg expanded the same story into 49 chapters for a 1975 short novel version retitled Galaxies. Malzberg gained attention for a handful of science fiction novels in the first half of the 1970s. He won the John W. Campbell Award for Beyond Apollo but got a fair amount of recognition for Galaxies, The Falling Astronauts, and Herovit’s World. He went on to publish prolifically in and outside of the genre
“A Galaxy Called Rome” and Galaxies are also works of what the literary world calls metafiction – fiction about fiction. I prefer the novelette version of the story because the novelette is my favorite length for science fiction. However, the longer version of the story, Galaxies, lets Malzberg dig deeper into the nature of writing science fiction.
I want to recommend this story, but with carefully considered restrictions. If you read science fiction for escape this story isn’t for you. Well, if you want to know why you read science fiction for escape, then you might want to read it. This story is for people who like to intellectually examine everything and take things apart. This story is for readers who love academic exercises in cleverness. This story is for readers who want to know how magic tricks work.
I alternated reading Galaxies with listening to Red Rising by Pierce Brown. It was an excellent contrast. Red Rising is exactly what most science fiction readers want to read. The story immediately sucks the reader into a fantasy reality. It’s designed for your mind to forget the real world and immerse yourself in a fantasy about Mars. The reader is expected to buy into its make-believe. Galaxies on the other hand constantly remind the reader of our reality while describing how a science fiction writer goes about their business of fooling the reader.
Reading “A Galaxy Called Rome” or Galaxies could ruin your love of science fiction. Or it could make you appreciate escapist literature all the more. I know when I would switch to Red Rising after reading a dozen chapters of Galaxies I felt like that guy in The Matrix, Cypher, who wanted to take the blue pill and enjoy the juicy steak. And that might be a good analogy. Reading Malzberg is like taking the red pill and seeing an ugly reality. It might be philosophically enlightening to know the realness of reality, but it’s still grim and gritty.
This is probably why Malzberg never became a popular sci-fi writer, he was too hung up on reality. Most of the recursive science fiction I read in Inside the Funhouse was big fun. Recursive science fiction comes in many flavors but they can be roughly divided into two kinds. One kind celebrates our addiction, and the other makes you feel like you’re withdrawing from heroin. Reading “A Galaxy Called Rome” is like learning about Santa Claus as a kid, it hurts but makes you feel grown up. Reading Galaxies can feel like the agony of soul searching before deciding on becoming an atheist.
I ended up highlighting almost ten percent of Galaxies when reading the Kindle version. I won’t show all these quotes because that would probably be a copyright violation, but I do want to show enough of them to give people a chance to understand what Malzberg is doing. Malzberg is very open and straightforward with his intentions as stated in this first section.
It’s rather interesting that Malzberg tells us how the idea of the story within a story came to him. Well, the idea for the story he’s going to use to discuss writing. In the course of reading a novel about writing a novel, we will develop a whole story with characters, setting, plot, and conflict. However, we won’t experience that story like we normally do. Imagine being served a meal and instead of enjoying eating it, we put it under scientific analysis.
One thing Malzberg doesn’t do is try to imagine what we readers think while reading all of this. We readers are also part of the process. As I read Galaxies I got the idea that Malzberg both loved and hated science fiction. I got the impression he wanted to be a respected writer of hard SF, but his sense of reality conflicted with the fantasy nature of writing escapist literature.
These early sections are quite seductive, but I must warn anyone considering buying Galaxies that the going will get tough. “A Galaxy Called Rome” is the light fluffy version to read for those who aren’t ready to climb a mountain. Even though Galaxies is only 154 pages long, it’s a Ph.D. dissertation on deconstructing science fiction novel writing.
The story within this novel is about Lena Thomas who is the only living crew member of an FTL spaceship, Skipstone, that carries a cargo of 515 dead people in cryonic suspension. The year is 3902. Like in Heinlein’s novel, The Door Into Summer, rich people with diseases invest their estates and freeze their bodies in the hopes of one day being revived and cured. Those estates pay for the development of interstellar travel. Those dead people will eventually communicate with Lena like the dead in PKD’s Ubik when Lena and the Skipstone get trapped in the black galaxy. This allows Malzberg to explore metaphysical and religious themes in writing a novel. The ship also has robots programmed with human minds that help Malzberg explore other science fictional themes. His story notes get more and more extensive while getting more and more complicated. This also allows Malzberg to show how worldbuilding and plotting are developed as a writer tells their story.
Malzberg uses all this exploration in writing a science fiction novel to also speculate about the future. He imagines our civilization collapsing and being completely forgotten and a new world civilization rising in the following nineteen centuries. Malzberg imagines we’ll face limitations we can’t overcome and wild possibilities that far exceed today’s limitations.
Much of this novel is about being a writer, and specifically a writer of science fiction. You get hints along the way that Malzberg might be jealous of famous literary writers like Cheever and Updike, at other times you might feel his resentment at not being more successful at being a science fiction writer. But Malzberg is confident of his own gifts too.
In some of the actual passages of the novel, the dialog reminds me of Sheckley or Adams, or maybe even PKD, and even then Malzberg keeps making digs at science fiction.
Over time, the conflicts Malzberg provides for Lena’s story become repetitious. He knows he’s padding this novel, and even talks about how writers do pad their novels. The second half of Lena’s story becomes one long dark night of her soul struggling to escape the black galaxy. I have to wonder if such soul searching also plagues Malzberg.
Eventually, you wonder if Malzberg can find an ending to Lena’s story. Chapter after chapter he tortures the poor woman, and we can’t imagine any possible happy ending. Yet, Malzberg gives us a very strange ending that I was quite happy to read. I guess he took pity on us.
Reading Galaxies makes me doubt reading science fiction, but then I’ve doubted my addiction to our genre for decades. As a young person back in the 1960s and 1970s I thought science fiction was a wonderful tool for thinking about all the possibilities of the future, both good and bad. But after living to the year 2022, which was a very futuristic sounding year back in 1965, I know the future is everything we never imagined.
Contrasting Galaxies with Red Rising it’s quite obvious that science fiction’s purpose is escape. And the genius of writing science fiction is creating stories set in fictional worlds that are so compelling we forget this one. By Malzberg intruding into his novel and telling us everything only shows we don’t want the author intruding into our stories. Some philosophers have speculated that God invented our reality and walked away from his creation and that’s a great thing. That knowing God’s intention would ruin his/her/its art. I always felt Heinlein destroyed his career after he started poking his nose into his stories.
“A Galaxy Called Rome” and Galaxies were written as the New Wave in science fiction was fading and postmodernism fiction in the literary world was becoming old hat. It was an impressive experiment of the times, but as far as I know, readers have lost interest in such experiments. The Post Moderns of our times demand wokeness in fiction but not the metafictional kind. If anything, modern SF readers want longer voyages of fictional escape with far greater feats of worldbuilding.
It would be interesting to see someone write a version of Galaxies today that reveals what today’s SF writers go through to entertain their readers in the 2020s.
I just finished watching the eight episodes of the first season of Night Sky on Amazon Prime. Like the little dumpy lady from that famous Wendy’s commercial, I kept asking “Where’s the science fiction?” Don’t get me wrong, I loved the story, well most of it, well the Sissy Spacek and J. K. Simmons storyline. And yes, the show does feature an interstellar portal system so it’s obviously science fiction, but is it really?
The main storyline focuses on Irene and Franklin York, a couple in their seventies coping with growing old and becoming less capable of taking care of themselves. I completely identify with their situation. For decades Irene and Franklin have made over 800 visits to a distant star system to view the landscape from a panoramic window of an interstellar transporter. They have always been afraid to leave the transporter room, so they just enjoy the view. We learn all of this fairly quickly in the first episode.
Then the story shifts to their mundane problems. The heart of the series is the married couple’s relationship, but their story is complicated by other users of the transporter system. I shall not mention them specifically because I don’t want to spoil the show for you. At first, I thought the show was going to be like Clifford Simak’s novel, Way Station. Or maybe a bit like Frederik Pohl’s Gateway. Night Sky does include elements of both, but only barely.
As the show picks up the action becomes a boring thriller. People are being chased and killed. We get a heavy that can kill a person by snapping their neck – boy that sure has become cliche. There are two mysterious factions that use the transporters, neither of which are aliens. The first season seems to be setting things up for the real action that will unfold in the second season.
But here’s my gripe. Science fiction is more than an interstellar transporter and a distant world. Real science fiction speculates about possibilities. It speculates about the possibilities of technology. It speculates about the future, either by extrapolating current trends or imagining new possibilities. It speculates about how stories are told. It plays with ideas. The best science fiction gives us something new to think about.
Science fiction is not good guys being chased by bad guys even if they use matter transporters. Irene and Franklin sat on their secret for twenty years because they didn’t want their lives ruined or have their home taken away. That was selfish. And they never used this wonderful gift other than to get out of the house on some evenings. That’s poor speculation by the writers. Real science fiction would have imagined how it would have changed their lives like Simak did in Way Station.
I often find modern science fiction missing the science fiction. Oh sure, modern science fiction loves the trappings of science fiction, the well-worn settings and themes of old science fiction, but it seldom tries to imagine new science fictional speculations.
Think about all the possibilities Irene and Franklin could have experienced with an interstellar transporter, especially ones that would have been realistically meaningful to a couple in their seventies. Something that went beyond the old movie Cocoon. And especially something that didn’t involve guys with guns. Guns have become such an integral element in our movies and television plots, and that has become so fucking boring.
A story about Irene and Franklin York finding an interstellar transporter has so much damn potential that it seems like a tragic waste to turn it into good guys versus a bad guys plot.
Real science fiction imagines something new. I miss that in science fiction. That’s why I ask, where’s the science fiction.
Several health issues have kept me from blogging and that’s annoying. I’ve gotten old and can’t do a lot of what I once could do, but I didn’t expect to be shut out of blogging. I have back problems and sometimes it keeps me from sitting at the computer. I’m writing this in a recliner on an old Chromebook. I’m also taking a drug that makes me feel out of it. However, I don’t want to give up. This post is a test to see how well I can work reclining using different equipment and tools. I’ve spent years getting my software tools just right, and now I must start over.
Luckily, WordPress is web-based. And my default browser on my Windows 11 machine is Chrome. However, I have no idea how to edit photos on a Chromebook — at least for now. I also used Notepad++ as my temporary memory. That’s where I keep ideas, and lists, and do my thinking by typing before I move over to WordPress. I’ve been contemplating getting a new machine for writing in bed and I’m considering Windows, Mac, and Chromebook.
I’m still participating in my daily science fiction short story discussion on Facebook but quite often I encounter stories I want to write about here. And there are topics I’d like to research and write about but don’t feel well enough to do it. For example, we’ve been reading SF stories from 2020 speculating about the effects of climate change on the future, and even though I’ve been thinking SF writers should write more about that topic, I’m starting to feel it’s a poor theme for science fiction.
It’s very hard not to be gloom and doomy in a story about our future. And if it’s upbeat, it often comes across as Pollyannish. There’s nothing gosh-wow or sensawonderish about adapting to climate change. I’m even been theorizing that science fiction has never been about reality anyway.
Classics of Science Fiction 