pseudo science fiction

Fear is the Mindkiller

Dune cover art by Henrik Sahlstrom

Dune cover art by Henrik Sahlstrom

[Originally published by Tangent Online]

If a civilization is to be judged on how concerned it is with the weakest members, then we are becoming very civilized indeed. If college campuses are the bellwethers of the future, then we can look forward to a future of restricted speech and thought designed to preserve the feelings of those who perceive themselves to be weak. Crusaders for “social justice” will punish every microaggression with career-ending charges, and the bounds of what one is allowed to say without fear of reprisal will narrow further.

Meanwhile, the Internet’s worldwide range and anonymity allow sociopaths with free time to viciously attack those they want to injure — and allow those who want to make a career of being victims to claim they were attacked. The cruel and sadistic exist in small numbers in all groups and all classes, but their evil actions are used to justify broad-brush condemnations of all members of groups.

This new children’s crusade allows its participants to believe they are defending the weak and defenseless from bullies, with their favorite being the supposed malefactors of the Patriarchy — cis-white-male-heteronormative men. Since a few men in the past treated women and minorities badly, all men must atone and recognize that being male is inherently oppressive. Escaping this judgment, in their view, requires a male to adopt wholesale every cherished belief of the crusade — that there are no gender-based aggregate differences, that unequal outcomes always imply unequal treatment, that women should achieve equal numbers and pay in every job field (unless, of course, it’s undesirable or dirty work.)

This is identity politics, with government viewed as a tool to right wrongs and redistribute a fixed pie of wealth and respect so that everyone gets an equal amount. The pie apparently creates itself, and asking for accountability and productivity in return for a greater share is viewed as racist, sexist, and probably fascist.

Most of the people in the movement haven’t thought it through and have a cartoon view of good guys vs bad guys. They think they are defending the weak against bullies. In so doing, they lose empathy for those different from themselves, just as they believe their enemy has. The loathed Others are the mass of hateful and ignorant who disagree with any element of their program, and are labelled the Red Tribe, Red States, Republicans, traditionalists, conservatives, and so on. Meanwhile, political manipulators use their feelings to get their votes and use them as foot soldiers in bringing down opponents. The control of public education by statists has reduced the level of understanding of civics and constitutional government among young people, with a focus on climate change, recycling, and inequality all designed to make solution by government action seem necessary, if only inconvenient naysayers could be eliminated. The executive-branch use of Title IX warning letters to enforce the fake “rape culture” panic on campuses receiving public money is another tool being used to squelch free speech. When the problem is uncontrolled Other People Doing Bad Stuff, you vote in the people who promise to control them, and those politicians have an incentive to exaggerate problems further rather than help resolve them.

What does this have to do with science fiction? Much of this culture war has appeared in the Hugo controversy. A friend recently sent me a call for submissions to a new ‘zine focused on LGBTQ-etc topics and authors, and I considered what I might submit, since I love getting a microvalidation. Then I realized how retrograde the whole idea is to me.

Sexuality, romance, and pair bonding are always going to be elements of many engaging stories, but these problems are not different with LGBTQ-etc folks, though there are unique riffs based on being a minority or less understood. I guessed I was gay very young — like ten years old — but I always felt so different from everyone else in so many ways that that additional difference seemed minor. Readers should normally be able to get into any character’s problems, no matter what their flavor. I searched for gay characters when they were rare and it was always delightful to find them written well, as courageous people with problems and not sad-sack victims. But there are plenty now, sometimes too idealized and fighting cartoon villains — demonizing cis-het-white-males is just as bad as demonizing gays was. Making a character’s gayness the central theme is odd now, like having a female character whose only goal is marrying well in a modern context. Just not that interesting to me.

The drama around the AIDS epidemic, of course, is a worthy subject. Here’s the trailer for a friend’s documentary making the film-festival circuit; it’s about gay men who thought they were going to die moving to Palm Springs and living long and productive new lives. Touching: Desert Migration. I know most of the people in it, though I avoided the suffering by fleeing Boston when my friends started to die, and I was lucky and shy enough to not be directly touched.

In my MIT creative writing courses, I had a friend, David Feinberg, a geeky über-Jewish boy who tried to write like James Joyce. After he left school and moved back to NYC, he started writing about his life with AIDS. Freed of the urge to be “literary,” he wrote passionately and hilariously of what he was going through. See David Feinberg — he had a crush on me in school which I avoided seeing.

There were four of us in that group, all taking the advanced physics course and creative writing as freshmen. Alanna Connors was the beautiful blond girl from Connecticut, super-smart. If I had one last thought of being straight, it was because of her! She did some great work in astrophysics and died recently after years struggling with breast cancer. https://hea-www.harvard.edu/astrostat/alanna/

The last was Dave M, who got me my first permanent job at BBN Labs. He’s the only one left, other than me, and spends a lot of his time promoting home schooling from the progressive perspective.

I guess my reaction to “kids these days” and their desire to protect every special snowflake is based on living through the crucible of real trouble and life-and-death problems. Having a special LGBTQ zine is an idea of the past, that we needed protected spaces to get our writing published. It’s not true and it’s self-ghettoizing. Every second they spend attacking people for “microaggressions” is time not spent doing the productive things that would better their lives. It’s good to have empathy and make kindness toward abstract others a guide; it’s bad to stomp all over well-meaning real people for being insufficiently perfect, thus putting them outside the pale of your empathetic concern.

Science fiction has always been about freeing the mind to imagine, and one of the key take-aways has been seeing inside people to understand their actions and motivations, to not judge others based on their superficial characteristics. Even the most alien society can be understood based on the underlying biology, economy, and culture, and empathy for even the strangest Other is possible.

But victim-based identity movements require villains, who must be dehumanized and presumed hateful and ignorant, if not actively and intentionally evil. Feminism began as a movement to get equal rights and respect, but even in its early days, parts of it were aimed at getting special treatment for women — lesser prison sentences, exemption from the draft, alimony by default in divorce, child custody preferences. While one arm of the movement got the vote for women and opened up all fields to accomplished female candidates, the other created preferences for women based on their supposed fragility and the sentimental desire to protect potential and real mothers from hardship.

Today’s third-wave feminist activists denigrate women who choose to be full-time mothers or step away from the professional treadmill, and actively oppose men with what I will gingerly call “masculine virtues,” like self-defense, foresight, hard manual labor, and profitable enterprise. They believe women who want to enter tough, high-commitment fields deserve to be represented in equal numbers regardless of their willingness to sacrifice personal and family time, because employment is just booty to be divided and spread equally. Government should, if not directly employing everyone, force private companies to change the requirements of jobs so that women can have it their way. And to a great extent this is happening, with female-dominated HR departments gradually reforming big workplaces to take away rewards from the most-productive to make the diversity numbers look good. Some of these reforms have obviously been good for society and business, but once started, the push for change continued, and now it may be past the point of diminishing returns to the point where it damages us all. A software company that has a diverse workforce of excellent programmers will do well; if the same company is forced to implement employment quotas to make its workforce match some ideal race, sex, and age goals, it will be crippled compared to its competitors.

A significant chunk of the population is still guided by the sentiment that women are weak and need more protection. These people are the Baptists in a bootleggers-and-Baptists coalition that unites to give statists more and more power to meddle and regulate, with the bootleggers being political parties that use these sentiments to justify their social engineering. Every new law and regulation is an opportunity for graft and extracting campaign contributions from businesses who want to be left alone or mold the law and regulations to hurt their competitors more, and every new edict (beyond dealing with obvious externalities like pollution) decreases the total wealth and growth rate of the economy. Politicians whip up fear — fear of terrorists, illegal immigrants, “the 1%,” sexist men, authoritarian Christianists, whatever works — to gain power, and then shy away from any actual solutions so they can repeat these emotional hooks for the next election. “Fear is the Mindkiller” — make someone afraid, and you weaken their reasoning power.

Bringing it back to SF, there’s now a large number of writers who are supported by jobs in academia, government, or the literary publishing world, which tends to be progressive and to denigrate blue-collar, military, pop cinema, or other less literary science fiction. As the number of participants in the community who are supported by political and committee decisions grows vs. those who make their living in the market, the tendency to elevate less accessible litfic, especially if it supports a Progressive worldview, grows. To pretend this is not so is to miss why people on both sides of the Hugo kerfuffle have felt disrespected and threatened. Throw in the actions of Internet trolls and chaos-provocateurs, and you have a recipe for polarization.

Respecting differences in culture is what we are supposed to be about, and giving fellow fans the benefit of the doubt and not condemning them for their “unenlightened” culture and story preferences would be a good start toward healing the rift caused by the Hugo kerfuffle.


Death by HR: How Affirmative Action Cripples OrganizationsDeath by HR: How Affirmative Action Cripples Organizations

[From Death by HR: How Affirmative Action Cripples Organizations,  available now in Kindle and trade paperback.]

The first review is in: by Elmer T. Jones, author of The Employment Game. Here’s the condensed version; view the entire review here.

Corporate HR Scrambles to Halt Publication of “Death by HR”

Nobody gets a job through HR. The purpose of HR is to protect their parent organization against lawsuits for running afoul of the government’s diversity extortion bureaus. HR kills companies by blanketing industry with onerous gender and race labor compliance rules and forcing companies to hire useless HR staff to process the associated paperwork… a tour de force… carefully explains to CEOs how HR poisons their companies and what steps they may take to marginalize this threat… It is time to turn the tide against this madness, and Death by HR is an important research tool… All CEOs should read this book. If you are a mere worker drone but care about your company, you should forward an anonymous copy to him.

 


Mirror Neurons and Irene Gallo

Sad Puppies 4 Logo

Sad Puppies 4 Logo

Scott Alexander took note of the Irene Gallo episode in his excellent post on the morality of intertribal warfare between SJWs and anti-SJWs, “Fearful Symmetry.”

The “mirror neuron” was a theorized but now mostly discredited idea that humans and perhaps a few other animals had specific neurons that fired when recognizing and emulating another being’s thoughts. The sympathy or empathy they were supposed to generate has always been one of liberalism’s strongest weapons.

A Christian doesn’t decide to tolerate Muslims because she has investigated Islamic doctrines, she decides to tolerate Muslims because she can put herself in a Muslim’s shoes and realize that banning Islam would upset Muslims in the same way that banning Christianity would make her deeply upset.

If the fear and hypervigilance that majority groups feel in social-justice-dominated spaces is the same as the fear and hypervigilance that minority groups feel in potentially discriminatory spaces, that gives us a whole lot more mirror neurons to work with and allows us to get a gut-level understanding of the other side of the dynamic.

Scott Alexander quotes from a comment on an earlier post:

About the same time that sort of thing was happening in that online community, the same thing was happening in the real-world meat-space gatherings, also quite literally with shrill screams, mostly by [redacted] [redacted]s, who would overhear someone else’s private conversations, and then start streaming “I BEG YOUR PARDON!” and “HOW CAN YOU SAY THAT!”, and by [redacted] [redacted]’s who were bullying their way onto programming committees, and then making sure that various speakers, panelists, artists, authors, dealers, and GoHs known to be guilty of wrongthink were never invited in the first place. Were it not for the lucky circumstance of the rise of the web, the market takeoff of ebooks, especially a large ebook vendor (named after a river)’s ebook direct program, and the brave anchoring of a well known genre publisher that was specifically not homed in NYC, the purging of the genre and the community would have been complete.

Almost nobody wants to physically murder and maim the enemy, at least at the start. That’s, well, the Final Solution. Plan A is pretty much always for the enemy to admit their wrongness or at least weakness, surrender, and agree to live according to the conqueror’s rules. Maybe the leaders will have to go to prison for a while, but everyone else can just quietly recant and submit, nobody has to be maimed or killed. [The social justice community] almost certainly imagine they can achieve this through organized ostracism, social harassment, and democratic political activism. It’s when they find that this won’t actually make all the racists shut up and go away, that we get to see what their Plan B, and ultimately their final solution, look like.

I think Irene Gallo is very talented and focused on her work, and that she sincerely did not question what she had heard from people around her, that Puppies were “unrepentantly racist, sexist and homophobic.” It was poor judgment to post a Facebook update entitled “Making the Sad Puppies Sadder,” plugging “The Geek Feminist Revolution” by Kameron Hurley; the title of the post alone was a slam at part of the publisher’s audience, and unwise. Her off-the-cuff explanation of what Puppies were was just stating openly what everyone around her thought, and she presumably assumed it was uncontroversial among people reading her. The audience for *that book* would definitely be likely to agree with her… but it was still unwise to be doing PR that denigrates whole classes of customers.

I have some sympathy for Irene; social media mobs fixating on an unwise comment or tweet are never good for anyone, and I suspect she wouldn’t hurt a fly or intentionally be rude to anyone. But the incident *does* reveal the likely consensus in her immediate social environment, a consensus which is dismissive and intolerant of people in the other tribe(s). You can see this dismissive attitude among some commenters on File770, who use snark and ad hominem attacks to repel anyone they suspect has Puppy sympathies.

So now let’s talk Brad Torgerson, who has been roasted there with a lot of guesses and insulting presumptions. I was only paying a little attention when I read about the SP3 efforts and started to notice Brad. I suspect he, like other SP3s, expected their little protest to result in maybe a few noms, and he slapped it together in the limited time he had. Now we have people with the benefit of hindsight asking why it was so slapdash — the answer is because they didn’t expect to be very successful, and they were as shocked as anyone when they swept a few categories. We can now guess this was because of the more militant RPs truly block-voting, but no one knew that would happen, so it’s not reasonable to rake him over the coals for not being a strategic genius or putting together the best-thought-out list of nominees.

I know enough about Brad to assume that he’s generally kind and polite to everyone in person, and doesn’t go after people who don’t attack him. He is not perfect, but far from “unrepentantly racist, sexist and homophobic.”

This “attack the slightest flaw” pack behavior is destructive, and I would hope most commenters at File770 are kinder in person. And spending too much time warding off Vox Day is just feeding him; he thrives on chaos and being the center of attention of outraged Right Thinking People, which gets him more fans, and so on. Do you help or hurt someone like this by constantly speaking of them? Like Ann Coulter, he is making a career of being tactless and violating social taboos. This comment fragment from Scott Alexander’s post gets it right:

Vox does this cutesy coquettish flirting with white supremacy precisely so he can say “Why are you getting mad? I didn’t say neo-nazis were good I just said they might not be so bad, why are you getting all upset when I’m just trying to have a calm conversation?”

It really impresses his fans but all I see is a little kid waving his arms in front of his sister’s face and going “I’m not touching you! You can’t get mad because I’m not touching you!”

 

SJW leftism is the mechanism by which the scribes and academics in our society co-opt the victimization of distant others to defeat their imagined opponents — people independent of their committees and those who are too busy working in profit-making enterprises to watch their every utterance for perfect political correctness. The debates over “rape on campus” are not about rape, really. They are about using the victimization of rape survivors to ideologically cleanse academia, assisted by the current administration’s Title IX bludgeon. It only works because it isn’t rape survivors against evil rapists, it is administrators of universities and the US Dept. of Education against young men and the few remaining professors who might not toe the party line on sexual politics. And it plays into a manufactured “war on women” theme intended to put another Democrat in the White House.

“Fear is the Mindkiller” – Published at Tangent Online

Dune cover art by Henrik Sahlstrom

Dune cover art by Henrik Sahlstrom

Tangent Online has published my essay on culture wars in science fiction here. A key paragraph:

A significant chunk of the population is still guided by the sentiment that women are weak and need more protection. These people are the Baptists in a bootleggers-and-Baptists coalition that unites to give statists more and more power to meddle and regulate, with the bootleggers being political parties that use these sentiments to justify their social engineering. Every new law and regulation is an opportunity for graft and extracting campaign contributions from businesses who want to be left alone or mold the law and regulations to hurt their competitors more, and every new edict (beyond dealing with obvious externalities like pollution) decreases the total wealth and growth rate of the economy. Politicians whip up fear — fear of terrorists, illegal immigrants, “the 1%,” sexist men, authoritarian Christianists, whatever works — to gain power, and then shy away from any actual solutions so they can repeat these emotional hooks for the next election. “Fear is the Mindkiller” — make someone afraid, and you weaken their reasoning power.

For Some Writers, Only the “Political Now” Matters

Ancient SF

Ancient SF

One thing that’s lacking among our progressive brethren is humility, a sense of what they don’t know and should not try to fake knowing. They are ahistorical and programmed by a faith-based belief system (for example, the faith that “all gender roles are social constructs with no biological basis.”)

So you suggest gently to a young writer that they should not try to write science fiction without understanding the science well enough to project it plausibly. Especially if the writer is a young woman, she will protest and say something implying science is also just a social construct, meaning “whatever I feel it should be, it is.” Or ask that historical novels be reasonably well researched and plausible — which is asking too much for some. They believe it is unfair to criticize some people for writing implausible or inconsistent stories, because by doing so you are discriminating against them and interfering with their right to succeed. Ultimately, of course, readers determine what is read, but by influencing what is promoted and made available at retail, progressives are insuring readers get less of what they want and more of what the nomenklatura think is good for them. And these literary-progressive writers are encouraged by academia and grants to think their status entitles them to success as writers — and while the very best of them will be successful writers, the majority will not be read by anyone outside their mutual support group.

Initially science fiction was about future science and the reactions to it from individuals and societies not too different from those of the day. Then the New Wave introduced a greater emphasis on imagined future or alien societies with quite different motivations and systems — when well-done, the rules of the imagined societies were plausibly projected from the biological, social, and economic motivations of the members of the society. In fantasy, you again had plausible workings-out of magic systems, fantasy entities, and societies of elves and the like. It’s the working out and understanding of the story problems presented by an imagined plausible world that expands the mind and increases understanding of very different Others.

If stories include mostly characters who behave as modern progressives think they should, any broadening effect is lost. Modern taboos and habits of thought were developed to match a modern milieu, and it is wrongheaded and anti-diversity — a variety of cultural imperialism! — to imply that people of the past and future would adopt and benefit from current ideas of “correct thought.” This error is a variety of presentism — applying standards of the current day to past and future societies.

Progressives accept an alien biological imperative and will sit still for stories where, say, the male sex of the G’Tharr are confined to their homes but no one in their society is especially interested in equality. But when the society is recognizably human, then suddenly the correctness goggles appear, and characters who behave like the perceived recent enemies of their tribe are not tolerated.


Death by HR: How Affirmative Action Cripples OrganizationsDeath by HR: How Affirmative Action Cripples Organizations

[From Death by HR: How Affirmative Action Cripples Organizations,  available now in Kindle and trade paperback.]

The first review is in: by Elmer T. Jones, author of The Employment Game. Here’s the condensed version; view the entire review here.

Corporate HR Scrambles to Halt Publication of “Death by HR”

Nobody gets a job through HR. The purpose of HR is to protect their parent organization against lawsuits for running afoul of the government’s diversity extortion bureaus. HR kills companies by blanketing industry with onerous gender and race labor compliance rules and forcing companies to hire useless HR staff to process the associated paperwork… a tour de force… carefully explains to CEOs how HR poisons their companies and what steps they may take to marginalize this threat… It is time to turn the tide against this madness, and Death by HR is an important research tool… All CEOs should read this book. If you are a mere worker drone but care about your company, you should forward an anonymous copy to him.

 


Hugos, Sad Puppies 3, and Direct Knowledge

Sad Puppies 3

Sad Puppies 3

We all have mental models of other people in our heads which help us navigate social relationships. These are not always reliable, and our heuristic judgments about superficial characteristics may be unfair; like my mental rule to cross the street to avoid getting close to younger males when walking in late 1970s Manhattan, such rules may reduce loss and assist in survival while harming some of those judged unfairly.

The Sad Puppies campaign to open up the Hugo nominations to a more diverse group of writers and artists than seen recently has been tarred and accused of racism, sexism, and homophobia by careless yellow journalists acting on behalf of their friends and associates. From my direct interaction with many of the people so accused, I can say the accused are no more bigoted than any of us with our subconscious associations and heuristics, and less than many of the accusers, who seem to believe superficial characteristics automatically make their carriers likely thought criminals.

I can only testify to what I myself have seen directly. This is my testimony.

I was born in Kansas City, Missouri, and grew up North of the River in a middle-class suburban area where “diversity” consisted of a small number of Catholics amidst a sea of white Protestants. Jesse James’ family farm was nearby, and the town of Liberty, where Mormons were jailed prior to being driven out. Independence was just across the Missouri River, and was considered the location of Paradise by many Mormons; the schism from the LDS group that left for Utah still has their big headquarters there, and Harry Truman’s home is nearby. I’m pretty sure I saw him lurking near my school group once when we visited the Truman Presidential Library.

My father was a troubled man who was born in western Arkansas and grew up in Visalia, California, after his family left during the Okie migration. He was fractionally Cherokee and all poor, and the family is said to have lived in a tent under a live oak while his father was in prison and his mother turned tricks. His sister committed suicide after being raped, and he himself may have been assaulted, because he was sent to live with a succession of aunts in places like Monterey and Los Gatos. He escaped into the Army and served a short period at the end of WW2. He met my mother while he was posted at Ft. Riley in Kansas, where KC was the nearest big city.

They married and moved to Downey, near LA, where my father worked at an aircraft plant and my older brother played with balsa airplanes. My father had a tendency to drink away his paycheck and all was not well; my mother moved back to KC when my father was called to Korean service, and when he got out he joined her and began a TV repair business. I was born, and my father started to spend time with Pentecostalists. I can remember being taken to tent revival meetings when I was four, running up and down the aisles, and seeing my father guest preaching and laying on hands to heal. By the time I was five, he had gone whole hog into preaching, and my mother and his friends agreed he was going off the deep end, hearing voices and imagining himself the carrier of God’s message.

Paranoid schizophrenia was the diagnosis, and years of going in and out of VA mental hospitals, shock treatments, and early antipsychotic medications were even more disabling. It was a relief by then to have him gone from our lives, and my mother went back to work as a secretary for the railroad, where she stayed for thirty years.

She was forced to be thrifty, and she would take me shopping down in the racially-mixed Troost shopping district off the Paseo where the bargain stores clustered. I had started to read science fiction, beginning with Tom Swift, working through Andre Norton and the Heinlein juveniles, and devouring all the adult SF in the library. Troost had a used bookstore full of SF paperbacks from the 50s and 60s, and I bought and read hundreds of them. By the time I was ten I had read most of the classics, and while I may not have understood all the adult themes, I could recognize the elemental power of Bester’s The Stars My Destination and revere Heinlein for his avuncular presence and moral guidance; I sometimes think he is more responsible for my sense of right and wrong than any of my church or school training.

The furious consumption of books continued, and I was checking out ten or more a week and reading most of them, in SF and every subject, lashing them to the back of my bicycle on the way to a from the library. I noticed the section of telephone books in the reference section, and figured out how to look up some of my favorite authors; I called Isaac Asimov and Robert Silverberg when I was 11 on the pretext I was doing a paper, and Asimov especially was kind and encouraging.

When I was 12, I started what is now called middle school, then known as junior high school. Seventh grade was a rude shock and I didn’t like the crudeness or the level of teasing, not so much of me but of others around me. What had been a civilized society became a rough and tumble struggle for survival, so I came up with excuses for not going, so much so that I was considered a truant. My mother was told I had to either be put into a treatment plan or be committed to juvenile hall, the county jail for children.

So that’s how I ended up in a private psychiatric hospital, where the 16-year-old girl down the hall tried to slit her wrists while I was talking to her. Once I was being presented to a group of psychiatrists and students and the chief psychiatrist asked me what my dreams were about; I said something about interstellar empires, and he replied, “interstellar ejaculations, more likely!” The video cameras hiding behind mirrors while I’m being interviewed, the medical students, and the psychologist who wanted to have sex with me (remember, I’m 12!) — quite the early education.

Eventually I agreed to go back to school, turning down a residential scholarship from Pembroke Country Day (the only rich private school I had ever heard of) to return to my old school and survive it all. Because I had missed so much time, the English teacher decided she would make a point of failing me, so I had to go to remedial summer school that year, when in previous years I had gone to enrichment summer school with the best and brightest. The kids who had flunked out were kind to me if a bit rough, an experience which maybe our SJW friends have never had — the loyalty and kindness of the lower class “failures” more reliable, and maybe more honest, than the behavior of cliques of the cool kids.

I started to play the game of points, earning higher and higher grades and keeping track of what was expected of me rather than exploring what I wanted to explore. In high school, I had a crush on a boy with a moustache who was going to MIT, so I turned down Caltech and went there, too. At MIT, I continued reading SF and had more trouble keeping up with boring classes, which I would just stop attending, but still managed to pass most by exam or last-minute work. I stayed away from the Science Fiction Society, not wanting to be absorbed when I was barely able to keep up anyway.

This set a pattern; when I started to work at BBN on supercomputers for AI research, I was warned to stay off Usenet and avoid getting embroiled in the endless flamewars. I now know that those people were the same ones now arguing over degrees of oppression and combing through everything they read for items to be offended by. I wanted to accomplish real things, not argue over correctness. My work was indirectly funded by DARPA, and I can recall being in a grad school class at Northeastern where the prof suggested he would be disappointed if any of his students ever did research for the DoD, for war machines — he considered it unethical. I spoke up to ask what would happen if all ethical students refused to do defense research while Congress continued to fund it, a la Star Wars missile defense — wouldn’t that result in less-capable researchers and engineers doing the work, without ethics or moral sense, building our defense systems? He did not have a satisfactory answer.

I had several other careers before retiring: software engineer doing systems to automatically fix Y2K COBOL code, subdivision developer, portfolio manager. I read SF in my free time, but never got involved with “fandom” until I went to the Worldcon in San Jose in 2002, which was just a short drive from my house in Sunnyvale. I went two different days, I think, and saw things like the huge line to have books signed by George R R Martin, China Miéville eating lunch by the fountain, and some good sessions with my favorite authors, like Lois Bujold. No one spoke to me and I didn’t interact much, but it was interesting, and I was reminded of our square dance convention, with its aging dancers and lack of younger people — most of the people under 40 seemed to be children with their parents. I don’t recall being asked to vote for the Hugos but then I may have registered late.

Last year when I set out to write some SF myself, I looked around online to see who was there, and ran into the Sad Puppies, who I generally like. I was made uncomfortable by the dogma and judgmental bombast of people like David Gerrold, and more comfortable with the individualists and ex-military sorts who have been left out of recent fandom as it has pursued social progressivism over story. I knew I had been entertained by Scalzi’s Redshirts but was amazed when it won the Hugo for best novel, and I bought and read Ancillary Justice just to see if it was truly one of the best — and it wasn’t. The almost-fatal flaw of a slow and unrevealing first few chapters was bad enough, but even when the plot began to move, there was little to distinguish it from hundreds of similar stories; it felt like a me-too, B-grade novel, and confirmed for me that promotion by political activists and academics was what was getting rewarded now.

I also interacted with dozens of agents and publishing types, and noticed that most are young and come out of academic progressive backgrounds; they want to change the backward population of readers by promoting stories that will uplift the reading population to hold the correct attitudes. This is part of their identity and motivation — they see themselves as specially gifted with the True Knowledge, and their role in proselytizing for new gender theory, third-wave feminism, and other cultlike replacements for Puritan religion is the psychic reward compensating for the low salaries and limited advancement in the field. The insider writers that have gained from this adopted the protective coloration of progressive social warriors, and continue to benefit from legacy publishing favor and mainstream PR despite declining sales; anything in SF which is promoted by the New York literary establishment, NPR, and mainstream media is now litmus-tested for correctness, but often inferior for enjoyable and inspiring reading.

So I think the vast majority of readers have never been involved with fandom, a tiny sect which is less and less related to mainstream SF and especially the new formats of movies and video games. The in-group claims to be upholding literary standards, but what they are upholding is in-group privilege and comfortable orthodoxy. Writers that work to gain their favor and bow to their political concerns will get awards, others won’t.

What will happen now? I will read the nominees and vote up the best regardless of politics or faction. And if the results are high-quality winners, the Hugos will begin to return to greater participation and greater value as a signal of good reading. If the Worldcon people succeed in closing the awards to outsiders — as many of them seem to be plotting to do — then the Hugos will become the awards of a small clique, and some other more representative organization should start something new.

“Red Queen: The Substrate Wars” First Part

Red Queen: The Substrate Wars, Cover

Red Queen: The Substrate Wars

If you’re a regular reader, you’ll have noticed my rate of posting has declined lately. This is because I’m working on a novel, my first venture into fiction in years. It’s science fiction and adventure; my effort to write a good story the kids will both enjoy and learn from, as I did in my youth.

I have criticized modern “politically correct” science fiction for its grim view of progress and its conformist political content. This is my answer to books for young people like Pills and Starships. And the resemblance to Hunger Games is intentional — what Hunger Games gets right is that young people can remake the world to be a better place.

The world of Red Queen is post-terrorist disaster, repressive and regimented — rather like China today, but poorer. In that sense it is a dystopia, though not so far from our own day and time; only a few steps beyond where we are now. The kids are cowed but not unaware, and they seize the opportunity to make a difference when their smarts and courage allow it. And so they change the world.

I’m putting the first section out for beta readers. I’d appreciate any thoughts and error corrections you might have. The science gets more fully explained in the next section, for those of you into physics.

I’m doing a Hugh Howey and publishing this myself. I’d be most interested in hearing from agents or publishers who are interested, but I expect to finish in three months and the legacy publishing timetable is simply too slow, even though a good editor would be very helpful.

So I’m counting on you folks. If you read the first section, send me your comments at jebkinnison@gmail.com, and also email me if you want to be on the beta reader list for the full draft version. I apologize in advance for getting you interested and involved in the story, then making you wait to finish it!

[edit: removed drafts since full book is available]

YA Dystopias vs Heinlein et al: Social Justice Warriors Strike Again

Heinlein's "Citizen of the Galaxy"

Heinlein’s “Citizen of the Galaxy”

Reason has a good think piece by Amy Sturgis on the political content of popular YA (Young Adult) dystopias, compared with the “sensawunda” (sense of wonder) of Golden Age science fiction with its technological optimism. “Not Your Parents’ Dystopias”:

Anyone who has wandered by a bookstore or a movie theater lately knows the kids these days love a nice dystopia. Their heroes are Katniss from Suzanne Collins’ Hunger Games trilogy, Tris from Veronica Roth’s Divergent series, Thomas from James Dashner’s Maze Runner novels. The number of English-language dystopian novels published from 2000 to 2009 quadrupled that of the previous decade, and not quite four years into the 2010s, we have already left that decade’s record in the dust….

Youth-oriented fiction about worlds gone awry is not new. The tradition stretches back generations and involves works now revered as classics. Some of the giants of what was then called juvenile science fiction — Robert Heinlein, Andre Norton, Poul Anderson — wrote what now would be classified as YA dystopias. But the exponential recent growth of the genre suggests something else at play: a generation’s lost wonder and mounting anxiety.

In the Golden Age of science fiction (which may be measured roughly from the time John W. Campbell Jr. came into his full powers as editor of Astounding Stories in 1938 until the time Michael Moorcock’s editorship of New Worlds in 1964 signaled the rise of the New Wave), worlds gone wrong often served as catalysts for young protagonists to pluck up their courage, exercise their agency, and affect change. The titular character in Heinlein’s Starman Jones (1953), Max Jones, inherits a bleak Earth depleted of natural resources. Hereditary guilds have the planet in a stranglehold, regulating information and determining what (if any) profession an individual may pursue. Young Max’s options are few, and his dream of being an “astrogator” in space seems completely out of reach. The risk-taking, indefatigable character pursues his goal anyway, ultimately finding himself in the right place and time to showcase his hard-won skill and — just as important — moral integrity.

Max’s scientific expertise and common sense save lives and win the day. When he finally confesses to lying his way past the rules that would have excluded him from gaining the position at which he excels, that only serves to illustrate how wrong-minded the laws are. The novel ends with Jones not only secure in his chosen calling but paving the way for changes to the oppressive guild system.

These early dystopias showed young men, and sometimes even young women, facing down dangers in their fallen worlds with determination and commitment. The novels suggested that the forward march of freedom and science may meet grave obstacles and even grind to a halt, but if young people rise to the occasion, the story doesn’t have to end there.

Heinlein gave his characters agency — that is, they were able to meaningfully effect outcomes not only for themselves, but for their larger society. Individual effort, knowledge, and pluck, usually with the help of wise older mentors, could triumph over injustice and restrictions on freedom. The Heinlein juveniles, written in simplified style and beginning with relatively unimaginative plots, became increasingly sophisticated until his publisher rejected Starship Troopers for outgrowing the intended youthful audience. The typical protagonist of a Heinlein juvenile is a bright but inexperienced young man from a disadvantaged background who has to learn the ropes and use his wits to make his way into a leadership role in his society–and his female characters also were portrayed as intelligent and strong, often helping the protagonist at a key point with superior knowledge of the social system. It’s interesting that Social Justice Warriors, in their attack on Heinlein and all Golden Age science fiction as essentially patriarchal and in need of political guidance, fail to notice how progressive Heinlein actually was for his era (the 1950s and 60s.) The juveniles are still empowering for both boys and girls, and a protagonist like Podkayne in Podkayne of Mars is a modern empowered girl, with some stereotypically feminine aspects but fully capable of agency in tough situations.

Those Golden Age dystopian visions were balanced by another subgenre of juvenile science fiction popular at the time: tales that portrayed the future as exciting new territory full of marvels and possibilities. Contemporary scholars classify these books as “sensawunda” works, because they conveyed a sense of wonder in contemplating tomorrow.

The poster child for this phenomenon is Tom Swift, the hero of more than 100 novels across five fiction series. In the 1950s, while Heinlein’s Max Jones was fighting for his life and struggling for his livelihood, young Tom was inventing new technologies in his basement (our modern word Taser is an acronym for “Tom A. Swift’s Electric Rifle”), journeying underwater and into space, thwarting baddies of all descriptions, and illustrating just how cool the future would be.

Tom Swift had a triphibian atomicar. Where have all the triphibian atomicars gone now? The millennials, it seems, don’t want a ride….

I’m not sure it is the lack of interest of millennials in technological optimism that has lead to this drought in technology-positive YA science fiction. It may be that very little is getting published because boy’s dreams of agency — the powerful dream of being effective and admired for skill and courage — are no longer seen as important by publishing gatekeepers, now mostly coming out of non-scientific academic literature backgrounds. The videogame industry is now the primary source of young male empowerment fantasies, and it, too, is under siege from the Social Justice Warriors who want its themes to support their political vision of social justice, meaning all visions of the future must be screened for heretical thought — note this month’s war over game politics and SJW influence: “The Gaming Community is not a Wretched Hive of Sexism and Misogyny.” I have personally had my book downgraded by a literary establishment sort for incorrect thoughts — my chapter on entitled Fairy Tale thinking (and the many young women who were brought up with unrealistic expectations of being Princesses catered to by fawning males) was flagged as misogynistic.

The legacy publishing industry has been hiring bright young grads from the academy for some time, and critical mass has been achieved: political screening is now a reality. That is why depressing and unimaginative tales with little commercial appeal (like Pills and Starships) get promoted and plugged on NPR and in the Washington Post and go on to fizzle, while optimistic and empowering science fiction is mostly being self-published. This is because few in publishing now have any education or respect for the sciences and technology:

Another difference between yesteryear’s dystopias and today’s: The older authors were usually either trained in the sciences (Heinlein was a naval engineer; Anderson earned a B.A. in physics) or sympathetic to them (Norton, a librarian, conducted her own research). Like the pioneering author/editor Hugo Gernsback, they believed that quality futuristic fiction could seduce readers into a love affair with science and show them the possibilities it held for a better tomorrow. Thus Anderson’s teenage hero Carl, in Vault of the Ages (1952), ends a future dark ages by unearthing and reintroducing advanced technology to the world. Progress and science walk hand in hand, these authors implied, and no one is in a better position to appreciate this fact than young people.

Today, science is often portrayed as the problem rather than the solution. Many current authors, children’s literature scholar Noga Applebaum notes in her outstanding 2009 study “Representations of Technology in Science Fiction for Young People,” are neither trained in nor sympathetic to the sciences. In fact, a majority of the many novels she analyzes vilify the over-polluted, over-complicated, and over-indulgent present while glorifying the past and the pastoral, a kind of mythical pre-industrial, pre-commercial, subsistence existence — in short, the kind of dark ages that Poul Anderson’s teen hero Carl brought to a welcome end in Vault of the Ages.

As active participants in the contemporary world, young readers are dished a heaping plate of guilt and self-loathing. Why is there global warming, or worldwide poverty, or runaway disease? The answer is as close as the millennials’ smartphones and tablets and gaming systems: Youth and innovation and modernity are to blame.

David Patneade’s Epitaph Road (2010) throws in everything but the kitchen sink when describing the sheer trial of being alive in the oh-so-terrible year of 2010: it was a “world of poverty and hunger and crime and disease and greed and dishonesty and prejudice and war and genocide and religious bigotry and runaway population growth and abuse of the environment and immigration strife and you-get-the-leftovers educational policies and a hundred other horrors.”

Saci Lloyd goes a step further in her award-winning The Carbon Diaries: 2015 (2008). Teen heroine Laura apparently is part of the problem by pursuing a music career with her band, gaining a following online, and benefitting from how easy it is to record and distribute music digitally. She only becomes part of the solution after abandoning her music to become a commune-dwelling, pig-raising, socially conscious activist-though not before performing the novel’s anthem, “Death to Capitalism….”

Are these works the literary equivalent of yelling at those darned kids to get off your lawn, oldsters scolding the youngsters for their perceived failings? Applebaum thinks so, arguing that the trend toward technophobia exposes “adults’ reluctance to embrace the changing face of childhood and the shift in the power dynamic which accompanies this change.” Viewed through its attitudes about technology, she writes, “literature aimed at young people is exposed afresh as problematic, a socialization agent serving adults’ agenda.” Certain adults’ agenda, to be sure.

The biggest exceptions to these trends can be found in the Hunger Games trilogy (2008-2010), which celebrates self-reliance, individual choice, and markets (like The Hob), while warning readers against those who gravitate toward power. (Suzanne Collins also masterfully answers the classic question “Who was right, Aldous Huxley or George Orwell?” by agreeing with both.) But although the Hunger Games novels and their film adaptations are an undeniable sensation, they also represent something of an outlier in terms of theme.

Another exception — or partial exception — is the work of Cory Doctorow. Doctorow’s novels depict technology as the natural ally of youth. The millennials are at a tremendous advantage in the 21st-century landscape, he proposes, because unlike their elders they grew up with a high degree of comfort with both technology and its continual state of change. But even Doctorow’s novels tell a sobering story about the present.

Whether it’s the hackers of Little Brother (2008) and Homeland (2013) or the fan filmmakers of Pirate Cinema (2012), Doctorow’s teen protagonists are routinely forced to defend themselves from older interests who are supported by the government simply because they are more powerful and entrenched in the system. The mighty surveillance state will not disappear, readers realize time and again; the most that kids can hope for is to watch the watchers and let them know that the scrutiny goes both ways. Readers cheer on the gutsy young heroes fighting for their liberty, but we also mourn all the time and effort and creative energy they lose in the struggle simply to stay free and see another day. Their best-case scenario is to fight the powers-that-be to a stalemate.

Amy’s piece continues with more examples.

More on the politics of YA dystopias:

Real-Life “Hunger Games”: Soft Oppression Destroys the Poor
“Pills and Starships” – Pseudo Science Fiction
“Mockingjay” Propaganda Posters

Modern Feminism, Social Justice Warriors, and the American Ideal of Freedom

More on the legacy publishing-indie battle:

Hugh Howey and JAKonrath on the Indie Revolution, and Amazon’s Netflix-for-Books

More on Writers, Novels, Amazon-Hachette

“Pills and Starships” by Lydia Millet – Pseudo Science Fiction

Pills and Starships by Lydia Millet

Pills and Starships by Lydia Millet

As a reader of science fiction from age 6 (if Tom Swift books qualify, which they do), it pains me to see politicized and depressing stories for young people, promoted by a certain negative East Coast US mindset that believes technology and the future are bad things, that freedom of thought is dangerous, and that Progress is about appointing certain right-thinking types (the nomenklatura that are literate in the arts but not in the sciences) to direct everyone down the righteous path to equality and Utopia.

I also have a background in literary fiction: I have, for example, met John Updike at a Harvard writing class where he was a special guest, and experienced the joy of rejection slips with encouraging notes from the New Yorker. The New York/East Coast literary establishment — the academics, the publishers in Manhattan, the magazines that dictated tastes and high culture like the New Yorker — are in steep decline these days, and the damnable public insists on reading much more genre fiction, finding the literary novel less accessible and entertaining. Nothing makes a high-literary sort burn with resentment more than seeing self-published trash like 50 Shades of Gray and good science fiction like the Wool series route around the tasteful gatekeepers to make $millions for their authors.

Thus there is a temptation for literary authors whose sales are flagging to try to write in genres that might sell better. Unfortunately they sometimes try science fiction (which, if it is less technological but still projects a future society that runs on different principles, is sometimes called “speculative fiction.”) Being a futurist or technologist, or both, is not something most literary authors have the background for, and their lack of interest shows when they try it — generally they pick up the most hackneyed, uncreative current memes about the future and project them, mixed with their political biases, into a future world or society that is implausible to any student of technology or history.

A fine early example of this was Margaret Atwood’s The Handmaid’s Tale, which could only have been written by someone ignorant of the true American character. Somehow a people who are cantankerous and barely able to tolerate gun regulation are going to acquiesce to a fundamentalist religious dictatorship that enslaves women — really? Only an academic author would believe something so preposterous. The Wikipedia entry on the novel sets the scene:

Beginning with a staged terrorist attack (blamed on Islamic extremist terrorists) that kills the President and most of Congress, a movement calling itself the “Sons of Jacob” launches a revolution and suspends the United States Constitution under the pretext of restoring order. They are quickly able to take away all of women’s rights, largely attributed to financial records being stored electronically and labelled by gender. The new regime moves quickly to consolidate its power and reorganize society along a new militarized, hierarchical, compulsorily Christian regime of Old Testament-inspired social and religious ultra-conservatism among its newly created social classes. In this society, almost all women are forbidden to read.

This book became a bestseller and a movie, and the East Coast literati (with their paranoia about the feared Other, the fundamentalist religionists who were then getting headlines) were completely willing to believe that only one or two elections separated the US from a totalitarian religious state.

I was listening to NPR yesterday and heard an interview with author Lydia Millet about her new book, Pills and Starships. The book sounded like similar literati scare-mongering by someone of little or no scientific background, so I investigated further.

The PR blitzes legacy publishers can provide for a new book are still amazing. Not only is she getting a PR plug by those influence-peddlers at NPR for her crappy book, there are reviews in the Washington Post and the New York Journal of Books, as well as dozens of planted reviews at Goodreads. The book has climbed to around #2,000 on Amazon’s bestselling list but has only two reviews there so far, meaning the publisher was not able to game Amazon’s review system as effectively.

The world she proposes for the future (from the Amazon page):

Earth reached its ecological tipping point some years ago, and corporations now manage all aspects of life. No more babies are being born, the elderly must purchase contracts to die, and drugs (“pharma”) control a dwindling human population. Natalie’s parents have purchased a death contract, and they have one final week together. The 17-year-old must keep a journal, which she addresses to an unknown space traveler—the only place where starships come into the story. As the Bountiful Passing approaches, Nat and her rebellious younger brother, Sam, begin to make plans to save their parents, or, at the very least, to rescue themselves from the tyranny of the corps and their Death Math. A predictable plot and strained teen voice distract from the very beginning and with 90-plus pages of backstory, the real action doesn’t begin until well into the book. The ecological theme, clearly a passion of the author, unfortunately comes across as too heavy-handed and didactic in tone. An additional purchase only.—Katherine Koenig, The Ellis School, PA

Here’s her author bio from Amazon:

Lydia Millet is a novelist and short-story writer known for her dark humor, idiosyncratic characters and language, and strong interest in the relationship between humans and other animals. Born in Boston, she grew up in Toronto and now lives outside Tucson, Arizona with her two children, where she writes and works in wildlife conservation. Sometimes called a “novelist of ideas,” Millet won the PEN-USA award for fiction for her early novel My Happy Life (2002); in 2010, her story collection Love in Infant Monkeys was a finalist for the Pulitzer Prize. In 2008, 2011, and 2012 she published three novels in a critically acclaimed series about extinction and personal loss: How the Dead Dream, Ghost Lights, and Magnificence. June 2014 will see the publication of her first book for young-adult readers, Pills and Starships — an apocalyptic tale of death contracts and climate change set in the ruins of Hawaii.

She has no background in economics, history, or hard sciences, but with “feelings” and a literary sensibility, she is willing to project a stunningly unimaginative future designed to reinforce current public school emphasis on “climate change” and the depressing fate that awaits us all if we don’t follow “feelings” as a guide to policy. The widespread promotion of this kind of propaganda to young people might have been useful when the education establishment drenched them in optimistic technocratic futures, but now it is just piling on a Conventional Wisdom that discourages any kind of planning for a brighter future. A subversive work now would be technologically optimistic and recognize how much better the future will be than the past for most people.

There’s a place for dystopias in Young Adult fiction, for example the Hunger Games series. But they should be sharp and imaginative and realistic about how real people respond to conditions.

Here are some fragments from reviews less influenced by PR quid pro quos:

I didn’t love this book. The book is told as a journal, with the audience some unknown spacefarer on a ship somewhere out in the solar system. And for me, that’s where it doesn’t work. Okay, I understand the point of a journal, but I think Millet sticks a little too strictly to the format, telling us far more than she shows us. If anything, the beginning drags as she explains and explains the world where Nat and Sam live.

I did care about the characters, but it would have been more enjoyable for me to see things as they unfolded. Millet even describes the dialog in places, rather than recounting it — or trying to recount it — which comes across as a rookie mistake. Just when the plot was getting good, the book ended, too, which left me feeling like I’d missed something. — Dean Fetzer at LitReactor.com

… When, from beneath the glossy surface, a disturbing reality begins to emerge, Nat’s emotionally flat narration makes it hard to care. Passive and without affect, she accepts her parents’ choices and later abandons her brother during a horrendous storm with elegiac regret. Despite exposition that’s rarely interrupted by dialogue, this world’s puzzlingly out of focus, real places carelessly portrayed. The novel’s narrative conceit has Nat explaining her story to a hypothetical distant reader. Summarizing the action robs it of suspense and interest: Readers do not see the story unfold and watch characters act and interact, making it difficult for them to interpret their behavior for themselves.

Detail may be the lifeblood of fiction, but storytelling is its pumping heart; without it, this all-premise effort is DOA. — Kirkus Reviews

In other words, it’s bad fiction as well as bad science fiction. Yet it will be sold and pumped up by the ideologically-biased publishing industry, which is doing a fine job of destroying itself by promoting the dull and correct while blocking the novel and subversive works of much better authors.

For an update on this topic and the ongoing war in gaming see: YA Dystopias vs Heinlein et al: Social Justice Warriors Strike Again

For more on pop culture:

The Lessons of Walter White
“Blue Valentine”
“Mad Men”
The Morality of Glamour
“Mockingjay” Propaganda Posters
“Big Bang Theory” — Aspergers and Emotional/Social Intelligence
Real-Life “Hunger Games”: Soft Oppression Destroys the Poor
Reading “50 Shades of Grey” Gives You Anorexia and an Abusive Partner!
YA Dystopias vs Heinlein et al: Social Justice Warriors Strike Again
“Raising Arizona” — Dream of a Family