Tag Archives: fiction

The critical utopia vs. the consumptive picaresque

Three things make a post, as we used to say. Here’s Yuval Noah Harari — whose book(s) I really need to make the time to read in full — being roundtabled at Teh Graun:

The key issue is that because our power depends on collective fictions, we are not good in distinguishing between fiction and reality. Humans find it very difficult to know what is real and what is just a fictional story in their own minds, and this causes a lot of disasters, wars and problems.

The best test to know whether an entity is real or fictional is the test of suffering. A nation cannot suffer, it cannot feel pain, it cannot feel fear, it has no consciousness. Even if it loses a war, the soldier suffers, the civilians suffer, but the nation cannot suffer. Similarly, a corporation cannot suffer, the pound sterling, when it loses its value, it doesn’t suffer. All these things, they’re fictions. If people bear in mind this distinction, it could improve the way we treat one another and the other animals. It’s not such a good idea to cause suffering to real entities in the service of fictional stories.

Meanwhile, Kim Stanley Robinson has a new book out, and is saying things on the promo circuit along the lines of [via MeFi]:

The space of stories we can imagine constrains the space of political solutions we’re willing to include in the Overton window. Vivid, engrossing tales about the best natures of humans overcoming the worst are a weapon against despair and cynicism — and may be the necessary precondition for the survival of our species.

I believe this, too. Indeed, there’s a sense in which I must believe it; it’s my life-raft, and it’s my star to steer by. It’s something I can do.

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But it’s hard to keep the faith when you know that there’s an entire industry based on understanding how to push people’s narratological buttons, and that when it’s not working to put a gloss on whatever half-baked policy clusterfuck is playing out this week, that industry is profitably engaged in such activities as working out how to squeeze the maximum profit out of a junk food addict by using their own body’s instinctive responses to nutritional imagery against them. That we can consider this a regrettable yet nonetheless unavoidable feature of our ethical landscape is about as clear a sign of the moral vacuum that passes for the heart of capitalism as one could ask for; a misinformed and manipulated choice is not choice, but charlatanry. (Cf: Brexit, etc etc.)

Given I’ve gone and linked that depressing piece already, here’s a bonus nugget of narratological theory from the world of food marketing:

Food imagery is most visually appealing when the viewer’s brain finds it easy to simulate the act of eating, for example, when the food is seen from a first-person perspective. This is rated more highly than viewing food from a third-person view…

We wring our hands over “fake news”, and so we should—but what “fake news” harbingers is the fact that the ubiquity and intensity of marketing and advertising have so successfully normalised a narrative tradition based on bare-faced pandering, deceit and seduction that we’re becoming unable to tolerate exposure to any story that doesn’t flatter us, the sovereign individual, protagonist of our own first-person picaresque of consumption.

And that goes for me as well as for you, and for the left as well as the right—for me and you and left and right are also only stories, after all.

No one is to blame; everyone is complicit.

Roadtrips and brickbats

It’s high time I collected up mentions of and responses to the manifold things I’ve been up to over the last year or more, having fallen rather out of the habit; the decline of G**gle Alerts meant I stopped paying attention, basically. I can’t even do vanity right!

Anyway, let’s start with fiction. I’ve not published anything since “Los Piratas…” went to MIT’s Twelve Tomorrows the year before last, but that story has had a second life on the review circuit thanks to its appearing in Gardner Dozois’s Year’s Best #32. Someone by the moniker of Reißwolf rated it a three-star story, but recognised the Sterling quote near the end, so I’mma count that as a victory; meanwhile John DeNardo of SF Signal rates it a mere point-five stars out of five, saying that “the story is so steeped in boring (to me) economics as to be a story killer”. Can’t win ’em all, I guess… but hey, Professor H Bruce Franklin thinks it’s worth including on a course module reading list. And apparently Ellen Datlow listed “A Boardinghouse Heart” in the recommendations list for Best Horror of the Year #7, so I’m winning on aggregate.

Now on to things from this summer’s Utopian Infrastructures tour. FutureEverything’s City Infrastructures Lab went pretty well: here’s parts one and two of a piece I wrote for them as a follow-up, here’s an event report from Spaghetti Jams (with the wonderful title “The Metasystemic Roadtrip”), and here’s a video summing up the day (complete with an appearance Yours Truly and his overactive eyebrows).

Then there was Tomorrow Today at the ICA, a write-up of which can be found at Disegno; one Liam Healy took notes, but I clearly didn’t interest him very much. Selah!

A little more recently, Leila Johnston invited me to be involved in her How To Live Forever project, which takes a sort of experiential design-fiction-esque look at transhumanist immortality tropes. My contribution mostly involved being interviewed for this video, which was screened during the exhibit/performance/show/experience:

(More recently still, I was invited to debate the ethics of transhumanism at an event in London; on discovering said event was actually the UK Transhumanist Party’s AGM, I declined as politely as possible. There is, it turns out, a limit to my stupidity.)

What else? Oh, yeah, academia — I’ve an essay in press at the Journal of Futures Studies on the role of utopian thinking in science fiction, urban planning and futurism, but I’m not sure what the street date is on that one yet. However, the paper I co-wrote with Shirin Elahi off the back off Oxford Futures Forum 2014 just went live at Futures… and it’s open-access, thanks to the EPSRC coughing up Elsevier’s blood-price, so anyone (in theory) can read it. If you do, please let me know what you think.

The power of narrative

… narrative is the specific form taken by a written history to counter the permanence of vision. […] Narrative asserts the the power of men [sic] to be born, develop, and die, the tendency of institutions to change, the likelihood that modernity and contemporaneity will finally overtake “classical” civilisations; above all, it asserts that the domination of reality by vision is no more than a will to power, a will to truth and interpretation, and not an objective condition of history. Narrative, in short, introduces an opposing point of view, perspective, consciousness to the unitary web of vision; it violates the serene Apollonian fictions asserted by vision.

From Orientalism by Edward W. Saïd; quote on p.240 of the 2003 Penguin edition.

More dreams, fewer pipes

I get published, y’know.

Now, I announced the release of the Noir anthology from Newcon Press aaaages ago, but the world of reviewing moves pretty slowly when it happens off-line, and only now has this incredibly flattering write-up of my story “A Boardinghouse Heart” made it onto the hallowed pages of Vector, courtesy of the mighty Martin McGrath (who is not know for cutting crap fiction any slack, I might add). Quoth McGrath, the story:

“… is very fine indeed — compact, dense and intelligent, it is more-or-less everything I’d hoped for when I picked up the collection. It’s a detective story — or at least it’s a story with a detective in it — set on the slippery streets of a richly realised city. The protagonist, as should be the case in all good noir stories, is hopelessly out of his depth and beset by those more powerful and cleverer than he is. The most effective element is the way in which the story immerses you in a city, gives it history and heft, yet never burdens the reader with hefty exposition. I also liked its refusal of any heroic narrative. It’s a fine achievement and worth the price of admission on its own.”

That price of admission is £2.01 as a Kindle ebook, and rather more for paperback or hardback (signed) versions, should you be tempted by this effusive praise.

There have been few reviews of the Twelve Tomorrows anthology, possibly because MIT Tech Review took a somewhat “fire and forget” approach to promoting it, but the October print edition of Locus picked it up in two separate columns, in one of which Gardner Dozois declares:

“[t]he best stories here are Lauren Beukes’s “Slipping” and Paul Graham Raven’s ”Los Piratas del Mar de Plastico (Pirates of the Plastic Ocean)”, both of which manage to inject human drama into their visions of the future, as well as characters you care about who are faced with situations where they have something and something significant at stake.”

Which is a fairly writer’s-workshop-y kind of compliment, perhaps, but it comes from a man who’s been in the anthology editing game for almost as long as I’ve been alive, so I’m gonna go right ahead and take him at his word. Twelve Tomorrows also available in ebook form for UK readers via everyone’s favourite rapacious and riparian online retailer, for a mere £5.99. A steal, really, when you see who else is in there alongside me.

Last but not least, albeit considerably less glamorous, here’s an article I wrote for Water & Wastewater Treatment Magazine about Pipedreams, one of the big meta-projects of the Pennine Water Group, wherein I am currently embedded as a postgraduate researcher. Even though I struggle to explain my own research concisely, I can at least explain that of my colleagues, wot?

Pirates of the Plastic Ocean, plus LonConnery

I can finally fully announce some very agreeable publications news: my story “Los Piratas del Mar de Plastico” appears in this year’s Twelve Tomorrows, which is MIT Technology Review‘s annual all-fiction special. (On Stateside newsstands in August, I believe — though I know next to nothing about UK/Europe/global availability. You can sign up on that page to be alerted when copies go on sale, though.)

Cover art for Twelve Tomorrows-2014

It’s an astonishing list of names to see myself alongside, and no mistake: Bruce Sterling (who took the editorial chair, and shoulders any blame for inviting yours truly to play alongside the grown-ups), William Gibson, Lauren Beukes, Pat Cadigan, Chris Brown (no, not that Chris Brown), Cory Doctorow, Warren Ellis. Receiving the invitation to contribute prompted the most intense burst of Imposter Syndrome I think I’ve ever had; it’s still not quite faded away, either.

Like most of my writing (yeah, yeah, I know), “Los Piratas… ” is not amenable to easy “what’s it about?” summary; that said, if you’ve read Keller Easterling’s Enduring Innocence, you’ll understand the choice of location (and the title ). As usual, I ended up trying to cram a novel’s worth of plot and ideas into a short story, and I’d have loved to have let it stretch out to novella length by expanding the aftermath section, which is necessarily summarised in broad strokes. But it was always intended as something of a polemic, and sometimes literary concerns have to take the back-seat when you’ve got a particular something to say to a particular audience. All that remains is to see how the audience reacts, I guess…

… and I expect I’ll get to find out at LonCon3 next month. (See? That’s how us pros make a segue, y’all.)

At the moment, it looks like I’ll be haunting the ExCel Centre (and, presumably, other significantly less monstrous venues in the same locale) in London from early afternoon Friday 15th August until the afternoon of Monday 18th. I’m on a handful of panels and giving a paper on the academic track, so if you want to come heckle a cyberhippy, these are the dates your diary needs:

  • Saturday 12:00 – 13:30, Capital Suite 15 (ExCeL): “Body Modification – From Decoration to Medication and Augmentation”

“From piercings and tattoos to laser eye surgery, we now have a world where decorative or voluntary medical body modifications are common. Modifications that add to our capabilities are starting eg. magnets implanted in fingers provide a magnetic sense. What more is coming? Zoom lenses for eyes? Enhanced muscles? Who is going to be the first with these and why, and will anybody want to install Microsoft Windows for brains?”

[Justina Robson (M), Paul Graham Raven, Jude Roberts, Frauke Uhlenbruch; no prizes for guessing how I ended up on this one]

  • Saturday 16:30 – 18:00, Capital Suite 15 (ExCeL): “50 Years After: Asimov predicts 2014 World’s Fair”

“In 1964, Asimov wrote a set of predictions for the 2014 World’s Fair. What did he predict, what did he get right and wrong, what did he say that was useful, and what did he miss completely?”

[Gerry Webb (M), Madeline Ashby, Stephen Foulger, Paul Graham Raven, Ben Yalow; I’m guessing this’ll be a bring-some-popcorn type of panel.]

  • Sunday 09:30 – 11:00, Capital Suite 6 (ExCeL): “Science Fiction from the Outside (academic track)”

“Three academics each give a 15 minute presentation. This is followed by a jointly held 30 minute discussion with the audience.”

Dan Smith, “Science Fiction and Outsider Art”
Paul Raven, “The rhetorics of futurity: scenarios, design fiction, prototypes, and other evaporated modalities of science fiction”
Andrew Ferguson, “Zombies, Language, and Chaos”

[John Kessel (M), Paul Graham Raven, Dr. Dan Smith, Andrew Ferguson; one for the inside-baseball crowd only, probably.]

  • Sunday 12:00 – 13:30, Capital Suite 16 (ExCeL): “Speculative Design”

“Assuming a new technology, like synthetic biology, works, what products might come out of it? Speculative design is both a new artistic approach and a way of looking at problems and issues in a different way.”

[Gary Ehrlich (M), Nic Clear, Scott Lefton, Paul Graham Raven, Sarah Demb; these are mostly new names for me, so I’m hoping to learn new things on this one.]

I’m sure I’ll attend a fair few other panels and things, too, but mostly I’m planning to keep my schedule open and flexible; I’ve done enough cons now to know how best to make them work for me, and it turns out that running around with a timetable isn’t it. Very much looking forward to this rare opportunity to see some long-term Stateside friends and colleagues in the flesh; if you’re one of them (or, indeed, one of anyone), do drop me a line so we can arrange to meet.

Otherwise, the best way to locate me on the fly will probably involve triangulating between Twitter, the bar, and the smoking area. See you there? Good.