TCJ: I talked to a sci-fi editor at Tor in late 2016 about dystopias and their popularity in eras fraught with political disaster, and he said something that stuck out to me: “I think one of the underrated reasons that people read science fiction in particular is that it’s a great tool for figuring out what you think about how the world works.” Do you think that’s true? And if you do, what, after all these years, have you figured out?
WE: I do think that is largely true. Speculative fiction is an early warning station for heavy weather, that tests what might happen if lightning strikes at a certain place. In that operation, it exposes systems, from different angles, and asks you what you might think about them.
I could refer to [my] previous answer. I learned from fiction and from personal experience that systems are always more complex and more fragile than you think they are.
The thing about dystopias […] is that they also make more engaging stories than utopia. A utopia, by its nature, is absent conflict, and conflict, as everybody who ever wrote a book about screenwriting will tell you, generates drama. One thing about Transmetropolitan that I never got was that people called it a dystopia, whereas I just considered it the present day writ large, with joys and pains.
The important part of that quote of yours is that [speculative fiction is] a tool. Not the truth. Dystopias distort some central parts of the present condition so that we can see them better, and what they might swell into. But they’re still a distortion. You need to learn, for yourself, how to use the tool and avoid parallax error.
His comment re: Transmet is illuminating: I suspect that the ambivalence of that series is exactly what has made it such an enduring favourite, for me and for others. It’s neither threat nor promise — and that’s a difficult line to walk, in writing as in thinking.