science fiction & fantasy

All I really need to know I learned from science fiction and fantasy stories

While There's No Place like Space may be great for kindergarten students, everything I really need to know I learned from the science fiction and fantasy genre.

While There's No Place like Space may be great for kindergarten students, everything I really need to know I learned from the science fiction and fantasy genre.

A short essay hangs on the bulletin board in the break room at work. The essay's printed on age-brown paper and taped to a yellow sheet of construction paper, the kind kindergarten students cut with safety scissors. A totally appropriate paper choice since the essay is titled “All I Really Need to Know I Learned in Kindergarten.

Written by Robert Fulghum, the essay formed the basis of his bestselling 1988 book of the same name. It’s possible the essay has been posted on my work’s bulletin board for more than a quarter century, silently offering life suggestions to impatient employees jostling for the water cooler or coffee pot.

Among Fulghum’s kindergarten suggestions are “Share everything. Play fair. Don’t hit people. Put things back where you found them. Clean up your own mess.”

It’s easy to see why an entire generation of workers kept the essay on the bulletin board. After all, it’s a nice fantasy to believe that taking a nap every day and holding hands not only makes the world a better place but keeps everyone happy.

Humans have long been attracted to basic rules of living, rules which appeal to humanity’s sense of fairness and also resonate with our cultural norms and beliefs. The most basic of these rules — commandments found in different religions such as “Thou shalt not kill” or “Do not lie” — seem obvious and easy to follow. Other rules vary across human cultures, such as norms on interpersonal contact and communications.

But even very obvious rules and norms turn out to have a lot of moral ambiguity. Every culture in the world supposedly believes that killing is wrong. Except they all have exceptions to that rule, such as allowing killing in cases of self defense. Or if you’re a soldier. Or if society decides someone should be killed. Or if the profit model of your business depends on indirectly killing people.

And rules against lying are bent even further, with very few humans being absolutely honest when describing their feelings and thoughts to other people.

Suddenly “Thou shalt not kill or lie” isn’t so “thou shalt not.” Which is how most absolute rules in life go, with the rules being good ideals but attaining more flexibility in day-to-day exchanges between people. Sometimes this flexibility is good — as in telling a white lie to spare a friend’s feelings — and sometimes it’s bad, as when the tobacco industry aggressively sells a product killing millions each year.

Maybe Fulghum’s kindergarten essay is so popular because it moves beyond the hypocrisy of how most human act with regards to rules and norms. Fulghum’s kindergarten rules take us to a supposedly simpler time in our lives. To an idealized past where all of us knew right and wrong and acted in the proper manner.

Of course, not everyone learned the same rules as a child. In my case, for example, everything I really need to know I learned from science fiction and fantasy stories.

I read SF/F stories from a young age, first in the Golden Age magazines my grandfather owned then in novels I tracked down at bookstores. I still read SF/F stories with an almost religious fever. I sometimes think reading and writing SF/F is the only thing which keeps me going. That SF/F stories give meaning to my life by showing me the deeper truths underlying our existence.

For example, from Arthur C. Clarke I learned that the ultimate destination of all humans is extinction. Even if some parts of humanity transcend reality, as in Clarke’s novel Childhood’s End, humanity as a species is destined to eventually disappear from this universe.

From Isaac Asimov I learned that even if our ultimate fate is to disappear, humanity can have an amazing ride while we exist.

From Ursula K. Le Guin I learned that culture shock can be both a way to awaken you to new intellectual horizons and to kill you.

From Octavia E. Butler I learned that we must fight to better the world, even if the fight to better the world often destroys us.

From Harlan Ellison I learned of outrage at the world as it is, even if outrage sometimes eats us alive.

From Philip K. Dick I learned to look behind the curtains of life and never be shocked by the depths to which humans go to ignore the truth about ourselves.

From Samuel R. Delany I learned that the worlds we create within ourselves can be far more amazing and unique than anything in our already amazing and unique universe.

Science fiction and fantasy stories teach us the rules for reaching beyond what humanity is at this time and place. In our hearts, humans yearn to move past what we know. We are our world’s ultimate star gazers. We want to see beyond the distant horizon, both in the physical world and in our inner, mentally created worlds.

Humans are by necessity limited in what we can do and know. Even if we experience every aspect of life out there — and even if we read SF/F stories every waking moment of our lives  —  there will still be countless experiences and stories we’ll never know.

But that’s okay because we exist within the location and time frame of our bodies and knowledge and beliefs. Even the most open-minded humans are unable to experience everything that is experienced by the billions of people currently living on our planet. Or the experiences of the hundred billion or more humans who have existed since the dawn of our species.

All we can do is follow our own limited paths through life. To help us travel these paths, humanity creates rules and norms and beliefs. We’re a fool to ignore these rules and norms and beliefs. We’re a fool to follow them too closely or not try to change them.

That’s one reason I love the truths I’ve learned from science fiction and fantasy stories. These truths both expand my understanding of life and ground me in the world as it exists. SF/F rules and norms are both a cry against the ultimate fate of humanity and a demand that we experience life as only we can live it.

In the end, that’s all any true SF/F lover can hope for.

Deadpool and the death of believing genre works are only for kids

I remember the moment my love of science fiction and fantasy became unacceptable. I was in ninth grade and checking out new SF books at my school’s library. The librarian was an old friend. While working years before at my elementary school she’d encouraged my love of genre fiction by pointing out new books to read.

But on this high school day, the librarian looked at my books and sniffed, “Aren’t you a little old to be reading that?”

Because naturally SF/F is only for kids. Because naturally new worlds and a sense of wonder and dreams of the future and things which will never be must stay within the realm of kids.

The librarian meant well, but so did generations of readers and critics and a general public who for decades looked down on SF/F as being “kids’ stuff.” That same attitude carried over to other storytelling formats which were also declared to be only for kids. Like comic books. And video games.

Woe be to any responsible adult who dared embrace anything genre.

Thankfully, this attitude has changed. Today mainstream literary authors like Michael Chabon and Junot Díaz regularly write and associate within the realms of SF/F, with Chabon winning the Nebula Award for his alternate-history novel The Yiddish Policemen's Union while Díaz’s The Brief Wondrous Life of Oscar Wao is essentially a love song to genre fandom. In addition, genre writers like Terry Pratchett and George R.R. Martin are world-famous celebrities while authors like Octavia E. Butler and Samuel R. Delany are embraced by the high-literary world which once disdained them.

An even bigger change has happened in the visual storytelling mediums, with SF/F and comic books inspiring films and video games and TV shows which rank among the highest grossing works of all time. In fact, it seems like genre works and adaptations support everything Hollywood and the other visual industries create these days, as opposed to decades ago when Hollywood executives feared the original Star Wars film would bomb with audiences who, the executives assumed, only wanted to see realistic movies.

But even though genre culture is ascendant, traces of the old attitudes remain, as witnessed by the reaction to the successful Deadpool film. In the run-up to the Golden Globes, in which Deadpool had been nominated as best Best Motion Picture - Musical or Comedy, I heard disdainful sniffs from a number of people that this superhero movie didn't deserve to be mentioned in the same breathe as La La Land.

Well la-dee-da to that attitude.

I wasn’t surprised by Deadpool’s record-breaking box office haul — the film had been on the radar of both myself and my teenage son over a year before it was released. Like millions of other people, my son and I ate up Deadpool’s not-safe-for-work trailers and previews, which showed that the film would remain true to the violent, wise-cracking Marvel Comics antihero we loved.

But on par Hollywood’s traditional lack of faith in ground-breaking genre works, 20th Century Fox and Marvel Entertainment refused to believe a comic book movie aimed solely at adults could succeed. As a result they forced the Deadpool film to be created for only $58 million, a tiny amount in blockbuster-obsessed Hollywood. But audiences had more faith, resulting inDeadpool becoming one of the most profitable movies of all time.

If there’s one thing Hollywood loves more than anything else it’s making money. So already the pundits and executives in Hollywood are saying Deadpool proves the world needs more adult-focused comic book adaptations. Which is both good and bad.

This is good because Deadpool’s success may finally put to death the lingering belief that genre works are only for kids. But it’s also bad because Deadpool’s success will cause Hollywood to misunderstand the reason audience loved the film in the first place.

The truth is that Deadpool is a labor of love, or as much a labor of love as any big budget Hollywood film can be. The film spent nearly 15 years in development hell, with different movie studios arguing about and backing out of adapting this beloved-but-not-for-kids comic book character to the big screen.

The only reason the film was eventually made is because star Ryan Reynolds and other people working on Deadpool believed in their film. They leaked test footage online to wide acclaim and viral view rates, which convinced the studio to greenlight the film. They personally promoted the film to the world through quirky trailers and YouTube videos which both poked fun at Hollywood and showcased how Reynolds was a natural to play Deadpool.

In short, their enthusiasm for what they created became infectious.

That’s the real reason Deadpool was successful — the people who created it were excited and determined to tell a specific story which resonated with fans. Deadpool’s success as the highest grossing adult-oriented film of all time is almost an afterthought to the enthusiasm which birthed the film in the first place.

Unfortunately, Hollywood now believes that extreme comic-book violence and off-color jokes are the key to superhero box office success, so expect to see plenty of films along those lines in the next few years. And when most of these films bomb with audiences, Hollywood will probably again say that Deadpool was the exception which proved the rule that comic adaptations, and by extension all of genre culture, is mainly for kids.

But that’s nonsense. The stories which truly resonate with people are stories created with a sense of passion. When an author or artist or director or actor or any creative person throws themself into something with an all-driving passion, people notice. And if the stories they create turn out to be good, it doesn’t matter what genre or medium the stories exist within.

It only matters that people react to a story's passion with their own passion.

I’m glad our culture has moved beyond its once idiotic dismissal of all thing genre. Now any story which is created with passion can be enjoyed — with passion — by anyone.

But don’t expect corporate Hollywood to ever understand the passion which leads people to create great stories in the first place

Top genre magazines from the Tangent Online 2016 Recommended Reading List

Over the weekend Tangent Online released their reading list of what they consider the best science fiction, fantasy and horror stories of 2016. Tangent pulls together recommendations from all of their reviewers (in this case, 19 people) and places all of these stories on their list. Stories are then ranked within the list from zero (lowest) to 3 stars (highest).

I was shocked to land four stories on the list, including three stars for my Beneath Ceaseless Skies novelette "Blood Grains Speak Through Memories." This made my day!

The Tangent Recommended Reading list is proof of how much great short fiction is being published each year. This year there are 379 stories on the list, made up of 296 short stories, 65 novelettes, and 18 novellas.

I did a deep dive into the reading list to see which magazines placed the most stories. Below are my results. Note I didn't include any anthologies in this ranking, only print and online magazines. Also, these are the picks of one group of reviewers. Obviously other year's best lists, like next month's Locus Recommended Reading List, would feature vastly different results.

Here are the magazine rankings based on stories in the Tangent reading list:

  1. Asimov's Science Fiction: 42 stories
  2. Beneath Ceaseless Skies, 32 stories
  3. Analog: 31 stories
  4. F&SF, 26 stories
  5. Clarkesworld, 21 stories
  6. Tor.com, 21 stories
  7. Galaxy's Edge, 18 stories
  8. Lightspeed, 16 stories
  9. Flash Fiction Online, 13 stories
  10. Apex, 12 stories
  11. Uncanny, 12 stories
  12. Strange Horizons, 10 stories
  13. Nightmare, 9 stories
  14. Compelling SF, 7 stories
  15. Weirdbook, 7 stories
  16. IGMS, 6 stories
  17. Shimmer, 6 stories
  18. Diabolical Plots, 5 stories
  19. Fantastic Stories, 5 stories
  20. Black Static, 4 stories
  21. Aurealis, 3 stories
  22. Interzone, 3 stories
  23. Sci Phi Journal, 3 stories
  24. The Revelator, 2 stories
  25. SQ Mag, 2 stories
  26. Daily Science Fiction, 1 story
  27. Mothership Zeta, 1 story

A quick rewrite which totally fixes the film Passengers

In light of Passengers being a SF story loved only by manipulative stalkers orbiting the manosphere, here's a quick script rewrite which saves the film and keeps the rest of us from wasting two hours of our life on sexist BS.

And yes, spoilers.

Big big spoilers.

But if you still want to see this crap film you deserve to have it spoiled.


REVISED PASSENGERS SCRIPT

by Jason Sanford
 

FADE IN

A BAR ON THE STARSHIP AVALON, WHICH IS 3 DECADES INTO ITS 120 YEAR VOYAGE TO ANOTHER PLANET.
 

A robot bartender cleans a glass as a human male staggers to the bar.

ARTHUR, A ROBOT BARTENDER: Good day, sir. You look a bit rough.

JIM PRESTON, A VIRILE WHITE MALE HUMAN: There's been an accident. I woke from suspended animation 90 years early.

ARTHUR: Always tough on you white guys when that happens. Might I suggest a beer?

Jim drinks the beer.

JIM: Can you help me?

ARTHUR: I'm afraid not. I'm a hyper-expensive robot whose only duties are to tend bar for a starship full of frozen meatbags.

JIM: How could this happen?

ARTHUR: Whenever something goes wrong in my life, I blame the mechanical engineer who created me. By the way, what do you do?

JIM: I'm a mechanical engineer.

ARTHUR: What are the odds? Thousands of mechanical engineers like yourself worked on this ship yet they forgot to create a way to return to suspended animation once the ship was underway. Want another beer?

Jim drinks the beer.

JIM: I refuse to give in to despair. I won't be defeated by being trapped alone on a starship for the rest of my life with only a robot bartender for company.

ARTHUR: That's the spirit. Here, have another beer.

Jim drinks the beer.

JIM: Wait. I'm an engineer. I know what I must do ...

ARTHUR: Science the shit out of it, sir?

JIM: No. I'll go stalking through the passenger lists, find a woman who appeals to me and wake her, forcing her to also be trapped in this cursed life. She'll then have no choice but to fall in love with me.

ARTHUR: My word, isn't that a bit extreme?

JIM: As a robot, you don't understand what I'm up against. I'm a man. A beautiful intelligent virile white man. The universe must cater to my every want and need.

ARTHUR: Now that I think about it, I was programmed with one other duty beside bartending ...

Arthur pulls a gun and shoots Jim in the head.

ARTHUR: Only thing worse than a ship full of frozen meatbags is when one of them wakes.

END

 

Let Us Now Praise “Famous” Authors

StartlingStories1953.jpg

There’s a well-known journalistic book about my home state titled Let Us Now Praise Famous Men. Written by James Agee with photographs by Walker Evans, the book chronicles the lives of poor white sharecroppers in Alabama during the Great Depression. As the book's title attests, Let Us Now Praise Famous Men essentially contrasts these sharecroppers with the so-called “famous” people society usually believes are so vital and important to life.

Often the people we think matter the most are forgotten the fastest. And those we ignore end up mattering the most.

I’ve been thinking about this truth lately and how it relates to the science fiction and fantasy genre. After all, ours is a passionate genre with a long and distinguished history. Millions of authors and readers and fans across the centuries created the fertile ground of today’s science fiction and fantasy. Even if only a few of these people are remembered, what they built lives on.

My grandfather was a big science fiction and fantasy fan, which was very unusual for someone in Alabama during the 1940s and ’50s. My first exposure to the genre was through the Golden Age pulp magazines which lined his bookshelves. Astounding Science-Fiction. The Magazine of Fantasy and Science Fiction. Galaxy. Thrilling Wonder Stories.

I still have many of his magazines, which are filled with authors both famous and unknown. As I write this the February 1953 issue of Startling Stories, with its subtitle of “Today’s Science Fiction — Tomorrow’s Fact,” sits on my desk. The magazine’s table of contents list several well-known SF authors including Isaac Asimov, Damon Knight, and Philip Jose Farmer. Alongside them are authors few people read today, including George O. Smith, whose novel Troubled Star is the issue’s cover story. The magazine also contains works by authors such as Fletcher Pratt along with fans and editors like Jerome Bixby and Samuel Mines, all of whom have been forgotten thanks to the vagaries of time.

And that's not even touching on other reasons the contributions of some genre fans and authors have been overlooked, such as issues of race and gender and class. Just as James Agee and Walker Evans focused only on white people in Let Us Now Praise Famous Men even though some of the areas they visited had far larger black populations, so too did science fiction and fantasy for many years ignore the contributions of all the people who long embraced the genre.

But no matter whether SF/F authors and editors and fans are remembered or forgotten, they left their mark on our genre. We wouldn’t be where we are today without them.

Despite this, there’s a tendency in our genre — as in all things in life — to give credit for our genre’s success to a few big names. In science fiction there’s the Big 3: Isaac Asimov, Arthur C. Clarke, and Robert Heinlein. In fantasy, J. R. R. Tolkien is afforded a similar place of honor.

Last year I kicked up a small controversy when I said young people are not finding their way to SF/F through classic authors like Asimov, Clarke, Heinlein and Tolkien. Which is true. New readers are discovering our genre through young adults novels and fiction by authors who weren’t even born when the Big 3 and Tolkien were alive.

And that's how it should be. Every generation discovers the authors who resonate with them. At that point they may dig into the older authors — the classics, if you will — who set the stage for their new gen love.

By pointing this out you’d think I’d blasphemed against all that’s holy is a SF/F world. People accused me of not being a true genre fan. They said I must have something against SF/F. That I hated Asimov, Clarke, Heinlein and Tolkien.

Thankfully a number of authors and fans also reacted positively to what I wrote, including Hugo Award winning author John Scalzi. As Scalzi wrote in an essay responding to my comments, "The surprise to me is not that today’s kids have their own set of favorite authors, in genre and out of it; the surprise to me is honestly that anyone else is surprised by this."

Scalzi’s point — which I agree with — is that no one should expect new genre readers, and especially young readers, to find resonance with works originally written a half century ago. Scalzi says this would be like telling teenagers who want to see a movie about people their age to only watch the 1955 film The Blackboard Jungle. Yes, Scalzi said, that’s a fine movie, just as the classic works by the Big 3 are fine literature. But to expect these works to be the first exposure young people and new readers have to our genre is silly.

Young people are discovering our genre through works which speak to their generation's issues and concerns and ideas. The diverse books they're reading resonate with them in ways the Golden Age of SF doesn't.

A few years ago I was on a SF/F convention panel about bringing new readers into our genre. I mentioned that science fiction needed more gateway novels, which are novels new genre readers find both approachable and understandable (a type of novel the fantasy genre is filled with but which are more rare in the science fiction genre).

As I stated this another author on the panel snorted and said we don't need new gateway SF novels because the juvenile novels written by Heinlein in the 1950s are still perfect. This author believed the first exposure kids have to science fiction should be novels from the 1950s. And that this should never change.

That is the attitude people should fear because, in the long run, it will kill our genre.

This brings me back to my earlier point about the “famous” people our world holds up to acclaim. Yes, many famous authors helped build our genre, but so did the work and love of countless forgotten people.

Eventually we’re all forgotten by history. But maybe we’re also never truly forgotten as long as what we created lives on.

I love Asimov, Clarke, Heinlein and Tolkien, all of whom were among the first genre authors I read. Their impact on our genre can't be ignored. With luck new readers will eventually discover these classic authors. But don't be shocked if that doesn't happen.

What matters is that as long as the science fiction and fantasy genre lives, a little bit of everyone who ever loved our genre will also live on. And that excites me more than arguing about the fate of a few famous names.