Archive for the 'science fiction' Category

Nothing new under the sun…

November 20, 2017

When are our tastes in literature shaped and formed?

I wrote recently about the phenomenon of older men reading less fiction, and the other day found myself discussing with my daughter the fact that I was not really that interested in much of what was being written now, or indeed films that were being released now, whereas in my student days I had been an avid reader of fiction and an avid film-goer. And we got on to thinking about how early on in life our tastes seem to be shaped and formed. It was interesting to find someone of a different generation in broad agreement with me, and I pondered things further…

I first met Sherlock Holmes, in print and on the wireless, at age seven. I’ve liked detective fiction – or a certain range of it – ever since; I’ve written else where in this blog about my enjoyment of Ed McBain, Raymond Chandler, Ellis Peters, Josef Skvorecky and others, too, no doubt.

I also first came across science fiction in my younger years, in the junior section of Stamford Public Library when I found the Lost Planet series, by Angus MacVicar. The premise was bonkers, as I recall, visiting a planet that had an orbit somewhat resembling that of a comet so that eventually it would be unreachable from earth, but the notion that there could be life elsewhere, and reachable from earth, stuck with me. As a student I became aware of science fiction with a political and social message, read lots and ended up researching and writing both an MA dissertation and an MPhil thesis on it. And I still keep an eye on what’s being written now, though I read very little of it.

About ten or fifteen years ago, there was a major shift in my reading habits as I began to explore all kinds of travel writing, and you don’t have to look very far in this blog to see how often I’ve written about it. I though this might be an example of a new direction in my reading, until I recall the voraciousness with which I tracked down and read every single book in the Young Traveller series in the local library. Again, a simple and repetitive premise which appeals to younger readers: a family travels – using some vague and largely irrelevant excuse – to a country, meets and converses with people, experiences local customs and food, visits important tourist attractions, all suitably sanitised for a readership of children.

I’ve always read a lot of fiction from other countries, mainly European, but do cast my net more widely. And I remembered friends at boarding school who pointed me at writers like Sartre and Günter Grass, and realised that here was yet another shaping of my literary tastes. Obviously when at university studying French Literature, my outlook broadened further.

So I have found myself wondering – is there anything I’ve acquired a taste for more recently, as in, since my student days of forty years ago? If there is, when I remember, I’ll let you know. But until then, I’m struck by just how much the tastes and interests of one’s life are laid down at a pretty early stage…

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On 31 October, 1517

October 13, 2017

All sorts of things have been reminding me of October 31 being the 500th anniversary of Martin Luther‘s 95 theses, whether or not these were actually nailed to the church door in Wittenberg. Having a Catholic school education in England in the 1960s was an interesting experience, as there was still some of the feeling of being a member of a persecuted minority in the air; we were presented with a sketchy outline of the split in the Church as part of history lessons at primary school. Moving to a secondary school where the Anglican Church was the norm and saw itself as continuous with the church brought to England by Augustine at the end of the sixth century, I was offered an account of events from an opposite perspective, together with no small amount of mockery of Catholic beliefs and practices. Then I moved to a Catholic secondary school and got everything in more detail from the ‘right’ perspective again…

I suppose those experiences were useful in terms of teaching me about different viewpoints; they certainly got me interested in what could have caused such major ructions at the heart of Christianity. I’m still learning, and there’s an excellent explanation of the doctrine of justification by faith alone in this week’s edition of The Tablet.

My travels have taught me how different the Reformation was in Germany compared with England; in Germany there seems to have been much more of a continuation than a violent rupture; no mass iconoclasm such as destroyed so many cultural riches in England. I continue to be appalled by the vandalism and wanton destruction of Henry VIII’s reign.

There are three writers who I’ve found very helpful in developing knowledge and understanding of the religious issues and historical events. One is a Catholic priest who wrote in the 1950s, Philip Hughes, who wrote a short volume on the Reformation in general, and a second, monumental tome, The Reformation in England, which details the demolition of Catholic England.

Then there is Eamon Duffy, who has written works of socio-religious history which trace the actual effects of the English Reformation on its people in two detailed and astonishingly well-researched books, The Stripping of the Altars, and The Voices of Morebath. This second volume looks at the changes as they affected on small rural community over the years between the first breach with Rome and the Elizabethan settlement.

Finally there is Diarmaid MacCulloch, whose hefty tome Reformation came out in 2003, and which I have decided to revisit as we come up to that symbolic 500th anniversary. I’ll write more about his book when I’ve finished it.

And then, I cannot forget some of the literature which uses the Reformation as its starting-point. Kingsley Amis‘ novel The Alteration posits the Reformation never having happened in England and focuses on the moral horror of a young boy who is due to be castrated to preserve his voice for use by the Church. And Keith RobertsPavane, a far better novel for my money, is set in a world where the Reformation also didn’t happen, along with various other events consequent upon it…

A curious novel – Q – was published a decade or so, apparently written by an Italian collective who presented themselves as one Luther Blissett. It focuses on the social upheavals in Europe during the early years of the Reformation particularly the Anabaptists and the events in Munster, along with the early efforts of Rome to thwart what was going on.

Finally, I can’t overlook the astonishing religious poetry of my favourite poet, John Donne, a man genuinely torn by the religious strife in England and the theological controversies – although he ultimately knew which side his bread was buttered on. He brings to his Holy Sonnets and other poems the same ardour he brought to his sexual conquests and fantasies in his love lyrics, before he ‘saw the light’, took holy orders in the Church of England and went on to become Dean of St Paul’s and a man whose sermons people came from all over Europe to hear. Not much likelihood of similar fervour nowadays.

Ursula Le Guin: Malafrena

September 4, 2017

416GC-gCGbL._AC_US218_This is a curious novel, a work of historical fiction from a master of science fiction, set in an imagined country, Orsinia, which is clearly in Central or Eastern Europe, and blends elements of several countries. It’s set in the early nineteenth century; it was once an independent kingdom, but has come under the autocratic sway of the Austro-Hungarian Empire. So, a fictional setting with a background of real events, against which canvas she develops her characters, their philosophies and their lives.

And yet: the same issues as are revealed in her science fiction are revealed in Malafrena, and are explored: individual freedom, individual autonomy, how to respond to power, and what can one person hope to achieve? What is possible? The same questions confront her characters in this novel as face the characters in her utopian novel The Dispossessed; the difference is that in Orsinia they discover how they are circumscribed by realpolitik, whereas there is the chance, in the more open setting of Anarres and Urras, that a different way of doing things, of being, can be explored and developed.

It’s an unnerving novel, I found, because so often it seems disarming. A series of apparently insignificant encounters and conversations a lot of the time, but charged with more power and more significance as connections are made, both in the tale itself and in the reader’s mind. At times there seem to be too many characters to keep track of, at time’s it’s infuriating how a strand of the story I found interesting was just dropped, characters fell off the page: the vastness of the canvas underlines individual insignificance in the face of world events, perhaps? And we know, because of history, that the collective will for change that bursts forth across Europe in 1830 will not succeed, so the author’s purpose must be leading us in other directions: what is real happiness? what do we really want? what would really make the world a better place?

At various points I found a contrast being drawn out, between a young man who thinks that revolution is possible and will make a better world, and an old man who has tried, and who thinks, maybe knows that it’s not possible, it’s not what he had imagined it would be like. There’s something Conradian in either the futility of revolution, or the ways in which revolution warps itself by taking on a life of its own…

And it’s a very good novel, too: once I’d stopped trying to categorise and tame it in my mind and just went with the flow, as it were. I shall certainly come back to it, and soon. This edition appends a series of short stories with the same setting – the Orsinian Tales, but at various different time-points in history, which helps solidify and imaginary place, if that makes sense, and is surely a forerunner of Le Guin’s vast Ekumen, the organisation of worlds across the universe in which her Hainish stories are set. Again, the big ideas are to the fore, and the format allows her to explore many possibilities from many angles. Here is a writer who I think is still underestimated.

On recommendations

July 30, 2017

Do you ever get the feeling you don’t have enough time to read? Surely not…

I found myself reflecting on this because I realised how few of friends’/acquaintances’ suggestions and recommendations of books I should read I actually follow through, and also realised it hadn’t always been like this. So a brief check through my reading journal (which I’ll write about tomorrow) showed that, since the start of last year I’ve read two books recommended by my wife, two recommended by friends (and one of these books I didn’t really enjoy) and one recommended by my mother (we often swap travel writing, which we both enjoy) – out of a total of almost a hundred books read. Any other choices have been books waiting on my shelves, books suggested by others I’ve read, or have been suggested by book reviews in the press.

Back in my school and student days, when I suppose I was beginning to read seriously, friends and colleagues recommended books all the time and I devoured their suggestions; we swapped books all the time and discussed them, often at length; at university we studied them. And one of the inevitable results of that has been the development of ever more refined (picky?) personal tastes and preferences: in my sixties, I know what I like, and I’m far more reluctant to stray out of familiar paths… That initial, enthusiastic swapping, talking and recommending fostered and encouraged the growth of my own likes and dislikes: no logic, rhyme or reason to it, and it’s what got me to where I am today: why else did I reject the study of history at school, and classics at university, and go on to read English and French Literature, later on specialising in twentieth century literature and science fiction?

I suppose this is inevitable, and we could say much the same about musical tastes, choices about travelling, even work: we get to know ourselves, or construct ourselves perhaps, and settle into …ruts.

If you’ve read a few of my posts you’ll know the mix: some fiction, usually European, often translated, some science fiction, detective fiction, a lot of travel writing, some history. There’s a lot that’s missing, and that I see other bloggers who I follow, writing about – women’s writing, poetry, modern British or American fiction for starters. Pressed for an answer as to why I don’t read very much of those kinds of writing, the simple answer is ‘I don’t have the time’; it’s not an answer I’m that happy with, and there’s a stick-in-the-mud there somewhere. The only new genre I’ve taken on board in the last twenty years is travel writing, and that has been a marvellous discovery, thought-provoking and enriching.

My friends don’t recommend boring stuff; quite often a recommendation is a response to my talking about something I’ve read recently or an interest that we share, and yet it’s only occasionally that I’ll actually take up a suggestion. I have so many books I know I’ll never get around to re-reading (which helps with the occasional clear-out), so many books waiting to read, and increasingly there are books I know I would like to read but will never get around to, so I don’t bother buying them…

James Blish: A Case of Conscience

July 15, 2017

51pvowfQhAL._AC_US218_ (1)Occasionally a senior moment – or too many books – leads me to buy a book I already have in my library. Something recently prompted me to read this, so it duly went onto my list of books to look for. But a nagging thought sent me to my database, and, lo and behold, I already had a copy, last read over thirty years ago…

It’s an interesting novel from almost sixty years ago. Contact has been made, and humans have visited, intelligent life on another planet. As always, the scientific details of how FTL flight works have to be vaguely explained, the reader has to be blinded with science; what our world is like in the year 2049 has to be guessed at, and the longer that elapses since the novel was written, the more outlandish it seems: humans still recording messages and data on tape?

The moral dilemma at the centre of the novel is faced by a Jesuit priest, who is a biologist and one of the first four humans to visit the planet Lithia with a remit from the UN to recommend what the nature of human interaction with the inhabitants should be. Unfortunately, the technologically advanced Lithians are incapable of anti-social acts and behaviour; they are good because it is logical and natural to them to behave thus. And they have no religion or concept of God. From our Jesuit’s perspective therefore, they must be a creation of the evil one (because it removes the necessity of God from the picture) – Satan – to test the human race; by making such a judgement he falls into the Manichaean heresy, allowing creative power to the forces of evil, and must face the consequences of this. His recommendation, that the planet be quarantined forever from contact with humans, seems logical to us nowadays, but he is out-manoeuvred by those who would exploit its resources, with ultimately disastrous consequences.

All sorts of complex issues are raised in this novel, including that of whether the hero’s moral judgements are inevitably flawed because limited by his own earthly perspective. Sadly, I feel Blish loses focus in the later parts of the novel, where a Lithian is raised on Earth and causes chaos and mayhem through the contradictions between his Lithian heritage and its interaction with flawed (fallen?) humanity: it’s harder to see what the writer intends us to focus on, unless it is the complexity of any interaction with an alien species. Where are the possible points of contact and understanding? For me, the theological strand was the only really interesting one, the moral, cultural and social questions being rather more run-of-the-mill.

Well worth a read: I’m not aware of much good quality, thought-provoking SF from the fifties, but this one certainly woke me up.

Dystopia time again

March 28, 2017

51VHe12RxJL._AC_US218_Margaret Atwood’s novel has been clearly on the radar ever since it was first published, but is making waves again since the election of D Trump in the US, and is due to appear as a TV series next month. I’ve also spent a year or so working on a study guide to the text, for sixth form students, which has recently been published. There was a film made by the German director Volker Schlondorff in 1990, but it’s a film that’s better passed over because of its gratuitous change to the ending of the novel.

So I’ve been reflecting on twentieth century dystopias more generally; Atwood’s novel for me sits alongside Orwell’s 1984 and Huxley’s Brave New World, and the three novels all have pertinent things to say about the current state of the world, from radically different perspectives. To many of us, the present situation in the UK and in the US verges on the alarming – or am I being too cautious? – and revelations by Wikileaks and Edward Snowden among others only increase our feelings of paranoia.

51OG8UQrofL._AC_US218_Orwell’s new-found relevance is obvious, with the huge growth in surveillance, both by the state and other organisms, of all citizens, made easier by the development of the web and mobile technology, and justified by authority in the name of security against terrorist threats. Smart TVs now do perform the functions of Big Brother’s telescreens, your mobile will reveal your location, and everything you do online is likely to be logged somewhere… and yet the state does not need to stamp out dissidence in the way Orwell imagined – a boot stamping on a human face, forever – because Huxley’s vision coincides, and has made such violence redundant.

51VS8inU1TL._AC_US218_Huxley’s future is even more sinister, in many ways, because based on hedonism: offer humans pleasure, through sex and drugs, and you can render them passive slaves, incapable of rebellion because they are totally uninterested. It’s hard not to feel that in some ways and in some places this is already happening: alcohol is cheap, recreational drugs are available, sex is a commodity to many, and there are so many shiny shiny consumer durables to distract and use up one’s money, before being thrown away and replaced – ending is better than mending! One learns that there are so many people who cannot conceive of being without their mobile phone or online 24/7, and who are totally uninterested in any security threat or monitoring of their lives via these desirable devices.

The fact that I can still say that Atwood offers a gender perspective on current dystopian trends feels patronising at the same time as its truth underlines the still-existing inequalities in what some would have us believe is a post-feminist age. Perhaps her vision is sharper viewed from the USA where the fundamentalist Christian right wing is still hell-bent on restricting access to reproductive rights and maternity leave; some of the language used and the proposals made by various public figures recently have been truly shocking. In Atwood’s Republic of Gilead, after the right-wing coup, women have been openly objectified and commoditised, under the guise of freeing them from the worst aspects of their lives now. And, of course, it’s men who have been kind enough to do this. All in the name of religion, too. It will be interesting to see what aspects are foregrounded in the TV series; Atwood said at the time of the novel’s publication that she wrote of nothing that wasn’t either happening or possible already – back in 1985. She didn’t let men, religion or feminists off the hook…

It’s worth comparing how the three novels are differently presented, too: Orwell offers a traditional narrative, but filtered brilliantly through his invented language Newspeak, which shapes the alternative facts for the regime, Huxley offers a non-linear, modernist narrative, jigsaw-like in places, but Atwood is probably most original and experimental. Offred’s narrative is her mind, her consciousness and her emotions, fragmented like her life was before, and is in the new times; it has both a dream-like (nightmare-like?) quality as well as an immediacy which bring us up short. Atwood allows her to revel in words and language, to ask sharp questions, and to shock us…

Here we have three very powerful novels, more relevant today than they have been for some years: we should read, reflect and let them inform our conversations and actions. Here’s your essay title:

Which of these three novels do you think is most relevant to 2017? Justify your choice.

Philip Pullman: The Book of Dust

March 1, 2017

51c3yuum9ll-_ac_us218_51sf-9svtul-_ac_us218_No, I haven’t had access to an early copy – I wish! I’m really looking forward to when this comes out in the autumn, and hope that it doesn’t take five years for the whole trilogy to be published, like the last one did. I can’t wait to read more of Pullman‘s ideas, to revisit the people and places he invented, to read another story from a real master…

I am now well into the final volume of the Dark Materials trilogy again; I’m listening to it in the car as I travel, and the full version, narrated by Philip Pullman himself, is marvellous, though it’s hard to stop myself picking up the books in the house and racing on with the story. So, what’s actually so good about it?

What has always struck me is the depth and the detail, both of the plot and the structure, of the trilogy, its time and scope, which equals the ambitiousness of Milton when he set out to write an epic that would outdo all those of the past, and took as his theme the creation of the world, the Fall and Man’s redemption, in Paradise Lost. And the parallels with Milton’s story are evident. Milton was a master and an inventor of language, and so is Pullman, though in different ways. Both writers invent unseen, imagined worlds and describe and populate them.

But it’s where Pullman goes with his ideas that has always fascinated me, through my several readings and listenings. In Milton’s version, the Fall is a good thing, a felix culpa, because it allows something far greater, in Christian theological terms, which is Christ’s sacrifice of himself to redeem humanity from its fallen condition. But Milton also has a problem, which is that Satan comes across as the hero of his poem, not intentionally, not deliberately, but nevertheless inevitably: the angels in heaven are dull and boring, and we know that the omnipotent God is going to come out tops, so there’s no narrative suspense there. In Paradise, Adam and Eve are as dull as dust, dutifully spouting a party line as they do the pruning and talk with the animals. The sex is boring, too. As humans, stasis is not our natural condition.

Some fundamentalist Christians have ranted and railed against what Pullman has suggested in his trilogy, which to me seems to be that it’s precisely through the Fall that we are human as we now recognise ourselves to be, that being fallen makes us what we are. Religion and authority limit and restrict us, attempt to deny us our full potential. In other words, our fallen condition is often pretty good fun and we enjoy it. And Will and Lyra re-enact that Fall, joyfully, unashamedly.

The issue, I think, is a similar one to that raised by Aldous Huxley in his challenging novel Brave New World, way back in the 1930s. I was fortunate enough to have the opportunity to teach that novel a number of times, and students’ reaction to the world Huxley visualised in AF 632 was very interesting: many very much liked the idea of living in it; others were appalled. In our discussions of the novel, we edged towards the discovery, not that there was anything wrong per se with the hedonistic life of that world, but that its inhabitants were not actually human as we understood the term. We are back to the old trope of innocence and experience: we prefer the ‘experienced’ world, and it’s just as well, since turning the clock back is not an option.

Both Milton and Pullman raise all sorts of philosophical and theological questions for us to consider, not to fear: what sort of a God tests his creatures thus? and punishes them thus? What is the origin of evil in the world, given that everything in existence was created from nothing by a supposedly good God, including the seeds of evil? The Cathars had a different answer from the Catholic Church, and the idea of free will is all very well, but is not a complete answer, if you think about it more deeply. If I have a faith, it is one which encourages me to think deeply, to be myself, to work and struggle towards what to believe in; it does not give me easy answers. I’m really excited to see where else Pullman will take us with his stories and ideas… roll on autumn.

Kim Stanley Robinson: Red Mars

February 20, 2017

519dthny83l-_ac_us218_I’d been quite looking forward to reading the Mars series for a good while, and I finally got started…now I’m not so sure. It’s certainly a very ambitious work (and I’ve only read the first part so far) but what does Robinson actually want the book to be – political treatise, detective story, travelogue around another planet, Swiss Family Robinson on Mars? – it’s all of these at different times, and none of them very well at all, at least to this reader.

There’s plenty of hard SF – if you like that sort of thing – about terraforming planets and building space elevators, and some thought given to the politics, psychology and ideology of a major human effort like colonising Mars. It all comes from a rather limited US perspective, at least to this European reader. There’s a compelling enough story about the clashes of personalities and approaches to colonising a planet, which draws the reader forward, though with a tendency to skim at times.

My biggest gripe, and it’s not one that I’d direct at this novel alone but at an awful lot of SF, is the poor characterisation. And I know one might say I’m a bit spoilt with the kind of ‘softer’ SF that I tend to prefer, and that I’d be bound to notice failings in this area. Robinson’s characters (he starts off with a hundred of them, the first group of colonists selected, which isn’t a terribly good idea in itself, I fear) are sketchy, some more than others, but some just random and interchangeable names at times, making the novel as hard to follow as a Russian classic. It’s hard to care about most of them, as they exist to serve the plot, and are picked up and dropped willy-nilly as the story unfolds. It’s all very well to say, but this is hard SF, this is a novel of ideas, but that’s not good enough when the genre is nearly a century old, it’s actually very frustrating. And I could get side-tracked into questions of genre, and science-fiction as literature, which I researched and wrote theses about years ago, but I won’t.

The one main point that I latched on to, that I think the writer does explore well, is just how difficult it is (will be?) for humans anywhere to escape their past, not so much their biology and physiology as their conditioning and their ideology, which lead to political and military conflict wherever humans go, and are reproduced with drastic consequences even on another planet. This pessimistic strand is quite well explored, and gave me pause to think…

In the end, I think that there’s just too much material Robinson wants to cram in, too much time and too many events and so the key elements of any story, and in particular characterisation, are just spread too thin. But it’s a compelling enough page-turner and I’ll probably read the rest when I find then in a second-hand shop, but there’s no real rush…

My A-Z of Reading: T is for Time

December 18, 2016

Time is one of those subjects writers have plenty to say about, even if it’s only the now tired old ‘carpe diem’ trope of Marvell’s To His Coy Mistris. I suspect humans are the only species for whom time is actually a thing, given that we can notice and measure its passage, and feel imprisoned by it because of our own mortality; if we weren’t, would we want to become Swift’s Struldbrugs? I think not…

I’m not sure when writers first woke up to the idea of time travel, though HG Wells may actually have been the first, sending his traveller first of all some 800,000 years into the future to see humanity separated into two distinct species – I’m starting to think that may happen rather sooner – and then untold millions of years to look upon the death of the planet in that haunting scene on the seashore. Wells’ idea was a good one and has been reworked marvellously by Christopher Priest in The Space Machine, and by Ronald Wright in A Scientific Romance, both of which I recommend highly.

Other writers have sought to imagine eternity for us, insofar as that is possible for us humans. James Joyce has Stephen Dedalus reduced to a quivering wreck confronted by the prospect of eternal damnation for his sins after a hellfire sermon in A Portrait of the Artist as A Young Man. There is the picture of the walls of hell four thousand miles thick, and the grains of sand on the seashore, each as a year counted off, and making not a pinprick on the aeons of torment: scary stuff. Arthur C Clarke (The City and the Stars) creates a future world where we are a thousand million years in the future, and everyone is randomly regenerated from time to time by the computer that runs the world. And then there is Olaf Stapledon’s masterpiece from the 1930s – Last and First Men – which gradually takes the human race further and further into the future, through various races of man and moves to other planets, before the end must come when the sun dies: our own petty concerns and memories are cruelly shrunk to nought by the stupendous weight of the years counted off.

And then there are the writers who somehow manage to make us see just how we are imprisoned by time and our own humanity. After their epic adventures in his Northern Lights trilogy, which take them through many worlds, Will and Lyra, still just teenagers, find love (and for me, Philip Pullman does this convincingly) before they must be separated for ever in their own different though parallel universes, doomed to remember each other annually on their bench in the Oxford Botanical Garden. It’s only fiction, but for me a truly painful or tragic ending…

Hermann Hesse shows us, in the masterly Narziss and Goldmund, the two characters, friends, reflections of each other, complementary parts of the same person in so many ways, separated from each other by their very different paths and choices in their lives and equally drawn back to each other numerous times, until one must see the other die…

And once again, I’m brought back to Umberto Eco’s The Name of the Rose: the young Adso and the older, wiser William and their adventure together, in that mediaeval world where you can be separated from someone and never hear about them or from them again, which is what happens, of course. And the bond between them remains for Adso right to the very end of his long life, when he tells his story and looks back on the woman he slept with once, magically, all those years ago and still wonders about…

Writers can make us feel, remind us of the pain of being human, in the days, the memories and the people we can know and must leave behind one day (or who must leave us behind). They can do this with invented characters and with words, which for me has always been one of the real wonders of literature, right from when, as a child, I reached the end of The Wind in the Willows, and with a great pang, wondered to myself, ‘and what did they all do then?’

On not reading fantasy

August 26, 2016

I’m not really a reader of fantasy. I devoured Lord of the Rings forty years ago; it took me two days while I had ‘flu, and I’ve never been tempted to go back to it. I really enjoyed Ursula Le Guin’s Earthsea Trilogy (back when it was only a trilogy) but again, haven’t been tempted to revisit. I’ve just read Patrick RothfussThe Name of the Wind which was recommended and lent to me. It got me thinking: what have I got against fantasy?

As stories, they’re fine – they draw you along, you want to know what’s going to happen. The characters are inevitably interesting, because they bear little resemblance to reality: you never know what you’re going to get, and verisimilitude isn’t high on the list of fantasy writers. Although they can be a bit thin or wooden at times, if truth be told. It’s a similarity fantasy shares with science-fiction: characterisation has never been a strongpoint. Places and settings are interesting, too, though for some reason almost inevitably mediaeval. A setting in some imaginary, yet at the same time recognisable past, helps sustain an air of mystery – those days are so long ago that not everything can be known…a time of potions and poisons and spells and superstitions. However, because the world is so different from our own, alien if you like, many things about it require lengthy explanations, just as various elements of utopias do; this explaining can be interestingly or tiresomely done.

Ultimately, I think that it’s the lack of any anchor in reality as I know it that lessens my interest. This may seem strange given my penchant for SF, which I’ve blogged about before, but it bears thinking about. Science fiction does have links to our actual existing world. It may connect on the technological level, but moving us a few years into the future. It may speculate, or extrapolate from current events and issues, considering possible futures for us and our world. It may even attempt to visualise a utopia, and how such a state may be attained.

Fantasy allows itself a much freer rein: there will be a world, which in some ways bears a physical resemblance to our own, in that it will have human beings of a sort, though perhaps endowed with powers which do not exist on our world; it will have families, houses, towns and villages just as we do, and flora and fauna, though again these may or may not be the ones we know: they can be invented quite freely just for difference’ sake… Inevitably there will be conflicts, though conducted with weapons we may not recognise, and against all kinds of unrecognisable foes. Because the world is mediaeval, heroes (of the ancient kind) are possible.

Is there something wrong with me, that I cannot or do not want to cope with so many unknowns? Or is it, more likely, just force of habit, reading patterns developed and honed over a lifetime, that have no place for fantasy in the same way that they have no room for Mills and Boon? Perhaps I cannot empathise sufficiently with characters and situations too far from my own experience. I do need to care in some way about the people in the stories I read, and for that to happen, there need to be some connections with me and my world. Perhaps I’m saying that for me, reading serves a different purpose?

I can’t claim that I don’t like my literature to be escapist, when I can immerse myself in detective fiction, or science fiction. And yet, I don’t choose to read fantasy. What is going on?

To be continued…

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