Final Voyant Visualization

  • It makes sense that “dystopian’ appears many times– I was reading a lot about dystopias, especially during the second half of the semester.
  • Also note the word “young”- I read a lot about how young people are represented in sf– I specifically thought about the YA genre (where books featuring dystopias have become really popular), so there’s an interesting connection there with the word dystopia as well.
  • It is interesting to me that “memory” appeared so often because I think this showed up in different contexts. Towards the beginning of the semester I read more about memory on the science side, but then I started diving into how memory is manipulated more in the context of sf stories.
  • Finally, I thought it was cool that “history” popped up- I did some reading about debates over the first piece of sf in history, as well as into historical inventions inspired by sf.

 

  • **Note: I’m still struggling a little to get some of the stopwords to go away- not sure what’s going on but hopefully I get a copy up soon where they are fully eliminated.

“The Psychologist, the psychoanalyst and the ‘extraordinary child’ in postwar British science fiction,” Dr. Laura Tisdall

*A very long blog post coming up! I’ve realized that it’s been a moment since I’ve posted on my blog–more thoughts to come in the next couple days about what I’ve been looking at in the past couple weeks. 

I recently found this article by Dr. Laura Tisdall, an academic who studies primarily the history of education in 20th century Britain. Right off the bat, one of the most interesting parts to me was how interdisciplinary this article was. Dr. Tisdall includes historical research on the development of the education system in Britain, as well as research from the psychological field about child development. She then finally uses science fiction as a case study to reflect what was happening in the real world.

In this article, Dr. Tisdall examines the increase of the use of the “extraordinary child” in science fiction, which she argues specifically reflects societal changes due to new  psychological research and shifts in the education system about what it means to have a “healthy childhood.” She writes: “One manifestation of this shift was the sudden emergence of depiction of ‘extraordinary children’ in British science fiction, which engaged directly with the question of how normal children should behave, and how these extraordinary children both violate and confirm these biological and psychological norms” (pg. 1). In one way, sometimes extraordinary children are painted as something amazing. They may use their power for good; they can be seen as being the hope of future generations, redemption for all the bad built up in society. But often, they are painted as having a lack of morality and sometimes being more of a threat–in the 1970s, the spotlight on the “evil child” in commercial horror and sci-fi movies also becomes more prominent. Children are painted as needing to be controlled and taught by adults to become functioning members of society. 

This article caught my eye because I’m also in PSYCH 1101 at the moment, where we actually recently completed our lectures about development psychology. In this article, Dr. Tisdall discusses the popularization of Piaget’s system which set up stages in which we could view child development. We talked about this in Psych pretty extensively. However, Dr. Tisdall makes a more specific connection to how this research may have impacted the education system, which was something I hadn’t thought about extensively before. She points out that perhaps the education system took these stages too much to heart; while Piaget emphasized that these stages were flexible and were meant to reflect general trends, the education system began to present these stages as more rigid that children should be fit into. 

This article made me want to check out my psychology notes again and see if there is anything else interesting that I can connect to SF in a similar way. For example, we’ve also talked about the development of a “moral code” in psychology, which is something Tisdall also touches on here; she points out that sometimes children are depicted to be lacking in morality in SF literature. I definitely want to do more research on this––I’ve kind of been inspired to shift my manifesto a little bit now. I was initially thinking I would focus more on gender in sf, but had also been doing some research about children and young adults in sf, as well the types of sf marketed towards kids and young adults (specifically YA dystopia). I’m now thinking of doing more research on children in sf in the next couple weeks. 

On a final note, I’d also like to highlight the way Dr. Tisdall talked about how American sf. She includes a small paragraph where she notes that  “the ‘extraordinary child’ was not merely an “American phenomenon” (as some have claimed). She points out that although it did become popularized in American sf movies, the concept argues that the concept had actually begun to appear frequently in British sf directly following World War 2. This was interesting to encounter because we’ve obviously thought about this a lot throughout the course, and it was interesting to hear another academic’s thoughts from outside the US.

Link to the PDF of the article: LAURATISDALL

https://www.npr.org/2020/03/24/820601571/all-of-this-panic-could-have-been-prevented-author-max-brooks-on-covid-19?utm_campaign=storyshare&utm_source=facebook.com&utm_medium=social&fbclid=IwAR3e6NNyshbSYxXYm_VTL80WTQrYu9eGZG7Jo-mnUsNmm63DtgfSPoli9b0

Author Max Brooks on preparation for emergency situations like the COVID-19 pandemic.

He discusses the response of the federal government to the pandemic–as well as  the potential to do more, and why some things may not be getting done.

Lois Lowry on “The Giver”

https://www.npr.org/2014/08/16/340170478/lois-lowry-says-the-giver-was-inspired-by-her-fathers-memory-loss

I’ve been coming across interviews with different authors as I’ve been doing research about how authors view their own works. It’s interesting to see how many really don’t want to call their novels a work of science fiction.

 

Attached is a piece of an interview with Lois Lowry about the giver– she responded similarly to Margaret Atwood about how she classified the genre of her book.  Lois Lowry states she “didn’t think of it as futuristic or dystopian or science fiction or fantasy,” and the interviewer expands, explaining how Lowry said “it was just a story like so many of her other ones, about a kid making sense of a complicated world.” Here, Lowry doesn’t seem to object to the work being called science fiction because there’s a lack of the stereotypical robot or alien, but because she seems to view the world she’s created on a smaller, more personal scale.

https://www.newyorker.com/magazine/2017/04/17/margaret-atwood-the-prophet-of-dystopia

Thinking a little bit about how what people consider to be science fiction… it’s interesting how Margaret Atwood considers “The Handmaid’s Tale” as speculative fiction only, and not science fiction. Before starting this class, I had a fairly limited view of science fiction, because sf wasn’t a genre I frequently sought out. But I think very quickly I was swayed by the idea that sf encompasses a large range of works, and not just those revolving around aliens or a crazy new invention.

How Rory Thorne Destroyed the Multiverse- Initial Thoughts on Worldbuilding

I picked up this book recently in the library because it seemed an interesting mix of a science fiction novel and a reimagining of classic fairytales.  

I’m still towards the beginning of the story, but I’ve included the synopsis in a post below. The novel opens with the birth of the princess Rory– the first time a daughter has been born in the royal family for ten generations. The royal family argues about what to name her. Although it is tradition to name each first born Rory, they remain torn over whether this applies to a daughter, and remain torn over whether they should name her after a female ancestor instead. They reluctantly end up adhering to custom though, finally deciding to go with Rory.  

 When I went to the Catherynne Valente workshop, one of the things she talked a little about was world building and its specific challenges in a sf context–the author might have a whole world set up in their mind, but this can be challenging to communicate to the reader without an info dump.  

I’ve liked how K. Eason has begun to set up the world in this book. As someone who hasn’t read a lot of sf in the past, she’s sort of introduced the setting of the world without it being overwhelming by playing on different fairytales and historical traditions that we are all familiar with. For example, one character, when describing a guest who just has arrived to Rory, describes the visitor as: “Probably the boy they’ll want you to marry, someday, for galactic peace and favorable trade routes” (20). I think even tiny images like this have really worked to set my mind in Rory’s world. Likewise, introducing the book with the argument about the embedded customs of the kingdom also worked as a successful worldbuilding technique in my mind.