Zepke Stephen: Head in the Stars. Essays on Science Fiction
Science fiction concerns the future, of course, this being its simple, organising essence. But science fiction wants to do more than just be in the future, it wants to predict the future, to reveal its horrors and beauty, its similarities and difference, and more importantly, tell us about all the cool stuff. This means that the ‘future’ science fiction explores has changed a lot over the years, and has a fascinating past, one with a twistier time-line than a Phillip K. Dick story […]. But this book is not a history of science fiction, because although historical context plays a part – the Cold War from which alien arrival films emerge, or our biopolitical present in which interface films become symptomatic – this book is most concerned with science fiction futures that crack history open, allowing something unaccountable to emerge, something singular and new. As a result, this book sees the ‘new’ and its ‘future’ in science fiction in a very different way from Darko Suvin and Frederic Jameson, whose astoundingly influential theory sees science fiction futures as forms of ‘cognitive estrangement’ that seek to reflect on the present that produces them. [from the Introduction] Layout: Dejan Dragosavac Ruta 260 pages [Paperback : 13,5 x 19 cm] Publisher: Multimedijalni institut [Zagreb, Croatia] ISBN: 978-953-7372-67-5 — the book is available via Amazon: https://www.amazon.de/dp/9537372677/ref=olp_product_details?_encoding=UTF8&me=
Science fiction concerns the future, of course, this being its simple, organising essence. But science fiction wants to do more than just be in the future, it wants to predict the future, to reveal its horrors and beauty, its similarities and difference, and more importantly, tell us about all the cool stuff. This means that the ‘future’ science fiction explores has changed a lot over the years, and has a fascinating past, one with a twistier time-line than a Phillip K. Dick story […].
But this book is not a history of science fiction, because although historical context plays a part – the Cold War from which alien arrival films emerge, or our biopolitical present in which interface films become symptomatic – this book is most concerned with science fiction futures that crack history open, allowing something unaccountable to emerge, something singular and new. As a result, this book sees the ‘new’ and its ‘future’ in science fiction in a very different way from Darko Suvin and Frederic Jameson, whose astoundingly influential theory sees science fiction futures as forms of ‘cognitive estrangement’ that seek to reflect on the present that produces them. [from the Introduction]
Layout: Dejan Dragosavac Ruta
260 pages [Paperback : 13,5 x 19 cm]
Publisher: Multimedijalni institut [Zagreb, Croatia]
ISBN: 978-953-7372-67-5
— the book is available via Amazon: https://www.amazon.de/dp/9537372677/ref=olp_product_details?_encoding=UTF8&me=
Create successful ePaper yourself
Turn your PDF publications into a flip-book with our unique Google optimized e-Paper software.
one of only two unsympathetic characters in the book), who
doesn’t dislike Eric, ‘He just doesn’t understand you. That’s
all.’ (301) 113 He shares no joyful affects with Eric, and in fact,
Eric’s joy makes him sad. In fact Ron is mostly sad, being
perennially disappointed in others (Eric first of all, who
‘wastes’ his life) and finally himself (654), and as we know,
sadness never made anyone intelligent.
iv – the powers of the affects
Late in the book when Eric is 75 and Shit 77, they pick up
Caleb, a young man in his late twenties, at Turpens. Caleb
is into old men, not to mention the various other kinks
he shares with the two ‘old boys’, and lives with them for
the next three and a half years. Caleb has dropped out of
grad school where he was studying philosophy, and at one
point he and Eric discuss Spinoza, emphasising various
points from the Ethics; the equivalence of God and the
Universe, the parallelism of mind and matter, and ‘the
Spinozan ‘in’’ (714-15). The potentiality of a group being
‘in’ its individuals implies that God/Nature is not an idea
that exists outside its constituent parts and their relations,
and hence not something that could be understood except
through those relations. This is to affirm the absolute
immanence of God/Nature qua substance to the modes
that construct and express it, which as we have seen is an
affirmation that lies at the more ‘atheist’ end of Spinoza
interpretation. But perhaps more interestingly, this feeds
back into another major theme of Through the Valley
of the Nest of Spiders, which is community, and how it
210