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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=

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run by the Kyle foundation, ‘an institution dedicated to

the betterment of the lives of gay black men and of those

of all races and creeds connected to them by elective and

non-elective affinities’ (232). The foundation controls the

local council, runs a credit union, a pension plan, a farming

co-op and subsidises local public services such as rubbish

collection and disposal, public transport, a health clinic,

a gay cruising establishment (Turpens), a gay cinema (the

Opera) and a gay piss-bar (the Slide). The Dump was

established and continues only because of the philanthropy

of Robert Kyle, but what makes it successful is its focus on

the free exchange of pleasure as the basis of life. This focus

was there from its beginning, and indeed as its beginning.

As Robert Kyle himself explains to Eric, he set up the

Dump because of his love for Dynamite, who only ‘ever

wanted a decent job, and to have a fair number of black

men around who liked to fuck, and be left alone to live his

own life’ (501). In this sense there is a coming together of

charity, political community and sexual love under the term

‘generosity’, which is the foundational common notion of

the Dump, of the sex that takes place there, and in different

ways of nearly all the characters in the book. On all of these

levels the same generosity applies; the giving of joy means

receiving it, and happiness is good, even if sometimes

desire must be balanced with the value of honest hard work

(a theme Dynamite on the rubbish run often returns to).

Goodness in this sense is a necessarily shared value arising

only through relations, first of all sexual (between people

and with animals – Dynamite is not called ‘pig-fucker’ for

nothing, but he is the first to explain that the animal has

212

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