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
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