Ann and I are now in the process of reading for The Big Book of Science Fiction for Vintage, which will appear in 2016. This huge anthology of well over 500,000 words will collect the best and most unusual SF stories from approximately 1900 to 2000. This requires a lot of reading and research. Every so often I will report back about current reading, although not in any systematic way. In fact, almost deliberately not in a systematic way.
“Along with everything else he has to do to make his story believable and intelligible, the science fictioneer has to name his not-yet-invented things and methods, so the reader will recognize them. How shall he go about it? Well, he can use logic. It works sometimes…For example, you probably didn’t know that television and TV were first used in a magazine called The World Today back in 1907! Yet engineers and researchers persisted in calling it distant electric vision until halted by popular usage. Cellophane could also have been coined by the same classically educated writer; it comes from cella, small room, plus phanein, to appear, to seem. Instead, however, authors all settled on glassite as the term for transparent plastics, which did not survive. So much for logic; it’s not how things get named these days.” – from H. L. Gold’s introduction to The Weird Ones anthology, 1962
“…it is now clear that there is still plenty to argue about. The reviewer in the Times Literary Supplement, for instance, said we could certainly agree that science fiction stands or falls by ‘style.’ Oh no we wouldn’t…Hostile critics will generally except Jules Verne from their strictures; indeed, it is a favourite sneer of theirs to lament the failures of his successors. [But beyond disagreements about characterization and style in SF] A final homely analogy. A mint julep is not a more subtle and complex glass of bourbon, nor is a bourbon a classically simple and authoritative version of the vulgarly prettified mint julep. Such associations perhaps befit what we intend, for our critics, as a plea for tolerance, real tolerance, nothing less than thinking again.” – from the introduction to Spectrum 5 edited by Kingsley Amis and Robert Conquest, 1966
“Some time ago most people gave up trying to say what SF was, for all attempts (such as [Kingsley] Amis’s New Maps of Hell) failed miserably to place it, show its common concerns, or explain what it was supposed to ‘do’.” – from Michael Moorcock’s preface to the Langdon Jones’-edited The New SF: An Original Anthology of Modern Speculative Fiction, 1969
“Significantly, what utterly refused to fit in these U.S.-derived categories turned out to be the ethical and philosophical, i.e., the utopian, aspects of Soviet SF.” – from the introduction to Other Worlds, Other Seas: An Anthology of Eastern European Science Fiction, 1970
“The fashionable answer to that question [of the successors of Verne and Wells] is, of course, that there hasn’t been a writer with one hundredth of one percent of Wells’ ability since nineteen twenty. But even the briefest study of the output of more modern SF novelists shows this attitude to be nonsensical, if not merely snobbish. No, the real problem is one of sources, and its solution lies in the fact that the type of fiction generally produced by SF writers doesn’t originate with H.G. Wells and Jules Verne at all. It was developed from the work of Beatrix Potter…Influenced heavily by The Wind in the Willows and tempered by the outlook of the Wizard of Oz, this new fiction…has to do with comfort: the repetition of form and content [with] careful rationalization of any change in the status quo.” – from M. John Harrison’s essay “The Literature of Comfort,” New Worlds Quarterly #1, 1971
“Science fiction has been standing neck-deep in bullshit for so long that some of its practitioners have come to accept that condition as more than just a fact of life—in some mysterious way the bullshit has been transmuted into a necessity, the argument being that we need all that bullshit around us in order to recognize quality when it floats to the top. That argument itself is part of the bullshit we have to cope with.” – from David Gerrold’s introduction to his anthology Alternities, dubbed “All New Electrifying Stories of Original Science Fiction!”, 1974