Wired shares excerpts from a recent interview with Bruce Sterling on what science fiction can teach its readers about fascism, and about what science fiction has to learn about itself.
“There’s a kind of rhetorical trick that goes on in science fiction, and in fascism, that kind of says, ‘Don’t really worry about what this means for the guy next door,’” Sterling says. “That it’s so cool and amazing that you should just surrender yourself to the rapture of its fantastic-ness.”
As an example he cites the ending of Stanley Kubrick’s 2001: A Space Odyssey, in which astronaut David Bowman is transformed into a superhuman entity called the Star Child. Sterling says the image is so striking and awe-inspiring that few viewers ever think to ponder the potential downsides of the Star Child.
“It’s not like anybody voted on the space baby,” he says. “It’s not like an ethics commission wrote on the space baby. It’s not like anybody says, ‘What if the space baby turns out to be cruel to certain ethnic minorities?’”
Sterling believes that it’s important to retain your ability to be moved and inspired, but equally important to be selective about the images and ideas that you choose to invest in.
“If you don’t have a sense of wonder it’s like you’re dead inside,” he says. “But your sense of wonder can be used to trick you. You can have a sense of wonder over a thing that’s basically a conjurer’s trick, or a con job, or a rip-off.”