A Quote by Paul Di Filippo
Every new generation of SF writers remakes cyberpunk - a genre often laced with dystopian subtexts - in its own image.
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SF isn't a genre; SF is the matrix in which genres are embedded, and because the SF field is never going in any one direction at any one time, there is hardly a way to cut it off.
There's a long-standing (50 year old) flame war within the field over whether it's "sci-fi" or "SF".SF has traditionally been looked down on by the literary establishment because, to be honest, much early SF was execrably badly written - but these days the significance of the pigeon hole is fading; we have serious mainstream authors writing stuff that is I-can't-believe-it's-not-SF, and SF authors breaking into the mainstream. If you view them as tags that point to shelves in bricks-and-mortar bookshops, how long are these genre categories going to survive in the age of the internet?
I grew up reading genre writers, and to the degree that Eric Ambler and Graham Greene are genre writers, I'm a genre writer.
Very little in science fiction can transcend the gimmickry of a technical conceit, yet without that conceit at its heart a book is not truly science fiction. Furthermore, so little emerging thought and technology is employed by sf writers today that the genre is lagging far behind reality both in the cosmology area and the technology area: sf is no longer a place to experiment, but is now very derivative.
Of course, the way writers think about those things is almost certain to be affected by their own cultural background, and it would be hard to deny that, for whatever reasons, a lot of SF writers come from Anglo or European backgrounds.
War has always been a part of science fiction. Even before the birth of SF as a standalone genre in 1926, speculative novels such as 'The Battle of Dorking' from 1871 showed how SF's trademark 'what if' scenarios could easily encompass warfare.
It was not until the appearance of cyberpunk in the 1980s that SF began to grapple in a broadly meaningful way with the reality of computers as something other than giant mainframes tended by crewcut IBM nerds.
Pop science goes flying off in all kinds of fashionable directions, and it often drags a lot of SF writers with it. I've been led astray like that myself at times.
Every new generation in its hour of dawn, filled with the dreams of youth, its thirsts, intoxications and enthusiasms, thinks itself called upon to impel humanity towards heights unmeasured, believes itself an appointed pathfinder, a thinker of thoughts, a doer of deeds greater than any of those which came before. Every new generation desires beauty, but a beauty all its own.
Movie SF is, by definition, dumbed down - there have only been three or four SF movies in the history of film that aspire to the complexity of literary SF.
I'm a genre writer - I chose to be one, I ended up one, I still am one, and I'm not writing transgressive, genre-blurring fiction. I write 'core SF' - it may occasionally incorporate horror or noir tropes, but it's not pretending to be anything other than what it is.
A place belongs forever to whoever claims it hardest, remembers it most obsessively, wrenches it from itself, shapes it, renders it, loves it so radically that he remakes it in his own image.
An SF author who reads only SF will have little new to contribute, but someone with a broader experience will bring more to the table.
The gospel must be preached afresh and told in new ways to each generation, since every generation has its own unique questions. The gospel must constantly be forwarded to a new address, because the recipient is repeatedly changing his place of address.
I think I'm part of a generation of crime writers all of whom woke up independently and recoiled with horror at the fact that we'd chosen this very conservative genre.
Struggling writers are often advised to pick a simple genre, but it doesn't work that way.
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