The Null Device
Posts matching tags 'escapism'
The Times' Giles Coren (who's sort of like a more highbrow Jeremy Clarkson or something) has a terrific rant against the whole notion that, in times of economic hardship, what we need is low-brow escapism:
Escapism is an illusion. Escapism is what has got us into this mess. Buying on credit, from the tiddliest MasterCard lunch you couldn't really afford to billion-dollar leveraged buyouts, is, when you boil it down, just escapism - avoiding any sort of engagement with objective reality and doing something just because it feels good at the time. Like a child might do. Or a monkey.
If you had at least read a bit of Tolstoy, you might have expanded your mind a little. If, instead of watching all those reality shows, you had learnt Japanese, you would be in a better position to remain in work. And if, rather than calling radio phone-ins to say that Len Goodman is a spoilsport, you had learnt the French horn, you would, if nothing else, be able to play your children a bit of Mozart while they sit shivering round the last candle in the house.
I cannot tell you how furious I am with these people who seem to think they should be given back the money they spent on voting for John Sergeant. Anyone to whom a single pound represents a significant, useful quantity of money, and who spent it on a celebrity game show vote, should have his or her assets frozen immediately - under the counter-terrorism laws if need be. Their children should be taken into care. And they should have their credit cards melted and moulded into a stick with which they should be flogged until they bleed.
It was the fat years that made us lazy, dumbed us down, replaced great television with a series of reality shows and killed literature to make room for celebrity whingeing and kiddy books repackaged for adults. It is no coincidence that the publication cycle of Harry Potter, from the first book to the seventh, marked almost exactly the years of economic growth. It is a fat, lazy race that turns its brain off as a prelude to cultural engagement.The original article was a response to a "scandal" to do with the voting on a BBC celebrity dancing programme, which came a few weeks after the BBC was involved in another scandal, to do with Russell Brand (a supposed comedian whose shtick seems to be "I'm a wild and crazy guy who thinks with his balls") leaving obscene messages on Fawlty Towers actor Andrew Sachs' answering machine. Which does bring to mind the question of why is the BBC spending licence-payers' funds on putting out such drivel. Has the commercial media somehow failed at providing viewers with lowbrow junk food for the eyes, a failure which requires the intervention of an institution such as the BBC? Are its lofty Reithian principles of broadcasting as something to educate and elevate seen as too stodgy or snobbish or out of touch with the new democracy of the lowest common denominator? Has neo-Thatcherite everything-is-a-market fundamentalism and New Labour's image-driven culture redefined the BBC's mission in terms of competing for eyeballs with the Murdochs and lad mags in an orgy of sensationalism? Is there a secret compact between New Labour and News Corp. to let the public down gently, transforming a cherished and lofty institution through gradual neglect into just another peddler of celebrity scandal, so that the formerly unthinkable step of selling it off comes, the public, voting with their pocketbooks, will be all for it?
Considering the virtual absence of American authors from this year's Hugo shortlist, Charlie Stross has an interesting piece on the state of science fiction writing today, and in particular the slump in US scifi.
Here's my speculation: American SF is going through a gloom-laden period induced by external social conditions, much as British SF did in the 1947-79 period (and differently, in the 1980-92 period). Extrapolative SF is often used by writers as a mirror for reflecting our concerns about the present on the silver screen of the future. "Invasion of the Body Snatchers" and "The Puppet Masters" were artefacts of the late 1940's/early 1950's paranoia about communist infiltration. "Fugue for a Darkening Island" was a dismal if-this-goes-on dirge played to the tune of Enoch Powell. "Neuromancer" was 1980's corporate deracination hooked up to an overdose of MTV, mainlining on hidden assumptions of monetarism. When SF is at its most overtly predictive -- especially when it speaks of the impending future -- it is talking about the present, capturing the zeitgeist and projecting it forward.
n American SF today there is a huge surge in the proportion of alternate history counterfactuals: as James Nicoll notes, AH is often used as a consolatory literature that, at its worst, says "we go back in time and make history happen the way it should have happened! Yay, Us! In a completely contrived scenario, we can win!" The boom in fantasy probably needs no further explanation. Ditto the military-SF field, which at its worst reflects the self-indulgent imperialist excesses of the British penny dreadfuls of the early 20th century.
what's almost totally absent is convincing near-future SF about a future America that is anything other than a dystopic rubbish dump. Bleakness is the new optimism. Writers living in the USA today just don't seem enthusiastic about the near future in the way that they did as recently as the 1980's, where at least the cyberpunk future of cliche was a vaguely habitable pastiche of the globalized present. They are, in fact, exhibiting the same canary-in-a-sociological-coalmine malaise as British SF writers of the 1960's and 1970's.