dystopias

“Why Aren’t There More Women Futurists?”

SexistTomorrow

The Sexist World of Tomorrow

Progressives are asserting a need to control Futurism to bring correct feminist and progressive thought into it.

My opinion: a study recently showed women go into scientific fields in roughly the proportion you’d expect, if you first take out everyone who didn’t study much qualifying mathematics. I expect there is a natural aggregate difference in how interested each sex is in planning for the future, preparing for hazards, etc., with men vigilant while women tend to be more focused on immediate needs and alleviating suffering — the Mommy vs Daddy differences. And so you would expect futurists to skew male simply because they are interested (sometimes obsessed) by the topic.

None of this means there aren’t women who are interested and good at futurism (e.g., Virginia Postrel.) But an effort to force more women into futurism means less good futurism and more feelz as guides to policy and planning. Which means a less dynamic future for everyone.

Rose Eveleth (of “Shirtstorm” fame) has an article in the Atlantic: “Why Aren’t There More Women Futurists?”

There are all sorts of firms and companies working to build robotic servants. Chrome butlers, chefs, and housekeepers. But the fantasy of having an indentured servant is a peculiar one to some. “That whole idea of creating robots that are in service to us has always bothered me,” says Nnedi Okorafor, a science fiction author. “I’ve always sided with the robots. That whole idea of creating these creatures that are human-like and then have them be in servitude to us, that is not my fantasy and I find it highly problematic that it would be anyone’s.”

Or take longevity, for example. The idea that people could, or even should, push to lengthen lifespans as far as possible is popular. The life-extension movement, with Aubrey de Gray as one (very bearded) spokesman, has raised millions of dollars to investigate how to extend the lifespan of humans. But this is arguably only an ideal future if you’re in as a comfortable position as his. “Living forever only works if you’re a rich vampire from an Anne Rice novel, which is to say that you have compound interest,” jokes Ashby. “It really only works if you have significant real-estate investments and fast money and slow money.” (Time travel, as the comedian Louis C.K. has pointed out, is another thing that is a distinctly white male preoccupation—going back in time, for marginalized groups, means giving up more of their rights.)

So, let’s see — she thinks we need to keep human beings indentured to jobs taking care of the helpless old, for example, rather than have robotic assistants. Of course in her mind it’s the obligation of some government to pay all those human assistants, as much as necessary to eliminate all suffering and pain. Robotic assistants are simply Not Needed in the social welfare world of the future, where we can all help each other 24×7 and someone else provides all our needs.

It’s also, apparently, desirable that we all die sooner than necessary. We should return to the golden past, where life was short and disease and hunger stalked almost everyone. 25 is old enough!

Of course it’s harder to predict what social attitudes will be in the future — and many futurists fail to imagine what’s to come on that area, while more easily projecting trends in technology. But that doesn’t mean an infusion of women will make such predictions any better.

Science fiction has become more pessimistic about the future, and people like this are a big reason:

In order to understand what those who have never really felt welcome in the field of futurism think, I called someone who writes and talks about the future, but who doesn’t call themselves a futurist: Monica Byrne. Byrne is a science-fiction author and opinion writer who often tackles questions of how we see the future, and what kinds of futures we deem preferable. But when she thinks about “futurism” as a field, she doesn’t see herself. “I think the term futurist is itself is something I see white men claiming for themselves, and isn’t something that would occur to me to call myself even though I functionally am one,” she says.

Okorafor says that she too has never really called herself a futurist, even though much of what she does is use her writing to explore what’s possible. “When you sent me your email and you mentioned futurism I think that’s really the first time I started thinking about that label for myself. And it fits. It feels comfortable.”

When Byrne thinks about the term futurists, she thinks about a power struggle. “What I see is a bid for control over what the future will look like. And it is a future that is, that to me doesn’t look much different from Asimov science fiction covers. Which is not a future I’m interested in.”

The futurism that involves glass houses and 400-year-old men doesn’t interest her. “When I think about the kind of future I want to build, it’s very soft and human, it’s very erotic, and I feel like so much of what I identify as futurism is very glossy, chrome painted science fiction covers, they’re sterile.” She laughs. “Who cares about your jetpack? How does technology enable us to keep loving each other?”

And how does not having technology help us love each other? Fights to the death for food and resources are what love is all about! Kill off a few billion people, return to warm and loving matriarchal villages, and enjoy true humanity… there’s no reason we can’t have both higher tech, longer lifespans, and love, Ma’am. It’s only the current ease of life due to technology and specialization that allows you to believe such ridiculous things.


Death by HR: How Affirmative Action Cripples OrganizationsDeath by HR: How Affirmative Action Cripples Organizations

[From Death by HR: How Affirmative Action Cripples Organizations,  available now in Kindle and trade paperback.]

The first review is in: by Elmer T. Jones, author of The Employment Game. Here’s the condensed version; view the entire review here.

Corporate HR Scrambles to Halt Publication of “Death by HR”

Nobody gets a job through HR. The purpose of HR is to protect their parent organization against lawsuits for running afoul of the government’s diversity extortion bureaus. HR kills companies by blanketing industry with onerous gender and race labor compliance rules and forcing companies to hire useless HR staff to process the associated paperwork… a tour de force… carefully explains to CEOs how HR poisons their companies and what steps they may take to marginalize this threat… It is time to turn the tide against this madness, and Death by HR is an important research tool… All CEOs should read this book. If you are a mere worker drone but care about your company, you should forward an anonymous copy to him.

 


For more on SJWs, modern feminism, Red Pill men, and family law:

Divorced Men 8 Times as Likely to Commit Suicide as Divorced Women
Life Is Unfair! The Militant Red Pill Movement
Leftover Women: The Chinese Scene
“Divorce in America: Who Really Wants Out and Why”
View Marriage as a Private Contract?
Madmen, Red Pill, and Social Justice Wars
Unrealistic Expectations: Liberal Arts Woman and Amazon Men
Stable is Boring? “Psychology Today” Article on Bad Boyfriends
Ross Douthat on Unstable Families and Culture
Ev Psych: Parental Preferences in Partners
Purge: the Feminist Grievance Bubble
The Social Decay of Black Neighborhoods (And Yours!)
Modern Feminism: Victim-Based Special Pleading
Stereotype Inaccuracy: False Dichotomies
Real-Life “Hunger Games”: Soft Oppression Destroys the Poor
Red Pill Women — Female MRAs
Why Did Black Crime Syndicates Fail to Go Legit?
The “Fairy Tale” Myth: Both False and Destructive
Feminism’s Heritage: Freedom vs. Special Protections
Evolve or Die: Survival Value of the Feminine Imperative
“Why Are Great Husbands Being Abandoned?”
Divorce and Alimony: State-By-State Reform, Massachusetts Edition
Reading “50 Shades of Grey” Gives You Anorexia and an Abusive Partner!
Why We Are Attracted to Bad Partners (Who Resemble a Parent)
Gaming and Science Fiction: Social Justice Warriors Strike Again
Social Justice Warriors: #GamerGate Explained
Emma Watson’s Message: Intelligence Trumps Sex

YA Dystopias vs Heinlein et al: Social Justice Warriors Strike Again

Heinlein's "Citizen of the Galaxy"

Heinlein’s “Citizen of the Galaxy”

Reason has a good think piece by Amy Sturgis on the political content of popular YA (Young Adult) dystopias, compared with the “sensawunda” (sense of wonder) of Golden Age science fiction with its technological optimism. “Not Your Parents’ Dystopias”:

Anyone who has wandered by a bookstore or a movie theater lately knows the kids these days love a nice dystopia. Their heroes are Katniss from Suzanne Collins’ Hunger Games trilogy, Tris from Veronica Roth’s Divergent series, Thomas from James Dashner’s Maze Runner novels. The number of English-language dystopian novels published from 2000 to 2009 quadrupled that of the previous decade, and not quite four years into the 2010s, we have already left that decade’s record in the dust….

Youth-oriented fiction about worlds gone awry is not new. The tradition stretches back generations and involves works now revered as classics. Some of the giants of what was then called juvenile science fiction — Robert Heinlein, Andre Norton, Poul Anderson — wrote what now would be classified as YA dystopias. But the exponential recent growth of the genre suggests something else at play: a generation’s lost wonder and mounting anxiety.

In the Golden Age of science fiction (which may be measured roughly from the time John W. Campbell Jr. came into his full powers as editor of Astounding Stories in 1938 until the time Michael Moorcock’s editorship of New Worlds in 1964 signaled the rise of the New Wave), worlds gone wrong often served as catalysts for young protagonists to pluck up their courage, exercise their agency, and affect change. The titular character in Heinlein’s Starman Jones (1953), Max Jones, inherits a bleak Earth depleted of natural resources. Hereditary guilds have the planet in a stranglehold, regulating information and determining what (if any) profession an individual may pursue. Young Max’s options are few, and his dream of being an “astrogator” in space seems completely out of reach. The risk-taking, indefatigable character pursues his goal anyway, ultimately finding himself in the right place and time to showcase his hard-won skill and — just as important — moral integrity.

Max’s scientific expertise and common sense save lives and win the day. When he finally confesses to lying his way past the rules that would have excluded him from gaining the position at which he excels, that only serves to illustrate how wrong-minded the laws are. The novel ends with Jones not only secure in his chosen calling but paving the way for changes to the oppressive guild system.

These early dystopias showed young men, and sometimes even young women, facing down dangers in their fallen worlds with determination and commitment. The novels suggested that the forward march of freedom and science may meet grave obstacles and even grind to a halt, but if young people rise to the occasion, the story doesn’t have to end there.

Heinlein gave his characters agency — that is, they were able to meaningfully effect outcomes not only for themselves, but for their larger society. Individual effort, knowledge, and pluck, usually with the help of wise older mentors, could triumph over injustice and restrictions on freedom. The Heinlein juveniles, written in simplified style and beginning with relatively unimaginative plots, became increasingly sophisticated until his publisher rejected Starship Troopers for outgrowing the intended youthful audience. The typical protagonist of a Heinlein juvenile is a bright but inexperienced young man from a disadvantaged background who has to learn the ropes and use his wits to make his way into a leadership role in his society–and his female characters also were portrayed as intelligent and strong, often helping the protagonist at a key point with superior knowledge of the social system. It’s interesting that Social Justice Warriors, in their attack on Heinlein and all Golden Age science fiction as essentially patriarchal and in need of political guidance, fail to notice how progressive Heinlein actually was for his era (the 1950s and 60s.) The juveniles are still empowering for both boys and girls, and a protagonist like Podkayne in Podkayne of Mars is a modern empowered girl, with some stereotypically feminine aspects but fully capable of agency in tough situations.

Those Golden Age dystopian visions were balanced by another subgenre of juvenile science fiction popular at the time: tales that portrayed the future as exciting new territory full of marvels and possibilities. Contemporary scholars classify these books as “sensawunda” works, because they conveyed a sense of wonder in contemplating tomorrow.

The poster child for this phenomenon is Tom Swift, the hero of more than 100 novels across five fiction series. In the 1950s, while Heinlein’s Max Jones was fighting for his life and struggling for his livelihood, young Tom was inventing new technologies in his basement (our modern word Taser is an acronym for “Tom A. Swift’s Electric Rifle”), journeying underwater and into space, thwarting baddies of all descriptions, and illustrating just how cool the future would be.

Tom Swift had a triphibian atomicar. Where have all the triphibian atomicars gone now? The millennials, it seems, don’t want a ride….

I’m not sure it is the lack of interest of millennials in technological optimism that has lead to this drought in technology-positive YA science fiction. It may be that very little is getting published because boy’s dreams of agency — the powerful dream of being effective and admired for skill and courage — are no longer seen as important by publishing gatekeepers, now mostly coming out of non-scientific academic literature backgrounds. The videogame industry is now the primary source of young male empowerment fantasies, and it, too, is under siege from the Social Justice Warriors who want its themes to support their political vision of social justice, meaning all visions of the future must be screened for heretical thought — note this month’s war over game politics and SJW influence: “The Gaming Community is not a Wretched Hive of Sexism and Misogyny.” I have personally had my book downgraded by a literary establishment sort for incorrect thoughts — my chapter on entitled Fairy Tale thinking (and the many young women who were brought up with unrealistic expectations of being Princesses catered to by fawning males) was flagged as misogynistic.

The legacy publishing industry has been hiring bright young grads from the academy for some time, and critical mass has been achieved: political screening is now a reality. That is why depressing and unimaginative tales with little commercial appeal (like Pills and Starships) get promoted and plugged on NPR and in the Washington Post and go on to fizzle, while optimistic and empowering science fiction is mostly being self-published. This is because few in publishing now have any education or respect for the sciences and technology:

Another difference between yesteryear’s dystopias and today’s: The older authors were usually either trained in the sciences (Heinlein was a naval engineer; Anderson earned a B.A. in physics) or sympathetic to them (Norton, a librarian, conducted her own research). Like the pioneering author/editor Hugo Gernsback, they believed that quality futuristic fiction could seduce readers into a love affair with science and show them the possibilities it held for a better tomorrow. Thus Anderson’s teenage hero Carl, in Vault of the Ages (1952), ends a future dark ages by unearthing and reintroducing advanced technology to the world. Progress and science walk hand in hand, these authors implied, and no one is in a better position to appreciate this fact than young people.

Today, science is often portrayed as the problem rather than the solution. Many current authors, children’s literature scholar Noga Applebaum notes in her outstanding 2009 study “Representations of Technology in Science Fiction for Young People,” are neither trained in nor sympathetic to the sciences. In fact, a majority of the many novels she analyzes vilify the over-polluted, over-complicated, and over-indulgent present while glorifying the past and the pastoral, a kind of mythical pre-industrial, pre-commercial, subsistence existence — in short, the kind of dark ages that Poul Anderson’s teen hero Carl brought to a welcome end in Vault of the Ages.

As active participants in the contemporary world, young readers are dished a heaping plate of guilt and self-loathing. Why is there global warming, or worldwide poverty, or runaway disease? The answer is as close as the millennials’ smartphones and tablets and gaming systems: Youth and innovation and modernity are to blame.

David Patneade’s Epitaph Road (2010) throws in everything but the kitchen sink when describing the sheer trial of being alive in the oh-so-terrible year of 2010: it was a “world of poverty and hunger and crime and disease and greed and dishonesty and prejudice and war and genocide and religious bigotry and runaway population growth and abuse of the environment and immigration strife and you-get-the-leftovers educational policies and a hundred other horrors.”

Saci Lloyd goes a step further in her award-winning The Carbon Diaries: 2015 (2008). Teen heroine Laura apparently is part of the problem by pursuing a music career with her band, gaining a following online, and benefitting from how easy it is to record and distribute music digitally. She only becomes part of the solution after abandoning her music to become a commune-dwelling, pig-raising, socially conscious activist-though not before performing the novel’s anthem, “Death to Capitalism….”

Are these works the literary equivalent of yelling at those darned kids to get off your lawn, oldsters scolding the youngsters for their perceived failings? Applebaum thinks so, arguing that the trend toward technophobia exposes “adults’ reluctance to embrace the changing face of childhood and the shift in the power dynamic which accompanies this change.” Viewed through its attitudes about technology, she writes, “literature aimed at young people is exposed afresh as problematic, a socialization agent serving adults’ agenda.” Certain adults’ agenda, to be sure.

The biggest exceptions to these trends can be found in the Hunger Games trilogy (2008-2010), which celebrates self-reliance, individual choice, and markets (like The Hob), while warning readers against those who gravitate toward power. (Suzanne Collins also masterfully answers the classic question “Who was right, Aldous Huxley or George Orwell?” by agreeing with both.) But although the Hunger Games novels and their film adaptations are an undeniable sensation, they also represent something of an outlier in terms of theme.

Another exception — or partial exception — is the work of Cory Doctorow. Doctorow’s novels depict technology as the natural ally of youth. The millennials are at a tremendous advantage in the 21st-century landscape, he proposes, because unlike their elders they grew up with a high degree of comfort with both technology and its continual state of change. But even Doctorow’s novels tell a sobering story about the present.

Whether it’s the hackers of Little Brother (2008) and Homeland (2013) or the fan filmmakers of Pirate Cinema (2012), Doctorow’s teen protagonists are routinely forced to defend themselves from older interests who are supported by the government simply because they are more powerful and entrenched in the system. The mighty surveillance state will not disappear, readers realize time and again; the most that kids can hope for is to watch the watchers and let them know that the scrutiny goes both ways. Readers cheer on the gutsy young heroes fighting for their liberty, but we also mourn all the time and effort and creative energy they lose in the struggle simply to stay free and see another day. Their best-case scenario is to fight the powers-that-be to a stalemate.

Amy’s piece continues with more examples.


More on the politics of YA dystopias:

Real-Life “Hunger Games”: Soft Oppression Destroys the Poor
“Pills and Starships” – Pseudo Science Fiction
“Mockingjay” Propaganda Posters

Modern Feminism, Social Justice Warriors, and the American Ideal of Freedom

More on the legacy publishing-indie battle:

Hugh Howey and JAKonrath on the Indie Revolution, and Amazon’s Netflix-for-Books

More on Writers, Novels, Amazon-Hachette