Anarchism and science fiction: D


Rick Dakan: Geek Mafia (2008)

Dakan is described by Killjoy, in one of his featured interviews, as an 'anarchist geek'. This entertaining caper story was taken as 'certainly' science fiction by a contributor to the Anarchysf mailing list, but can't really be seen as sf at all, though it's still likely to be of interest to sf readers.

 

Rich Dana, ed.: AnarchoSF V.1: Science Fiction and the Stateless Society (2014)

Anthology of original short fiction, poetry, and a couple of essays, as well as two classic tales featured in this reading list, Dick's 'The Last of the Masters' and Forster's 'The Machine Stops'. Rich Dana's introduction is particularly useful: an updated version of his 2013 essay on the Daily Anarchist (as by Ricardo Feral).

 

 

photo of front cover of Danvers's The Watch

Dennis Danvers: The Fourth World (2000); The Watch: Being the Unauthorized Sequel to Peter A. Kropotkin's Memoirs of a Revolutionist—as Imparted to Dennis Danvers by Anchee Mahur, Traveler from a Distant Future; or, A Science Fiction Novel (2002) 

Although it will be The Watch that is of most interest to anarchists, Danvers's previous novel, The Fourth World, is also a refreshing left-libertarian take on a possible future, in which Chiapas and the Zapatistas are centre-stage. For Teflon, the novel "deserves to have sold better than it did."

    The Watch is supposedly written in the first person by Peter Kropotkin, who has been plucked from his deathbed, rejuvenated, into a future in which he has the opportunity to foster anarchism once more. The plot is on the weak side, but the writing is first rate, and the Kropotkin character thoroughly researched, as is historical anarchism itself (with references to more recent figures such as Bookchin and Chomsky). Anarchism is integral to the book, and is presented with the utmost sympathy. Very readable, and a wonderful introduction to anarchist ideas for anyone not familiar with them.

    For Magpie Killjoy, whose favourite anarchist fiction novel this is, "The book tells a low-key and beautiful story with compelling characters, yet introduces the reader to some of the most basic of anarchist political and philosophical concepts." (Killjoy, Fall 2011)

 

Dark City (1998, dir. Alex Proyas)

An amnesiac man who finds himself suspected of murder attempts to discover his true identity and clear his name while on the run from the police and the mysterious 'Strangers'. It transpires that he's really aboard an alien habitat, where the hive-mind of the Strangers is/are seeking to understand the human concepts of individuality and personality. Defeating the Strangers, he remakes the world based on [his' childhood memories, which were themselves illusions implanted by the Strangers.

 

The Red Planets filmography describes Dark City as "offering a phantasmagorical image of life under capital."

 

Peter Suderman, in his Liberals and Libertarians at the Movies, identifies the essence of the film as "one individual struggles to reclaim his agency and identity". Also recommended on the Anarchism sub-reddit discussion on movies.

The Dark Knight (2008, dir. Christopher Nolan)

Bruce Wayne/Batman, Lieutenant James Gordon and enthusiastic new District Attorney Harvey Dent seek to eliminate organized crime in Gotham City, but the sociopathic Joker carries out a dastardly scheme to turn Dent into a villain and Batman into a public enemy. According to SFE, this film is "Widely regarded as the finest Superhero film ever made".

 

David Graeber has written interestingly on the Batman trilogy. This film, and Batman Begins, he says "had moments of genuine eloquence",

 

But even that movie begins to fall flat the moment it touches on popular politics. The end, when Bruce and Commissioner Gordon settle on the plan to scapegoat Batman and create a false myth around the martyrdom of Harvey Dent, is nothing short of a confession that politics is identical to the art of fiction. The Joker was right: redemption lies only in the fact that the violence, the deception, can be turned back upon itself.

Further,

 

When Dark Knight came out in 2008, there was much discussion over whether the whole thing was really a vast metaphor for the war on terror: how far is it okay for the good guys (America, obviously) to adapt the bad guy’s methods? The filmmakers managed to respond to these issues and still produce a good movie. This is because the War on Terror actually was a battle of secret networks and manipulative spectacles. It began with a bomb and ended with an assassination. One can almost think of it as an attempt, on both sides, to actually enact a comic book version of the universe.

The Dark Knight Rises (2012, dir. Christopher Nolan)

Set eight years after the previous film, Batman comes out of retirement to take on the imposing figure of Bane, and save Gotham City from nuclear destruction; Catwoman is also featured, and Robin introduced.

 

David Graeber opens his New Enquiry essay 'Super Position' by stating that "The Dark Knight Rises really is a piece of anti-Occupy propaganda," whilst acknowledging that Christopher Nolan claims that the script was written before the movement started, and that the scenes of the occupation of Gotham were actually inspired by Dickens's account of the French Revolution. Graeber feels that the film is defeated by its own ambition, and "stuttered into incoherence."

 

Reddit's Anarchy 101 has a page discussing 'Would Bane from the Dark Knight Rises qualify as an Anarchist?':

For AutumnLeavesCascade, "That whole film trilogy contains strong anti-anarchist propaganda, so we ought not trust its depictions of its "anarchists". Nevertheless, Bane had a bit of the rhetoric and actions, but ultimately his character progression was to make the film's point that you can't trust anti-authoritarian resistance to not become tyrannical, it's the typical bullshit that anarchy results in a backswing of warlordism or totalitarianism."

 

[Deleted] answers the question with:

 

Not in the slightest bit. Actually I think the movie itself has a contradiction in it that really says a lot about the ideological climate we exist in.

Nolan was clearly trying tie Bane to Occupy (even just via symbols/terminology) and criticize revolutionary anti-capitalist sentiment in general. The liberation of the prisons, the comments about the "people's house", the attacks on cops, all of this is a clear attempt to place Bane in an ideological camp. But here's where a problem comes in; just labeling them the bad guys isn't enough for us not to sympathize with them. Its not enough that all the visual indicators of bad (freaky breathing apparatus) are there, there's a legitimate danger that no matter how many heroic shots of valiant cops there are, there's a chance that the audience will still cheer for the orphans that didn't get to grow up with wealth from the arms industry.

So to ensure we stay with the "right" side, they have to insert a plot about the bomb that otherwise makes no sense at all. Because simply, the defenders of the status quo really can't be the good guys unless the alternative to the status quo is annihilation.

jamieandhisego concludes the Reddit discussion with his own two word answer: "Fuck no."

Another Reddit discussion, entitled 'My Anarchist Perspective of the Dark Knight Rises', begins with an original post from mattkips, which rails against the film for its portrayal of anarchists, but which misfires because the film never actually identifies anyone as anarchists. The lengthy discussion it provoked bears a read, nevertheless.

 

 

Dark Star (1974, dir. John Carpenter)

Satirical space story. The Dark Star has been roaming space on a mission to destroy 'unstable' planets, but after 20 years systems are breaking down, and the crew are bored witless. Things go completely belly-up. Lots of delicious black humour.

 

Ranked in first place at Goliath's 10 Obscure Sci-Fi Films Worth Seeking Out, a link shared on Facebook's Anarchism and Science Fiction Forum and on Sci-Fi Libertarian Socialist.

 

Dawn of the Dead (1978, dir. George A. Romero)

Gory zombie film. SFE insists it is true sf, as Romero is interested in zombies the way an sf writer might be interested in aliens.

 

Wendy McElroy, at Daily Anarchist.com, says "This is his most explicit assault on mindless, modern consumerism. [. . . ] In short, the walking dead are doing the same thing as they did as the walking living. This glimpse of voracious humanity is all the more horrifying because it contains truth.

 

Included in libcom.org's guide to working class films.

The Day the Earth Stood Still (dir. Robert Wise)

Klaatu, a human-like alien, with an eight-foot tall robot, comes to Earth to notify humanity that "It is no concern of ours how you run your own planet, but if you threaten to extend your violence, this Earth of yours will be reduced to a burned-out cinder. Your choice is simple: join us, and live in peace, or pursue your present course and face obliteration."

 

Alex Peak has an essay on the film's Libertarian Themes. He argues that, by his actions, Klaatu is not "in perfect harmony with libertarian ethics", and "Since the anarchist recognises that all true hierarchies are maintained only through aggression, and since the anarchist wishes to eliminate aggression and thus also all true hierarchies, we can conclude objectively that Klaatu is not an anarchist, despite whatever libertarian tendencies swell within his own society. Therefore, if Klaatu is a libertarian at all, he is at most a minarchist." He concludes that, despite this, "The movie may be regarded as libertarian due to its subtle yet persistent rejection of xenophobia, its warnings against substituting fear for reason, its examination of the dangers of nuclear war and nuclear weapons generally, and its insistence that there is something socially problematic about any hypermilitaristic society."

 

Red Planets lists the film, but is somewhat dismissive: "Anti-nuclear film (or a celebration of the pax Americana)."

Daybreak (1993, dir. Stephen Tolkin)

Resistance grows in a near-future where people with an HIV-like infection are held in a quarantine more like a concentration camp.

 

For Libertarian Movies the film—described by Osborne as "inspiring"—"presents a dark vision of what can happen when morality is enforced by the government."

Daybreakers (2009, dirs Michael and Peter Spierig)

Ten years hence a vampire corporation captures and farms the remaining mortal humans while developing a substitute for human blood. A vampire hematologist's work is interrupted by human survivors led by a former vampire who has discovered a cure for vampirism. The sf context is well developed, so it's not just another vampire movie.

 

Recommended for a fairly obvious political message, by a poster to the Reddit discussion on movie recommendations containing Anarchy. SFE says "the use of vampirism as an allegory of oil dependency stands out from the red tide of other vampire fiction in its era."

 

Death of a President (2006, dir. Gabriel Range)

(Then) near-future docudrama about the assassination of US President George W. Bush.

 

Criticised at the time for what was perceived as poor taste, the film's director has said the film was "not a leftist jeremiad", and that "It was very important that the film was not a political rant. It was not just a condemnation or polemic because I think that polemics are easy to dismiss." Sabina Becker's view was that the right didn't like the film because "it strikes a blow against the notion that arbitrary measures which grant inordinate power to the president will ever protect anyone—even himself—against terrorism."

 

Included in the Red Planets filmography.

 

photo of front cover of Déjacque's L'Humanisphère

Joseph Déjacque: L'Humanisphère: utopie anarchique (The Humanisphere: An Anarchistic Utopia) (1858–61; first unexpurgated edition 1971)

"A walk-through description of the world in the year 2858, after the abolition of the state, religion, property, and the family." (Dan Clore) Described by Kropotkin himself as an anarchist-communist utopia, and by Max Nettlau as "L'utopie anarchiste par excellence". Editor of the New York anarchist paper Le Libertaire, he "let his utopian imagination run riot" in L'Humanisphère. "Each is his own representative in a 'parliament of anarchy'. Déjacque's 'humanispheres' resemble Fourier's 'phalansteries' and while based on the principle of complete freedom reflect a similarly rigid planning." (Peter Marshall:435) For George Woodcock Déjacque's vision was "Fourier modified by his opposite, Proudhon." He also felt that it "in some remarkable ways anticipates the vision of the future which H.G. Wells projected in Men Like Gods." (Woodcock [1975]: ch. 10)

    L'Humanisphère was first serialised in Le Libertaire, the US's first anarcho-communist journal, of which Déjacque was editor. (Killjoy, 2009) Déjacque is said to have exercised an influence on the anarchist movement in Latin America through the intermediary figure of journalist Sebastian Faure. (Heffes 2009: 129)

 

Samuel Delany: Babel-17 (1966); 'Aye, and Gomorrah' (1967);  The Einstein Intersection (1967); Dhalgren (1974); Trouble on Triton: An Ambiguous Heterotopia; or, Some Informal Remarks toward the Modular Calculus (1976; originally entitled Triton); Stars in My Pocket Like Grains of Sand (1984)

    Babel-17, 'Aye and Gomorrah', and The Einstein Intersection are included in the Think Galactic reading list. Babel-17 is quoted in The BASTARD Chronicles 2015.

    Dhalgren has been described as presenting a world which is 'anarchist in all but name' (Moore 95). Although this is questionable, this is a stimulating and thought-provoking novel that bears inclusion here.

    Trouble on Triton was recommended by Common Action at the panel "Beyond The Dispossessed: Anarchism and Science Fiction" at the Seattle Anarchist Bookfair in October 2009. Delany has said that the novel was written partly in dialogue with Ursula Le Guin's The Dispossessed, his ambiguous heterotopia a response to her ambiguous utopia. His own perspective is that SF can't really be utopian. More pretentious than Dhalgren, Trouble on Triton hasn't aged as well. The interview with Delany published in 1990 as "On Triton and Other Matters" is actually more interesting than the novel.

    Stars in My Pocket Like Grains of Sand is discussed and quoted in The BASTARD Chronicles 2015, and has been recommended by a contributor to the Facebook Anarchism and Science Fiction Forum. Another, on Ask Metafilter, considered that "I don't think that Delany describes the society of Morgre as anarchist, but it definitely has anarchist-style social organization." In fact he almost does: he describes the most common form of government on Velm (the planet) as "an efficient bureaucratic anarchy". Later he says that of the 6000 worlds only 30% have a world government, but in the same paragraph describes Velm's bureaucratic anarchy as a world government. It isn't really an anarchy in anarchist terms: his definition says that "Bureaucratic anarchy means a socialist world government in which small sections are always reverting to some form of feudal capitalism for anywhere from a week to two years standard—the longest we'll allow it to last."


James de Mille: A Strange Manuscript Found in a Copper Cylinder (1888)

A Strange Manuscript is a lost-race story, set in Antarctica. In 1969 George Woodcock discussed the work as a "solitary successful Canadian utopian novel" (97), deciding that it is not so much utopia as Butlerian satire: its moral vision, "perhaps . . . characteristic of Canada", he finds to be "that of the Middle way—moderation in all things." (98) In 1980 he found the novel "an effective satire on the hypocritical Victorian world" de Mille lived in (Woodcock 1980: 24).

Demolition Man (1993, dir. Marco Brambilla)

A violent criminal and a maverick cop are cryogenically frozen in 1996, being revived in 2032 to find the culture homogenised and risk-free, the cop finding some sympathy with a radical underground. Much action and a limited amount of comic book satire.

 

One comment at the libertarian film festival describes the film as "a parable about the nanny state", with "a nice minarchist bit as the anarchists are told to clean up a bit, the government to dirty up a bit, and then to figure the rest out for themselves."

Destination Moon (1950, dir. Irving Pichel)

Historically important as the first serious attempt at portraying a mission to the moon, a major difference from what eventually happened in the 1960s being that in the film it was private enterprise that ran the show. Loosely based on Rocketship Galileo, by Robert Heinlein, who acted as technical advisor to the film

 

In 2007 an article copied to the Anarchy-SF mailing list, on the occasion of the centenary of Heinlein's birth, described this as "the first sober space travel movie".

 

Philip K. Dick: 'The Last of the Masters' (1954)  ; Solar Lottery (1955); Eye in the Sky (1957); Galactic Pot-Healer (1959); Time Out of Joint (1959); The Man in the High Castle (1962); The Penultimate Truth (1964); The Simulacra (1964); The Three Stigmata of Palmer Eldritch (1965); Counter-Clock World (1967); The Zap Gun (1967); Do Androids Dream of Electric Sheep? (1968); Ubik (1969); Flow My Tears, the Policeman Said (1974); Valis (1981)

   In 'The Last of the Masters' Dick took anarchism itself for its explicit theme. Two hundred years after the triumph of the Anarchist League by overthrowing the world's governments, a pocket state is discovered, ruled by a still-surviving government robot. An Anarchist League agent destroys the robot. The League itself is a voluntary club of unorganised individuals whose task it is to patrol the world scotching any attempts to restore government. It is made clear at the end of the story that, while there are disadvantages to global anarchism, they are more than outweighed by the effective abolition of war that has followed from its adoption. The tale is included in Dana's AnarchoSF V.1. For Margaret Killjoy "This story, by my reading, is neither libel nor advocacy, just a thought experiment by someone only peripherally versed in anarchism. Which frankly doesn’t make it feel all that valuable to the conversation."

   Dick's works constituted for Vittorio Curtonia a "violent fresco of social schizophrenia" (25). All his works show a high degree of humanity and identification with the underdog.

   The three novels of the 1950s are referred to by Curtoni as exemplary of his style and concerns. Solar Lottery is Dick's first, in which the top political position is chosen by lot, but subject to popularly condoned assassination; a parallel plot concerns a quasi-religious quest outside the solar system. The novel is cited in The BASTARD Chronicles 2015. In Eye in the Sky an accident in a particle accelerator causes a number of individuals to live successively through each other's versions of the normal world, none of which is particularly normal. In Time Out of Joint the central character believes he is living in the 1950s, as a competition expert; in reality he is living in the 1990s, helping plan the bombing of the moon; his fantasy is a withdrawal psychosis, the only way he can continue this work, having been converted to the 'lunatic' cause.

   The society of Galactic Pot-Healer has been described as "the ultimate Communist denial of personal consciousness." (Riggenbach)

   The Man in the High Castle, Ubik, and Flow My Tears, the Policeman Said, among Dick's best, are listed in Curtoni's essential bibliography, but not discussed by him. The Man in the High Castle is a complex alternate history of America after losing World War II, set in the Japanese Pacific States of America; it is a superb sf classic, high on compassion and having much to say, indirectly, about power relationships. Ubik recounts the involuted existences of a group of people living in 'half-life' after being killed by a bomb on the moon; in many ways similar to Eye in the Sky, it has perhaps been overrated. Reality is out of joint for the protagonist of Flow My Tears, who finds himself briefly living in an alternate world created by another character's drug trip; the figure of Police General Buckman, although disagreeable, is presented as human—there are no human baddies, for such antagonist as may be discerned is the abstract one of drugs-as-control. For Evan Lampe "The novel is incredibly powerful and in my view his greatest work."

   The Simulacra "portrays a world in which government is evil, duplicitous, and bent on concealing the truth from the public." (Riggenbach) The novel is cited in The BASTARD Chronicles 2015, as is The Three Stigmata of Palmer Eldritch.

   In Counter-Clock World a black religious leader, round whom much of the book revolves, is referred to throughout as the 'Anarch' Peak; but the reason for this is obscure.

   The Zap Gun depicts an America divided between those who believe the government is protecting them with ever more elaborate weaponry and those know that none of the weaponry works, except in simulations; both parties are in on the fraud, which they perpetrate in order to prop up a permanent Cold War economy. (Riggenbach)

   Do Androids Dream of Electric Sheep?—famously adapted as the film Bladerunner—was singled out for mention by Walker Lane, of the Fifth Estate collective, for a Summer 2012 anarchist reading list.

   In The Penultimate Truth members of the elite devote program an android politician which/who keeps the underground masses properly stirred up and misinformed. (Riggenbach) For Lampe a clear moral is that "It does not matter if power if justifiable on some level. It is nonetheless, sociopathic."

   A proponent of governmental decentralisation and opponent of organised religion, it is perhaps unfortunate that some of Dick's later, delusional, work has had a posthumous influence in the emergence of anarcho-gnostics. Among these later works is Valis, briefly mentioned in a quotation in The BASTARD Chronicles 2015.

   Evan Lampe has individual blog entries for each of 30 Dick novels, including one not sf.


Paul DiFilippo: 'Any Major Dude' (1991)

The whole of North Africa has become a political isolate thanks to its controversial use of anti-entropic free energy from nanotechnology. Money is increasingly pointless, and guns won't function, as a consequence of "a local accumulation of anti-entropy". A pre-utopian sidelong glimpse of the state in the very act of withering away.


Thomas M. Disch: Camp Concentration (1968); 'Mutability' (1978)

Vittorio Curtoni, writing in 1978, considered Camp Concentration to be "very fine". It concerns the experimental treatment of American concentration-camp inmates with a syphilis-derived drug which enhances intelligence but accelerates death.

   'Mutability' is set in the free university city of Tübingen at the end of the 21st century. Tübingen is said to have been declared a free city by the UN in 2039, after the faculty and students of the university had spearheaded the pan-Germanic Anarchist movement. It is said to have a uniquely democratic government, but American observers seem to be unimpressed.

 

 

District 9 (2009, dir. Neill Blomkamp)

A population of debilitated prawn-like aliens is found aboard an inert alien ship that has appeared over Johannesburg, the South African government confines them to an internment camp shanty town called District 9. Twenty years later, a bureaucrat assisting in the relocation of the aliens to District 10 is accidentally contaminated by contact with an alien fluid, and begins to metamorphose. He teams up with one of the aliens, assisting him to escape with his son to the mothership, which departs, leaving 2½ million of the prawns behind. The human is seen to have completed his transformation.

 

Libcom.org's guide to working class films gives this description: "Alluding to the District Six evictions in apartheid and the more recent Blikkiesdorp settlement, District 9 sees aliens come to Earth. But when they arrive, they are a minority group just like any other, and are hated by both black and white in South Africa."

Divergent (2014, dir. Neil Burger)

In a post-apocalyptic Chicago everyone is pigeon-holed as one of five factions, based on personality testing; the central character is found 'divergent', as she straddles several factions.

 

Recommended by starrychloe at Good movies for libertarians and anarchists.

 

Cory Doctorow: Down and Out in the Magic Kingdom (2003); Someone Comes to Town, Someone Leaves Town (2005); Little Brother (2008); For the Win (2010); The Great Big Beautiful Tomorrow (2011); Pirate Cinema (2013); Homeland (2013); Walkaway (2017)

The two earlier novels were both recommended by Common Action at the panel "Beyond The Dispossessed: Anarchism and Science Fiction" at the Seattle Anarchist Bookfair in October 2009.

   Down and Out in the Magic Kingdom features a post-scarcity future in which money has been replaced by personal reputation ratings, or 'Whuffie'.

   Someone Comes to Town is an unusual fantasy novel, which if it wasn't by Doctorow I would probably not include, though it's well worth a read. Killjoy (Fall 2011) includes it among some examples of books in which anarchists appear as "sympathetic (though often misguided or idealized characters").

   Little Brother won the 2009 Prometheus Award. A stirring novel for young adults, it features a hackers' fightback against the paranoid surveillance society of the US Department of Homeland Security.

   The sequel, Homeland, was published in February 2013, and was joint winner of the 2014 Prometheus award.

   For the Win features an interesting combination of militant international labour activism and the world of online gaming, in which game-workers join the IWWWW (Industrial Workers of the World Wide Web), known as the Webblies, by analogy with the Wobblies (a concept borrowed from Ken Macleod). While some readers have not appreciated the moralising, for me the gaming angle was a bit heavy-going, but it's a YA book, and doubtless this would be fine for its intended readership.

   Zeke Teflon's 2014 review of the PM Press edition of The Great Big Beautiful Tomorrow plus found the novella disappointingly short, and not quite fulfilling its promising potential.

   Pirate Cinema won the 2013 Prometheus Award. Another YA novel, it's a rousing subversive attack on attempts to stifle creativity by controlling Internet downloads. One of the protagonists is explicitly anarchist, and works in an anarchist bookshop off Brick Lane, London—named "Dancing Emma's" after Emma Goldman, but the location more than coincidentally close to the Freedom Bookshop in Whitechapel; Doctorow personally contributed to Freedom Bookshop's repair and rebuilding fund after it was firebombed in January 2013.

   For Ricardo Feral Doctorow's YA novels are "particularly important for introducing the ideas of personal freedom and opposition to State control to younger readers." Margaret Killjoy has said "I've never met a Cory Doctorow book I don't love."

   Walkaway tells of walking away from work and the dominance of a mega-rich oligarchy, the development of a post-scarcity gift economy, and the near-conquest of death. Described by the author as "a utopian novel", with credit given to David Graeber in the acknowledgments, the novel is recommended in the Sharp and Pointed review by Zeke Teflon as "quite possibly the best fictional description of a post-scarcity society ever written."

 

Jane Doe: Anarchist Farm (1995)

Very entertaining animal fable sequel to Orwell's Animal Farm; not actually sf.


Francis Donovan: 'The Short Life' (1960)

This rather minor story concerns an alien stranded on earth, living telepathically in a dog but through a mentally-challenged child: it seeks understanding from a sympathetic human. Pilgrim, in 1963, rated the story highly, but rather overstated the case for considering the society of the aliens, as described as "anarchic" and their reaction to human coercion and competition as "very much that of the anarchist" (Pilgrim 1963: 365).

 

Henry Shipton Drayton: In Oudemon: Reminiscences of an Unknown People by an Occasional Traveller (1901)

Futuristic utopia set in South America. "It is anarchistic in that there is no authority except an advisory board, and communistic in that the land is communally owned and there is little personal property." [Bleiler: 209]

 

 

Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964, dir. Stanley Kubrick)

As an unhinged USAF general orders a first strike nuclear attack on the Soviet Union, the US President, with other heads of state and forces top brass, tries to recall the bombers to prevent World War III, while the crew of one B-52 bomber try to deliver their payload. In the words of the SFE, "grotesquely satirical and very funny".

 

For Libertarian Movies it's "Not only one of the greatest anti-war films ever, but easily the funniest!"

Guy du Maurier: An Englishman's Home (1909)

An invasion from "the Empire of the North" succeeds. This play is referred to by Pilgrim in his 1966 Peace News review, without particular comment.

 

 

photo of front cover of Duchamp's Blood in the Fruit

L. Timmel Duchamp: The Marq'ssan Cycle Alanya to Alanya (2005), Renegade (2006), Tsunami (2007), Blood in the Fruit (2007), Stretto (2007)

Included in Killjoy's list of stories that explore anarchist societies. Also recommended by Common Action at the panel "Beyond The Dispossessed: Anarchism and Science Fiction" at the Seattle Anarchist Bookfair in October 2009.

   In the strongly feminist Alanya to Alanya Earth women, including some anarchists, are actively supported by the Marq'ssan aliens, who, with technological superiority on their side, vigorously promote "non-authoritarian self-governance". Blood in the Fruit includes a sequence in which the North West Free Zone celebrates Emma Goldman Day; three Goldman quotations serve as epigraph to the novel, and the front cover features a photograph of Goldman speaking in Union Square, at Duchamp's own suggestion—she has said that "Most of the Free Zone activists are working-class women who embrace a philosophy of life and politics very close to Goldman's . . .".

 

SM: So anarchism, or negotiation, is possible not only on a small scale but also a large scale?

LTD: Yes, I believe it is. But it would require major changes in our educational system, in the distribution of information, and in how we live as active, responsible subjects in the world. It would require, in short, that as a species, we mature and leave childhood behind (i.e., that we metaphorically speaking develop the part of our pre-frontal cortex that is able to see past the moment and think beyond impulse, as the medical literature tells us happens when individuals mature into adults).

 [interview by Sean Melican]

The Marq'ssan Cycle as a whole is a significant work, looking at relationships of power at many levels, especially the interpersonal. Duchamp has said:

 

I wanted this to be a story charting an on-going process of change, not one in which a tabula-rasa utopia is created in the wake of an apocalypse allowing everyone to "start over" without significant institutional baggage. In the course of writing the first novel, I soon realized that getting rid of a repressive regime is the easy part. The characters in these books are as resistant to changing ingrained patterns of political and social behavior as any living person is. Which is why the series spans two decades and comprises five long novels. 

[interview by Cheryl Morgan]

 

 


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