woodwardiocom (![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png)
woodwardiocom) wrote2007-03-09 12:55 pm
woodwardiocom) wrote2007-03-09 12:55 pm
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Book: The Space Opera Renaissance by Hartwell and Cramer
-This 944-page spider-smasher of an anthology has been occupying a lot of my reading time for a few weeks now. It was well worth it, for the intro alone, which I will recap here. Like many people, I was a little fuzzy on the origins of the term "space opera". I am now enlightened. Wilson Tucker, the guy who actually coined the phrase (in 1941), pretty much meant it to mean "bad science fiction" (with the only non quality-based genre-markers being "space ships" and "saving the world").
-Up through about the early 1970s, no author ever intentionally set out to write in the genre "space opera". (With the possible exception of Jack Vance, who wrote a novel about an opera company in space.) "Space opera" still meant "bad". Then a weird bunch of shifts happened. Some authors tried to recapture the good parts of the bad SF of the 1930s. In particular, Leigh Brackett, who had written some good-but-nevertheless-similar-in-tropes-to-the-bad-stuff SF in the 1930s, co-authored the script for The Empire Strikes Back, which was also good-but-nevertheless-similar-in-tropes-to-the-bad-stuff. And, was part of the huge commercial success that was Star Wars.
-So, people started intentionally trying to write space opera, and a lot of the good SF of the 1930s-1950s (in particular Doc Smith's Lensman books) was retroactively reclassified as space opera. (While he was alive, Smith would probably have been a little insulted to have his work called space opera; he considered himself to be writing something close to hard SF.)
-By the 1990s, there were authors of my generation who regarded "space opera" as having no particular negative connotations, and set out to write some. In the US we got a lot of military/capitalistic space opera, and in the UK we got a lot of transhumanist/socialist space opera. Much of it is very good.
-And now we have this anthology. (Which, because of the historical twists of the genre, arguably contains no examples of "space opera" as Wilson Tucker defined it.) Because it's about the renaissance of space opera, most of the stories in here are recent. More than half date from 1990 or later.
-Comments on specific stories: Bujold's "Weatherman" has convinced me I should give up my prejudice against Bujold (I was first introduced to her by a particularly psycho ex) and pick up some of her novels. Peter Hamilton's "Escape Route" also led me to add some books of his to my wish list. The only story in the book I couldn't get through was Tony Daniel's "Grist", yech. Scott Westerfeld's "The Movements of Her Eyes" was kinky in whole new ways — a new spin on "brains are sexy". (Yes, this is the same Westerfeld who wrote Uglies.)
-David Weber's "Ms Midshipwoman Harrington" gets a longer comment. I've rarely run across a story that felt so calculated. Honor herself is a special kind of Mary Sue — not a Mary Sue that represents the writer, but one meant to be a one-size-fits-all Mary Sue for the reader. Right down to the cat on her shoulder. The space-travel-and-combat assumptions are so obviously chosen to make space combat exactly like Age of Sail ship combat as to completely destroy verisimilitude for me. (As contrasted with, say, Walter Jon Williams' Dread Empire's Fall series, where we have exciting space combat which seems grounded in real physics.) And, in this story in specific, you know by page 2 that before the end of the story, our hero will have been briefly in command of the vessel during a critical moment in combat, thus proving her tactical genius. The necessary steps taken to get her there therefore feel like a machine grinding out plot, not like real events.
-A few pages in the anthology are (in my opinion) wasted on parodies. A few others are used for stories that are (to my eye) clearly planetary romances, not space operas. (Brackett's "Enchantress of Venus", Moorcock's "Lost Sorceress of the Silent Citadel".) A few are just Not My Thing. (Delaney's "Empire Star", Le Guin's "Shobies Story".) And a fair number are quietly, exotically, brilliant: Cordwainer Smith's "The Game of Rat & Dragon", Catherine Asaro's "Aurora in Four Voices", Robert Reed's "The Remoras", John C. Wright's "Guest Law", etc.
-So: This isn't light reading, both due to its actual mass, and because of its intent to present a genre in context, and a genre in motion. But, if you're up for that, highly recommended.
-Up through about the early 1970s, no author ever intentionally set out to write in the genre "space opera". (With the possible exception of Jack Vance, who wrote a novel about an opera company in space.) "Space opera" still meant "bad". Then a weird bunch of shifts happened. Some authors tried to recapture the good parts of the bad SF of the 1930s. In particular, Leigh Brackett, who had written some good-but-nevertheless-similar-in-tropes-to-the-bad-stuff SF in the 1930s, co-authored the script for The Empire Strikes Back, which was also good-but-nevertheless-similar-in-tropes-to-the-bad-stuff. And, was part of the huge commercial success that was Star Wars.
-So, people started intentionally trying to write space opera, and a lot of the good SF of the 1930s-1950s (in particular Doc Smith's Lensman books) was retroactively reclassified as space opera. (While he was alive, Smith would probably have been a little insulted to have his work called space opera; he considered himself to be writing something close to hard SF.)
-By the 1990s, there were authors of my generation who regarded "space opera" as having no particular negative connotations, and set out to write some. In the US we got a lot of military/capitalistic space opera, and in the UK we got a lot of transhumanist/socialist space opera. Much of it is very good.
-And now we have this anthology. (Which, because of the historical twists of the genre, arguably contains no examples of "space opera" as Wilson Tucker defined it.) Because it's about the renaissance of space opera, most of the stories in here are recent. More than half date from 1990 or later.
-Comments on specific stories: Bujold's "Weatherman" has convinced me I should give up my prejudice against Bujold (I was first introduced to her by a particularly psycho ex) and pick up some of her novels. Peter Hamilton's "Escape Route" also led me to add some books of his to my wish list. The only story in the book I couldn't get through was Tony Daniel's "Grist", yech. Scott Westerfeld's "The Movements of Her Eyes" was kinky in whole new ways — a new spin on "brains are sexy". (Yes, this is the same Westerfeld who wrote Uglies.)
-David Weber's "Ms Midshipwoman Harrington" gets a longer comment. I've rarely run across a story that felt so calculated. Honor herself is a special kind of Mary Sue — not a Mary Sue that represents the writer, but one meant to be a one-size-fits-all Mary Sue for the reader. Right down to the cat on her shoulder. The space-travel-and-combat assumptions are so obviously chosen to make space combat exactly like Age of Sail ship combat as to completely destroy verisimilitude for me. (As contrasted with, say, Walter Jon Williams' Dread Empire's Fall series, where we have exciting space combat which seems grounded in real physics.) And, in this story in specific, you know by page 2 that before the end of the story, our hero will have been briefly in command of the vessel during a critical moment in combat, thus proving her tactical genius. The necessary steps taken to get her there therefore feel like a machine grinding out plot, not like real events.
-A few pages in the anthology are (in my opinion) wasted on parodies. A few others are used for stories that are (to my eye) clearly planetary romances, not space operas. (Brackett's "Enchantress of Venus", Moorcock's "Lost Sorceress of the Silent Citadel".) A few are just Not My Thing. (Delaney's "Empire Star", Le Guin's "Shobies Story".) And a fair number are quietly, exotically, brilliant: Cordwainer Smith's "The Game of Rat & Dragon", Catherine Asaro's "Aurora in Four Voices", Robert Reed's "The Remoras", John C. Wright's "Guest Law", etc.
-So: This isn't light reading, both due to its actual mass, and because of its intent to present a genre in context, and a genre in motion. But, if you're up for that, highly recommended.
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Some people watch TV. We read trashy space opera. :)
About the Age of Sail thing: Weber makes no apology for those design choices. He was, after all, consciously emulating the Horatio Hornblower stories. Reading the novels makes this painfully clear. One of the protagonists is named Robert Pierre. Robert "S." Pierre.
Subtle, it's not.
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-Hell, so do I. See my reviews of Dan Dare. But, my to-be-read stack is around 45" tall, so occasionally I have to close doors.
Weber makes no apology for those design choices.
-If he's enjoying the writing, and making money, there's no reason he should apologize. My books contain their share of fanservice and Jonservice.
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I'm a Bujold fan, but the lustre has faded somewhat in recent years. Her books are good, but I've always most enjoyed the intricate, ten-balls-in-the-air-at-once feel of the earlier Miles books. (If I had stopped before reading Memory, my opinion of her as a writer would be sky-high.)
Hamilton does great space opera. The Night's Dawn 'trilogy' is 2800 pages of brilliance packed into, sadly, 3000 pages. Which is to say, he seemingly couldn't come up with a good ending for it so settled on one that disappoints. Pandora's Star/Judas Unchained is in every way a better-written and better-ended story that I nevertheless like slightly less than Night's Dawn.
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And _A Civil Campaign_ is a delightful romp, but I found _Diplomatic Immunity_ a bit wearing. It felt like she was trying too hard.
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And Leofwynn says hi!
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[grin] Say hi back.
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