The Space Opera Renaissance edited by David G. Hartwell & Kathryn Cramer TOR, 2006, US$39.95, 941pp ISBN 0-765-30617-4 | |
This review first appeared on The SF Site | |
A confession:
before reading The Space Opera
Renaissance I honestly thought that space opera came to be
called space
opera because ‘opera’, in my blissfully uninformed
opinion, was the equivalent
of the Hollywood blockbuster from before they had Hollywood - big,
brash, wide
screen entertainment full of fickle gods, exotic foreigners, passionate
lovers
and mighty warriors, all mashed up into stories of inspired,
over-the-top
mayhem and exhibitionism, and topped with bellowing divas howling like
Hurricane Katrina in a ball gown. As I said, ‘stunningly
uninformed’. My naive
assumption was that space opera was simply the madness of opera
transferred
onto the broader modern canvas of outer space.
Fortunately for me, David G. Hartwell and Kathryn
Cramer are here to try
and set straight idiots such as myself, and kudos is due to them both
that, for
the most part, they serve as knowledgeable and engrossing guides to
this
once-derided area of the genre. I
found
their commentaries on each author to be invaluable to my enjoyment of
each
piece in this hefty anthology, whether I agreed 100% with their
assessments or
not; and if I occasionally found a very slight US socio-political bias
then
it’s at least in part because your humble reviewer hails from
the UK, and the
new space opera from this side of the pond is practically defined by
its
opposition to the US genre hegemony. The
Space Opera Renaissance is quite
correctly laid out in chronological order and grouped into loose
categories. The
first is that of ‘Redefined
Writers’, beginning with Edmond Hamilton, whose 'The Star
Stealers' is at times remarkable,
albeit as often for the
wrong reasons as the right ones. It’s
all too easy to chuckle at quite how monstrously wrong our literary
forebears
can be’ though; perhaps in 75 years sf fans will howl with
laughter at Charlie
Stross’s hopelessly inadequate understanding of
‘basic’ physics, or his
patronising attitudes to artificial intelligence – who knows? With this proviso, I hope
Mr Hamilton’s
ghost will forgive me if I quote one single sentence from 'The Star
Stealers' that, with 21st
century wisdom, made
me laugh out loud. Following the
successful resolution of a thunderous galactic menace, in which Second
Officer
Dal Nara, ‘descended from a long
line of
famous interstellar pilots’ (p.25), has played an
important role, we are
told that she ‘after the manner of
her sex
through all the ages, sought a beauty parlor’
(p.44). The next story
is Jack Williamson’s 'The Prince Of
Space'
(an operatic title if ever there was one!).
It’s not one of Williamson’s
best, although it improves somewhat upon
Hamilton’s effort. It’s the next
story, Leigh Brackett’s 'Enchantress
Of
Venus', that takes the genre a significant step forward, not
merely because
of the vastly improved writing, but also the intriguing diminution in
the
setting and the weaponry (although,
scientific verisimilitude is still apparently missing in action,
allowing Clive
Jackson, writer of the next story, 'The
Swordsmen Of Varnis', to
have some fun). If Hamilton
emphasised the ‘space’ then it was Brackett who
brought the ‘opera’ to the
fore, and it’s regarding these early days that the
editor’s notes really come
into their own, discussing the somewhat arcane genesis of the
‘space opera’
label: who said what to whom about whoever else’s work and
why. Just because
these early stories are
politically uncomplicated doesn’t mean there’s no
politics behind them. I could go on
through each story the book, but it would take a long time. This is a very large book,
perhaps
unnecessarily so, since there’s a fair bit of repetition,
especially of the
military sf tropes. Midway
through the
900+ pages of quite small print, it has to be said that I was finding
myself
distinctly more sympathetic to work from ‘my’ side
of the Atlantic; not from
jingoistic pride, but a combination of mil-sf fatigue and because UK
authors
seem to have been the ones to have taken this rather moribund corner of
the
genre and run with it, whilst too many US authors (and, apparently,
their large
audiences) seemed perfectly content exactly where they were, thank you. I’m pleased to
be able report that the ripples of the UK space opera invasion have
since then
obviously spread and rebounded back across the Atlantic - possibly
quite a few
times, presenting quite a complex interference pattern of influences:
Gregory
Benford, Robert Reed, Tony Daniel, Scott Westerfeld and John C.
Wright’s
contributions all sit easily amidst those of the more recent UK writers
such as
Charles Stross, Alastair Reynolds and Paul McAuley. Oddly enough,
one of my favourite stories was Donald Kingsbury’s 'The
Survivor'. I say
‘oddly’
because not only is it the longest story here and it also comes at a
point when
I was beginning to exhibit distinct signs of space opera burnout, but
it is set
in ‘someone else’s universe’ - Larry
Niven’s ‘Known Space’ - a device the
purist in me sees as somehow antithetical to the central pillar of
science
fiction, the ‘novum’, or the invention.
But amongst these 900+ pages 'The
Survivor' had over a hundred that stood out due to a
well-crafted story that
examined some neglected dusty corners of the genre. Elsewhere,
Ursula Le Guin’s 'The
Shobies’ Story'
took space opera somewhere thoughtfully new; Michael
Moorcock’s 'Lost Sorceress Of The
Silent Citadel' led
us straight back to Leigh Brackett without passing Go, but definitely
collecting the $200; and Tony Daniel’s 'Grist'
sent me straight to Amazon.co.uk! Perhaps the least satisfying choice here is Iain M. Banks’ 'A Gift From The Culture'. Not because it’s a bad story – far from it – but, I would argue, because it’s barely space opera at all. It’s a pretty intractable problem, however, because Banks simply doesn’t write short fiction - 'A Gift From The Culture' being the sole exception to this rule. But this is an author who, for me, single-handedly rescued sf from the crumbling brink of irrelevance, and who I consider would have been far better served by the inclusion of an excerpt from a novel such as Consider Phlebas, which – again, for me – personifies everything that is good and clean and pure about space opera. If you straightforwardly enjoy quite a lot of space opera then The Space Opera Renaissance may not be the ideal book for you: it’s a lengthy, often quite demanding read; some of the stories are plain silly, some are anything but plain, and it does engage exhaustively with just a limited number of themes. However, if you’re interested in science fiction as a whole, and sometimes read and enjoy some space opera (and who doesn’t, eh?) then you’ll get a lot more from this anthology, and will probably be grateful to David G. Hartwell and Kathryn Cramer for expertly ‘..showing how literary politics and other factors worked over the decades to deconstruct and alter it into something significantly different.’ (p.9). | |
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