Fox News recently ran a piece on plans by Mars One to launch one-way missions to Mars, with the first arrival in 2023: Mars One Plans Suicide Mission to Red Planet for 2023.
The idea is that the astronauts are emigres, and not just visitors. This removes the need for return spacecraft and the associated fuel, tremendously reducing the cost and complexity of the missions. It also eases the concern that the early Mars missions, like Apollo, might eventually lose support and result in another dead end.
Hyperbolic headlines aside, I agree with Brian Enke that “extended stay mission” is a more appropriate name. The early settlers in North America arguably faced tougher physical and psychological hurdles, yet I doubt many would refer to their journey as a suicide mission.
A major theme of In the Shadow of Ares is the role of private enterprise in Martian development and settlement, though we initially expected government-led missions to open the frontier before “getting out of the way”. Mars One proposes to conduct their missions completely independently, though it remains to be seen if they can obtain the required funding, estimated at $6 billion for the first mission. I, for one, would love to see them pull it off.
I look forward to learning more, though an initial perusal led me to a few concerns, not least of which is Mars One’s stated intent to rely entirely on solar power on the Martian surface. I believe their concerns regarding nuclear power are severely overstated, and smack of politics trumping science. Readers of In the Shadow of Ares may recall politically-motivated power choices having deadly consequences for a group of settlers at Tharsis Station.
This year’s winners of the Prometheus Award are Ready Player One, by Edward Cline, and The Freedom Maze by Delia Sherman. Given annually by the Libertarian Futurist Society, the award recognizes the best in libertarian fiction.
We are honored that In the Shadow of Ares was a finalist, and wish the winners a hearty congratulations.
Acculturated, via Glen Reynolds, discusses whether Science Fiction is inherently conservative. I would argue that Conservative is a too broad–and to some extent inaccurate–label, and that Libertarian is more accurate.
Friday’s ISS docking of the SpaceX Dragon capsule received a good bit of media attention, but likely not anything near what it deserved. Much of the public was at least peripherally aware that a private spacecraft (albeit heavily subsidized by NASA) had successfully launched and docked with the orbiting outpost, but aside from the delivery of needed supplies, most could probably not articulate the true significance of the mission.
Besides reducing our reliance on Russia for access to space, this mission hopefully represents the genesis of a vibrant space-based economy dominated by private enterprise.
And in my lifetime no less.
If that vision comes to pass, May 25, 2012 could become nearly as significant as July 20, 1969. Or not. Will the fledgling industry be crippled by excessive regulation? Will shortsighted policy decisions gut the exploration programs that are arguably a proper role for public-sector programs?
Combined with last month’s announcement by Planetary Resources, I’m hopeful. This despite the recent, foolish decision by the Obama Administration to abandon future robotic Mars missions.
Glenn Reynolds’ article from Popular Mechanics is now available online. He opens:
The future isn’t what it used to be.And neither is science fiction. While books about space exploration and robots once inspired young people to become scientists and engineers—and inspired grownup engineers and scientists to do big things—in recent decades the field has become dominated by escapist fantasies and depressing dystopias. That could be contributing to something that I see as a problem. It seems that too many technically savvy people, engineers in particular, are going to work for Web startups or investment firms. There’s nothing wrong with such companies, but we also need engineers to design bold new things for use in the physical world: space colonies instead of social media.
Which is an excellent summary of why we decided to write In the Shadow of Ares, and to write it in the style that we did. I’m not persuaded that a proliferation of optimistic, “Human Wave” science fiction is enough to get us back on the right track as a civilization, but it’s certainly helpful to that end – one piece of the puzzle.
We know from past (and personal) experience that science fiction can embolden people (particularly young people) to seek out big challenges, and it can do so again in the future if the right kinds of science fiction are generated, read, and rewarded. But work is also needed on the assorted factors which needlessly prevent those big challenges from becoming big achievements: paralytic risk aversion, unproductive over-regulation, comfortable complacency, and open Luddism, among others. All of which, I hope and believe, will soon be facing their long-overdue reevaluation due to economic necessity.
As for Glenn’s suggested reading list — I’m embarrassed to say that I have only read one of the books he selected: John Steakley’s Armor. But oh, what a book it is. It’s one of my all-time favorite SF novels, and made a huge impression on me when I first read it at sixteen. It’s a very dark novel, so I’m exceedingly surprised to see it on a list of “optimistic science fiction books”. However, the tagline he quotes is indeed the moral thread of the story, and the redemption of several of the main characters at the end by living up to that quote does make it end on a positive note.
A fresh look at a 75 year old photo taken on the Pacific atoll of Nikumaroro has led investigators to believe they may have found Amelia Earhart’s crash site. Analysis of the enhanced photograph led US State Department experts to conclude that an object protruding from the reef is the landing gear of a Lockheed Electra, the plane Earhart and navigator Fred Noonan were flying when they vanished mysteriously in 1937.
In reading this I couldn’t help notice the parallels to Amber Jacobsen’s search for lost explorers. What is particularly eerie, should this hold up, is the clue that led to the discovery. Amber finds a footpad from an Ares lander before, well…if you haven’t read In the Shadow of Ares yet, I won’t spoil it.
Scholastic Books has launched Storia, their eBook download application. They indicate over 1500 titles available, ranging from pre-K to “7 and up”.
So Scholastic is finally getting with the program; not a choice, really, given the proliferation of eReaders. Unfortunately, in perusing their site, I don’t see anything that allows for self-published or eBook-only publications. So, at least for now, no bypassing the traditional publishing model.
It was my pleasure this afternoon to speak to the After School Writing Club at Travis Elementary in Houston, TX. I was invited by a fourth grade fan of our book (thanks, Anthony!), and enjoyed the opportunity to speak to them about writing in general, and In the Shadow of Ares in particular.
Based on the level of interest and strong questions that met my presentation, I have no doubt that some really good stories will emerge from this smart, enthusiastic group.
Now that I have a little more free time on my hands, I’ve been looking for ways to get more plugged in to the local science fiction fan and author communities. To that end I attended DASFA’s February meeting this evening.
This month’s meeting featured a panel of three local authors, discussing the topic “Salty Language is In Effect: The Outré in Genre Fiction.” The panel consisted of Jesse Bullington (The Enterprise of Death), Jason Heller (Taft 2012) and Stephen Graham Jones (Zombie Bake-Off and It Came From Del Rio). The three were not strictly science fiction authors (second-world and various shades of fantasy), and the primary subject material is not something I’ll recount here on a blog with young-adult readers, but there were a few interesting takeaways applicable to science fiction:
- If you’re waiting for a completely original story that nobody’s ever done before, you’re not going to find it — originality lies more in the presentation, the setting, the characters, etc.;
- One doesn’t have to include gore, violence, sex, or other “outré” material to tell a good story, and conversely, it’s tricky to include such things in a way that doesn’t seem gratuitous, offensive, or (worse) creepy or sleazy;
- Having something to say, in the sense of something political, moral, or philosophical, isn’t a bad thing and perhaps even unavoidable in all but the most anodyne writing. A writer should however be sensitive to the audience and present both sides of such matters in a fair manner (yes, yes, stop giggling — I freely admit we are a little blunt in places in In the Shadow of Ares, but there are stylistic and trilogy-arc reasons for this, as you’ll see in the second book);
- There are more genre authors and genre events in the Denver area than I had suspected, and this may be true of a lot of small cities.
The last point is perhaps the most valuable – aspiring writers can benefit from involving themselves with these events and the organizations behind them, through the opportunities the latter provide for peer review, mutual feedback, motivation, and marketing. Networking is essential when you’re e-publishing — sitting at home behind your keyboard watching your Kindle sales reports and hoping for the best isn’t going to improve your writing or your royalties.
I’d agree with his assessment, except I think the problem is actually much worse:
One way you can describe the collapse of the idea of the future is the collapse of science fiction. Now it’s either about technology that doesn’t work or about technology that’s used in bad ways. The anthology of the top twenty-five sci-fi stories in 1970 was, like, ‘Me and my friend the robot went for a walk on the moon,’ and in 2008 it was, like, ‘The galaxy is run by a fundamentalist Islamic confederacy, and there are people who are hunting planets and killing them for fun.’
The original article is behind the firewall at the New Yorker, so I only have this quote to build on, but if hackneyed War on Terror allegories are all that has him upset about the current state of science fiction he might be in for a surprise if he picks up a copy of, say, Analog.
One of the reasons Carl and I decided to write In the Shadow of Ares was the dearth of positive visions of the future in modern science fiction. Over the past twenty years (if not longer), there has been a shift in tone towards an anti-technology, anti-capitalist, anti-human perspective:
- By “anti-technology”, I mean a perspective in which science and its applications are regarded as intrinsically suspect if not dangerous. Plots involving a new discovery, innovation, or application frequently put significant if not sole emphasis on its negative consequences. One of the great things about science fiction traditionally has been the useful or interesting speculative exploration of the potential for misuse of such things, but this perspective instead reflects a deeper pessimism which devalues or dismisses the positive benefits instead of making a balanced assessment of tradeoffs.
- By “anti-capitalist”, I mean a perspective in which business, the profit model, free markets, etc. are the enemies of all good and decent things. If a corporation of some sort figures into a story, it’s almost certain to be portrayed as greedy, oppressive, irresponsible, reactionary, rapacious, short-sighted, callous, etc., an intangible sentient entity possessing a collective and inexplicably (or unexplainedly) malevolent will of its own. “Portrayed” is probably a generous way to put it, given that these things are not crafted as the corporation’s attributes so much as mix-and-matched from a pouch of stock-villain tropes with little thought or creativity involved. There seems to be little acknowledgement that there are business entities other than Big Evil Galactic Mega-Conglomerates™, or that as seen in the real world business, profits, markets, etc. are far more likely to be positive agents and influences. There are certainly interesting science fiction stories to be told involving bad businessmen, but I’d hazard a guess that each of them has by now been told many hundreds of times.
- By “anti-human”, I mean a perspective in which it is taken for granted that humans are by default corrupt, greedy, bigoted, abusive, violent, intolerant, militaristic, or otherwise by their inescapable nature a threat to non-humans or to the natural world. Non-human entities — whether alien, artificial, or non-sentient — are held to be morally superior to humans due to nothing more than their non-human nature, and are portrayed as endangered by humans due to our aforementioned moral defects. When non-humans are absent, humans are still portrayed as intrinsically morally negative, being (for example) willing to use a new technology to harm or oppress others for no other reason than that that’s what humans are apparently wired to do. Again, this is not to say that there aren’t bad humans to be found, or that humans behaving badly can’t be fodder for an interesting story; the problem is with the self-loathing default assumption that humans are inherently bad, augmented by the corollary assumption that non-humans are inherently good.
This is not to say that these problems are universal, merely pervasive. I gave up on Analog in 2008 after 25 years as a subscriber because of this pervasiveness – there were still occasional human-positive, business-positive, technology-positive stories in the magazine, but there was a clear drift in the opposite direction (and increasing numbers of borderline-fantasy woo-woo stories) over several years.
I think the broader point underlying both Thiel’s criticism and my own is that where science fiction used to be predominantly optimistic, it has for years (decades?) descended into an ugly dominant pessimism. And when the people whose job is imagining possible futures see only doom and gloom ahead, is it any wonder that the people actually responsible for building the future may be less enthusiastic about doing so?