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Thank you Ursula,
You've summed up everything wrong with what Robert Weil (a former colleague of mine at OMNI during the period I published a Ballard story) said about J.G. Ballard in the article.
Calling Utopia a Utopia
Ursula K. Le Guin
Writing about the death of J.G. Ballard for the New York Times (21 April 09), Bruce Weber spoke to Ballard’s American editor at Norton, Robert Weil. Mr Weil said of Ballard: “His fabulistic style led people to review his work as science fiction. But that’s like calling Brave New World science fiction, or 1984.”
Every time I read this sentence it suggests more parallels:
“But that’s like calling Don Quixote a novel.”
“But that’s like calling The Lord of the Rings a fantasy.”
“But that’s like calling Utopia a utopia... “
It is shocking to find that an editor at the publishing house that had the wits to publish J.G. Ballard (as well as the Norton Book of Science Fiction) can be so ignorant of what Ballard wrote, or so uninformed about the nature and history of the science-fiction genre, or so unaware of the nature of literature since the 1980’s, that he believes — now, in 2009! — that to say a writer wrote science fiction is to malign or degrade his work.
To define science fiction as a purely commercial category of fiction, inherently trashy, having nothing to do with literature, is a tall order. It involves both denying that any work of science fiction can have literary merit, and maintaining that any book of literary merit that uses the tropes of science fiction (such as Brave New World, or 1984, or The Handmaid’s Tale, or most of the works of J.G. Ballard) is not science fiction. This definition-by-negation leads to remarkable mental gymnastics. For instance, one must insist that certain works of dubious literary merit that use familiar science-fictional devices such as alternate history, or wellworn science-fiction plots such as Men-Crossing-the-Continent-After-the Holocaust, and are in every way definable as science fiction, are not science fiction — because their authors are known to be literary authors, and literary authors are incapable by definition of committing science fiction.
Now that takes some fancy thinking.
If Mr Weil allows H.G.Wells’s stories any literary quality or standing, he’d have to declare that “The First Men in the Moon” and “The Time Machine” are not science fiction — invoking, I suppose, their “fabulistic style”.
Knowing those stories differed in certain respects from other fiction, and having a scientific mind and training, H.G.Wells himself sought a classification for them. He called them “scientific romances.” The term “science fiction” hadn’t yet been invented and adopted.
When I read such nonsense as Mr Weil’s, I could wish it never had been.
But “science fiction” is the term we’re stuck with. And in any reasonable definition, it is an accepted literary category, usefully and adequately descriptive of such works of literature as Brave New World, 1984, The Man in the High Castle, The Handmaid’s Tale, The Yiddish Policeman’s Union, and all J.G. Ballard’s major stories and novels.
Editors, critics, and others who use it not as a description but as a negative judgment are wrong to do so. And they do wrong. They are gravely unjust both to the science fiction of literary value that they refuse to admit is literature, and the science fiction of literary value they refuse to admit is science fiction. Mr Weil owes Aldous Huxley, and George Orwell, and his own author, J.G. Ballard, an apology beyond the grave.
Spiral
Copyright © 2009 by Ursula K. Le Guin
Permission is granted to reproduce this essay, with attribution:
by Ursula K. Le Guin
You've summed up everything wrong with what Robert Weil (a former colleague of mine at OMNI during the period I published a Ballard story) said about J.G. Ballard in the article.
Calling Utopia a Utopia
Ursula K. Le Guin
Writing about the death of J.G. Ballard for the New York Times (21 April 09), Bruce Weber spoke to Ballard’s American editor at Norton, Robert Weil. Mr Weil said of Ballard: “His fabulistic style led people to review his work as science fiction. But that’s like calling Brave New World science fiction, or 1984.”
Every time I read this sentence it suggests more parallels:
“But that’s like calling Don Quixote a novel.”
“But that’s like calling The Lord of the Rings a fantasy.”
“But that’s like calling Utopia a utopia... “
It is shocking to find that an editor at the publishing house that had the wits to publish J.G. Ballard (as well as the Norton Book of Science Fiction) can be so ignorant of what Ballard wrote, or so uninformed about the nature and history of the science-fiction genre, or so unaware of the nature of literature since the 1980’s, that he believes — now, in 2009! — that to say a writer wrote science fiction is to malign or degrade his work.
To define science fiction as a purely commercial category of fiction, inherently trashy, having nothing to do with literature, is a tall order. It involves both denying that any work of science fiction can have literary merit, and maintaining that any book of literary merit that uses the tropes of science fiction (such as Brave New World, or 1984, or The Handmaid’s Tale, or most of the works of J.G. Ballard) is not science fiction. This definition-by-negation leads to remarkable mental gymnastics. For instance, one must insist that certain works of dubious literary merit that use familiar science-fictional devices such as alternate history, or wellworn science-fiction plots such as Men-Crossing-the-Continent-After-the Holocaust, and are in every way definable as science fiction, are not science fiction — because their authors are known to be literary authors, and literary authors are incapable by definition of committing science fiction.
Now that takes some fancy thinking.
If Mr Weil allows H.G.Wells’s stories any literary quality or standing, he’d have to declare that “The First Men in the Moon” and “The Time Machine” are not science fiction — invoking, I suppose, their “fabulistic style”.
Knowing those stories differed in certain respects from other fiction, and having a scientific mind and training, H.G.Wells himself sought a classification for them. He called them “scientific romances.” The term “science fiction” hadn’t yet been invented and adopted.
When I read such nonsense as Mr Weil’s, I could wish it never had been.
But “science fiction” is the term we’re stuck with. And in any reasonable definition, it is an accepted literary category, usefully and adequately descriptive of such works of literature as Brave New World, 1984, The Man in the High Castle, The Handmaid’s Tale, The Yiddish Policeman’s Union, and all J.G. Ballard’s major stories and novels.
Editors, critics, and others who use it not as a description but as a negative judgment are wrong to do so. And they do wrong. They are gravely unjust both to the science fiction of literary value that they refuse to admit is literature, and the science fiction of literary value they refuse to admit is science fiction. Mr Weil owes Aldous Huxley, and George Orwell, and his own author, J.G. Ballard, an apology beyond the grave.
Spiral
Copyright © 2009 by Ursula K. Le Guin
Permission is granted to reproduce this essay, with attribution:
by Ursula K. Le Guin
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Fascinating essay. Not knowing Mr. Weil, I feel obligated to assume the best of intentions; maybe he wanted to help the late author get more mainstream exposure. Kurt Vonnegut, among others, has written about the dangers of being perceived as an SF writer.
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I'm not The Universal Defender Of Mr. Weil, and I have no better insight into his motives here than anybody else.
The important thing, maybe, is that we agree on the primary thing: books should be judged on their merits. I'll take a well-written ghost story over a badly-written academic satire any day of the week.