Margaret Atwood opens her latest non-fiction offering with a clear declaration: In Other Worlds is not a catalogue of science fiction, a grand theory about it, or a literary history of it. It is not a treatise, it is not definitive, it is not exhaustive, it is not canonical. It is not the work of a practicing academic or an official guardian of a body of knowledge. Rather it is an exploration of my own lifelong relationship with a literary form, or forms, or subforms, both as reader and as writer.
In short: In Other Worlds is a love song for a genre. Most importantly, precisely because it does not have any of the aspirations Atwood negates in the above statement, it will be appealing to many readers, of her own work and of science fiction (in all its manifestations).
The book is divided into four parts. The first includes the three Ellmann Lectures Atwood delivered at Emory in 2010. They constitute some general and theoretical deliberations on SF as well as on Atwood's own full-length forays into what she calls "ustopia-writing": The Handmaid's Tale, Oryx and Crake, and The Year of the Flood. The second is a series of essays and reviews Atwood wrote on some classics of the genre, such as H. Rider Haggard's She or Kazuo Ishiguro's Never Let Me Go. The third is a tribute section for which Atwood selected some of her shorter ustopias. The final section, "Appendices", features the open letter Atwood wrote to the Judson Independent School District which banned The Handmaid's Tale (cautionary reading for our times in South Africa), and an article on Weird Tales covers of the 1930s, published recently in the US edition of Playboy. I
t might seem like too much of a mixed bag, but the pieces are carefully chosen and well integrated into the whole. From the start, Atwood explains her understanding of the genre under discussion and the terminology she applies to its many subforms, introducing her own terms and clarifying where she differs from other practitioners. The most important to her is the umbrella term which she uses to refer to her own work: ustopia, a combination of utopia and dystopia - "the imagined perfect society and its opposite - because, in my view, each contains a latent version of the other."
Atwood includes many stories about her "tangled personal history with SF, first as a child, then as an adolescent, then as a one-time student and academic, then as a reviewer and commentator, and then, finally, as a composer." She also focuses on the literary and cultural context in which stories about alien invasions and possible futures have developed, offering a enticing overview of the field's many fascinating aspects and paying homage to the path breakers like Swift or Verne. Atwood's reading of well-known proponents of SF are highly enlightening and made me want to return to some of my favourites. But even if you are a LeGuin or Lem devotee, a staunch Trekkie, or a vampiramas addict, some of Atwood's insights might add to your understanding and appreciation of the genre. And if you are one of those who'd rather stay away from SF altogether, even if it is offered by somebody of Atwood's calibre, please remember that "in brilliant hands...the form can be brilliant", in spite of its "downright sluttish reputation."
In Other Worlds is also an astute analysis of SF's function in our lives. As Atwood concludes one of her essays: "We are not only what we do, we are also what we imagine. Perhaps, by imagining mad scientists and then letting them do their worst within the boundaries of our fictions, we hope to keep the real ones sane." There is little doubt that we are still very much on target towards one of Atwood's own fictions: a brass cylinder with a rough outline of what humanity once was before eradicating itself. She ends the piece, "Time Capsule Found on the Dead Planet", with the crushing line: "Pray for us, who once, too, thought we could fly."
Informative, humorous and intriguing, In Other Worlds is dedicated to Ursula K. LeGuin - a worthy tribute to the reigning queen of SF.
archive - issue 8