Tags: pun

My talk on sci-fi and me for Beyond Tellerrand’s Stay Curious event was deliberately designed to be broad and expansive. This was in contrast to Steph’s talk which was deliberately narrow and focused on one topic. Specifically, it was all about solarpunk.

I first heard of solarpunk from Justin Pickard back in 2014 at an event I was hosting. He described it as:

individuals and communities harnessing the power of the photovoltaic solar panel to achieve energy-independence.

The sci-fi subgenre of solarpunk, then, is about these communities. The subgenre sets up to be deliberately positive, even utopian, in contrast to most sci-fi.

Most genres ending with the -punk suffix are about aesthetics. You know the way that cyberpunk is laptops, leather and sunglasses, and steampunk is zeppelins and top hats with goggles. Solarpunk is supposedly free of any such “look.” That said, all the examples I’ve seen seem to converge on the motto of “put a tree on it.” If a depiction of the future looks lush, verdant, fecund and green, chances are it’s solarpunk.

At least, it might be solarpunk. It would have to pass the criteria laid down by the gatekeepers. Solarpunk is manifesto-driven sci-fi. I’m not sure how I feel about that. It’s one thing to apply a category to a piece of writing after it’s been written, but it’s another to start with an agenda-driven category and proceed from there. And as with any kind of classification system, the edges are bound to be fuzzy, leading to endless debates about what’s in and what’s out (see also: UX, UI, service design, content design, product design, front-end development, and most ironically of all, information architecture).

When I met up with Steph to discuss our talk topics and she described the various schools of thought that reside under the umbrella of solarpunk, it reminded me of my college days. You wouldn’t have just one Marxist student group, there’d be multiple Marxist student groups each with their own pillars of identity (Leninist, Trotskyist, anarcho-syndicalist, and so on). From the outside they all looked the same, but woe betide you if you mixed them up. It was exactly the kind of situation that was lampooned in Monty Python’s Life of Brian with its People’s Front of Judea and Judean People’s Front. Steph confirmed that those kind of rifts also exist in solarpunk. It’s just like that bit in Gulliver’s Travels where nations go to war over the correct way to crack an egg.

But there’s general agreement about what broadly constitutes solarpunk. It’s a form of cli-fi (climate fiction) but with an upbeat spin: positive but plausible stories of the future that might feature communities, rewilding, gardening, farming, energy independence, or decentralisation. Centralised authority—in the form of governments and corporations—is not to be trusted.

That’s all well and good but it reminds of another community. Libertarian preppers. Heck, even some of the solarpunk examples feature seasteading (but with more trees).

Politically, preppers and solarpunks couldn’t be further apart. Practically, they seem more similar than either of them would be comfortable with.

Both communities distrust centralisation. For the libertarians, this manifests in a hatred of taxation. For solarpunks, it’s all about getting off the electricity grid. But both want to start their own separate self-sustaining communities.

Independence. Decentralisation. Self-sufficiency.

There’s a fine line between Atlas Shrugged and The Whole Earth Catalog.

You can listen to audio version of Living Through The Future.

Usually when we talk about “living in the future”, it’s something to do with technology: smartphones, satellites, jet packs… But I’ve never felt more like I’m living in the future than during The Situation.

On the one hand, there’s nothing particularly futuristic about living through a pandemic. They’ve occurred throughout history and this one could’ve happened at any time. We just happen to have drawn the short straw in 2020. Really, this should feel like living in the past: an outbreak of a disease that disrupts everyone’s daily life? Nothing new about that.

But there’s something dizzyingly disconcerting about the dominance of technology. This is the internet’s time to shine. Think you’re going crazy now? Imagine what it would’ve been like before we had our network-connected devices to keep us company. We can use our screens to get instant updates about technologies of world-shaping importance …like beds and face masks. At the same time as we’re starting to worry about getting hold of fresh vegetables, we can still make sure that whatever meals we end up making, we can share them instantaneously with the entire planet. I think that, despite William Gibson’s famous invocation, I always figured that the future would feel pretty futuristic all ‘round—not lumpy with old school matters rubbing shoulders with technology so advanced that it’s indistinguishable from magic.

When I talk about feeling like I’m living in the future, I guess what I mean is that I feel like I’m living at a time that will become History with a capital H. I start to wonder what we’ll settle on calling this time period. The Covid Point? The Corona Pause? 2020-P?

At some point we settled on “9/11” for the attacks of September 11th, 2001 (being a fan of ISO-8601, I would’ve preferred 2001-09-11, but I’ll concede that it’s a bit of a mouthful). That was another event that, even at the time, clearly felt like part of History with a capital H. People immediately gravitated to using historical comparisons. In the USA, the comparison was Pearl Harbour. Outside of the USA, the comparison was the Cuban missile crisis.

Another comparison between 2001-09-11 and what we’re currently experiencing now is how our points of reference come from fiction. Multiple eyewitnesses in New York described the September 11th attacks as being “like something out of a movie.” For years afterwards, the climactic showdowns in superhero movies that demolished skyscrapers no longer felt like pure escapism.

For The Situation, there’s no shortage of prior art to draw upon for comparison. If anthing, our points of reference should be tales of isolation like Robinson Crusoe. The mundane everyday tedium of The Situation can’t really stand up to comparison with the epic scale of science-fictional scenarios, but that’s our natural inclination. You can go straight to plague novels like Stephen King’s The Stand or Emily St. John Mandel’s Station Eleven. Or you can get really grim and cite Cormac McCarthy’s The Road. But you can go the other direction too and compare The Situation with the cozy catastrophes of John Wyndham like Day Of The Triffids (or just be lazy and compare it to any of the multitude of zombie apocalypses—an entirely separate kind of viral dystopia).

In years to come there will be novels set during The Situation. Technically they will be literary fiction—or even historical fiction—but they’ll feel like science fiction.

I remember the Chernobyl disaster having the same feeling. It was really happening, it was on the news, but it felt like scene-setting for a near-future dystopian apocalypse. Years later, I was struck when reading Wolves Eat Dogs by Martin Cruz-Smith. In 2006, I wrote:

Halfway through reading the book, I figured out what it was: Wolves Eat Dogs is a Cyberpunk novel. It happens to be set in present-day reality but the plot reads like a science-fiction story. For the most part, the book is set in the post-apocolyptic landscape of Prypiat, near Chernobyl. This post-apocolyptic scenario just happens to be real.

The protagonist, Arkady Renko, is sent to this frightening hellish place following a somewhat far-fetched murder in Moscow. Killing someone with a minute dose of a highly radioactive material just didn’t seem like a very realistic assassination to me.

Then I saw the news about Alexander Litvinenko, the former Russian spy who died this week, quite probably murdered with a dose of polonium-210.

I’ve got the same tingling feeling about The Situation. Fact and fiction are blurring together. Past, present, and future aren’t so easy to differentiate.

I really felt it last week standing in the back garden, looking up at the International Space Station passing overhead on a beautifully clear and crisp evening. I try to go out and see the ISS whenever its flight path intersects with southern England. Usually I’d look up and try to imagine what life must be like for the astronauts and cosmonauts on board, confined to that habitat with nowhere to go. Now I look up and feel a certain kinship. We’re all experiencing a little dose of what that kind of isolation must feel like. Though, as the always-excellent Marina Koren points out:

The more experts I spoke with for this story, the clearer it became that, actually, we have it worse than the astronauts. Spending months cooped up on the ISS is a childhood dream come true. Self-isolating for an indefinite period of time because of a fast-spreading disease is a nightmare.

Whenever I look up at the ISS passing overhead I feel a great sense of perspective. “Look what we can do!”, I think to myself. “There are people living in space!”

Last week that feeling was still there but it was tempered with humility. Yes, we can put people in space, but here we are with our entire way of life put on pause by something so small and simple that it’s technically not even a form of life. It’s like we’re the martians in H.G. Wells’s War Of The Worlds; all-conquering and formidable, but brought low by a dose of dramatic irony, a Virus Ex Machina.