All in Science fiction

The Solarpunk Garden: Moving Beyond Eden

Phoebe Wagner
Science fiction

The garden seems to be the solarpunk story in the U.S., in part due to the prominence of garden stories in early solarpunk like the wonderful Glass and Gardens anthologies (World Weaver Press) or the guerilla gardener in Phoebe Shalloway’s fun indie game Solarpunkification. It should be noted that solarpunk is a global genre, but at the same time, “western” storytelling tropes have dominated anglophone literature. And that’s really what I think the garden might be: a comfortable, western motif or plot. In my solarpunk writing, I work to shift each story away from different aspects of “western” storytelling in order to not repeat the ideology that pushed us toward climate change. 

The garden is deep in our imaginings, which makes it worth questioning. In this essay, I will explore the garden and question why stories featuring gardens flourish while other, much needed, stories depicting alternate ways we can separate from capitalism seem less prominent.

Space is dead.

Andrew Dana Hudson
Science fiction

The truth is that for over half a century since the moon landing, we’ve made little progress on the interplanetary manifest destiny I grew up believing in. Today manned spaceflight has no cultural or political momentum to speak of. China and America talk about returning to the moon in the next decade or so, but who knows if it’ll happen. To date less than 700 people have ever been to space. Orbit is filling up with junk.

None of this is to discount the real and meaningful work that NASA and others have done over these past few decades. The unmanned craft they have sent all across the solar system have been great scientific and technological achievements. I have friends who work on such probes, and they are marvels of ingenuity.

However, a big part of futures thinking is projecting current trends and trajectories into the future, and right now—despite 75 years of rocket ships, space stations, moon bases, and Mars domes being the dominant signifier of futurity—our present trends and trajectories point only down, back to our ever-warming Earth.

The Diversity Paradox

Liz Barr
Science fiction

On 6 September 1966, the general television-watching public got its first look at a little show called Star Trek. It had already been previewed at the World Science Fiction Convention, where it was greeted with enthusiasm by an audience ready to embrace a science fiction television series which took itself—and the genre—seriously. Lost in Space was for kids; Doctor Who… was also for kids, and in any case, wouldn’t reach an American audience for another decade or so. Star Trek was sophisticated and intelligent, and so was its audience.

Just ask them. Frederick Pohl, editor of Galaxy Magazine, predicted a swift cancellation, citing low ratings and suggesting that “Star Trek made the mistake of appealing to a comparatively literate group.”

Ceremony, Subjugation, Sacrifice, and Camellia sinensis

Kemi Ashing-Giwa
Science fiction

In speculative fiction, tea has appeared as an important cultural fixture most often in fantasy, but a number of science fiction stories have featured the drink. This includes C.J. Cherryh’s Foreigner books, Aliette de Bodard’s Xuya Universe tales (particularly the tellingly named The Tea Master and the Detective) and Becky Chambers’ recent Monk & Robot series. 

The book that first comes to my mind, however, is Ann Leckie’s Ancillary Justice, first in her ongoing Imperial Radch series. In the domineering empire of the Radch, tea and its attendant rituals are luxuries for humans—nonhumans bound in service to the empire, like the “corpse soldier” main character, Breq, must make do with water. (Or fish sauce.) Beyond tea, I have always been interested in exploring social and political domination, and Leckie’s thoughtful, culturally vivid first novel has been a major influence on my work, especially my own debut novel.