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The Seven Beauties of Science Fiction
❍ ❍ ❍ ❍ ❍ ❍ ❍
 THE
SEV E N BE A U T I E S
M M M
OF M M M

SCIENCE FICTION
M M M M M M M

ß)STVANß#SICSERY 2ONAY ß*R

W esleyan U ni v ersi t y Pre s s

Middletown, Connecticut
 For etti & sacha
Amor est plusquam cognitiva quam cognitio.

❍
csicsery00fm_i_xii_correx.qxp:csicery 9/24/10 5:27 PM Page iv

Published by
wesleyan univers i t y pre s s
Middletown, CT 
www.wesleyan.edu/wespress

Copyright © 
by Istvan Csicsery-Ronay, Jr.
All rights reserved
First Wesleyan paperback 

Printed in United States of America     

isbn for the paperback edition: 978-0-8195-7092-5

Library of Congress
Cataloging-in-Publication Data
Csicsery-Ronay, Istvan, Jr.
The seven beauties of science fiction /
Istvan Csicsery-Ronay, Jr.
p. cm.
Includes bibliographical references and index.
isbn 978-0-8195-6889-2 (cloth: alk. paper)
1. Science fiction—History and criticism.
2. Science fiction—Philosophy. I. Title.
pn3433.5.c75 2008
809.3⬘8762—dc22 2008029054

Wesleyan University Press is a member of the

Green Press Initiative. The paper used in this book meets
their minimum requirement for recycled paper.
 Contents

Preface ix

introduction
Science Fiction and This Moment 1

first beauty
Fictive Neology 13

second beauty
Fictive Novums 47

third beauty
Future History 76

fourth beauty
Imaginary Science 111

fifth beauty
The Science-Fictional Sublime 146

sixth beauty
The Science-Fictional Grotesque 182

seventh beauty
The Technologiade 216

concluding unscientific postscript

The Singularity and Beyond 262

Notes 267
Bibliography 295
Index 317
 Preface

I wanted to have a bird’s eye view;

I ended up in outer space.

This book began with a pedagogical purpose. I had hoped to map out some
ideas about the historical and philosophical aspects of science fiction (sf), and
through these ideas to outline the concepts I felt were most useful for study-
ing sf as a distinctive genre. I had hoped to do it in language that would be ac-
cessible not only to specialists, but to readers outside the academy as well. In
time I understood that I was also writing it for my own small, dispersed com-
munity of literary comparatists. The great literary theorists of the twentieth
century from whom I learned the most — Georg Lukács, Erich Auerbach,
M. M. Bakhtin, Northrop Frye, and Edward Said — had little or nothing to
say about the genre to which I had devoted most of my professional life. Thus
I aspired to establish a place for sf in the historical continuum of literature
and art. Consequently, my approach is somewhat Old School. In the con-
stantly accelerating transformations of our technoscientific culture, many of
my vehicles are probably already receding in the rearview mirror. Consider
Seven Beauties then a work of steampunk criticism. I have not tried to be sys-
tematic or complete. Neither have I tried to debate, or to anticipate criticism.
The main purpose of this book is to inspire better ones, not to have the
last word.
My greatest challenge has been to design arguments that will account for
both refined artistic examples of sf and the popular commodity forms of
“sci-fi.” Theories concerned with the former tend to treat popular forms
with contempt. Populist theories tend to ignore or discount the most artis-
tically and intellectually interesting works: sf ’s contributions to elite culture.
I have tried to formulate categories that will account for sf in all its manifes-
tations. My goal is to understand science fictionality as a way of thinking
about the world, made concrete in many different media and styles, rather
than as a particular market niche or genre category. This book is only the
first step in that project, which still requires close study of sf in film, televi-

ix
sion, visual art, music, and new digital media. Although the Seven Beauties
appear in many different forms, they are attractors of all forms of science
fiction.
My title alludes to a revered medieval Persian poem. The Haft Paykar
(Seven beauties), a mystical epic by the twelfth-century Azeri poet, Nizami,
tells of the legendary King Bahram Gur’s discovery of a secret room in his
palace, in which he finds the portraits of seven beautiful princesses. He falls
in love with each of them, sets out to find them in the seven main regions of
the known earth, marries them, and builds a palace with seven domes for
them, ensconcing each in her own hall. Each of the princesses represents a dif-
ferent cosmic principle. He visits each of them for a night, during which they
tell him a rich allegorical tale of mystical love and moral enlightenment.
So is my title meant to evoke the image of a fantastic edifice with seven halls.
Each is rich and intriguing in its own right, and each contains the others. I am
not entirely sure how my “beauties” should be understood in rationalistic
terms. They are perhaps cognitive attractions, intellectual gravitational fields
that draw our attention. They are perhaps mental schemes, through which we
organize our thinking. They are perhaps tools for thought, so well made that we
admire their design at the very moment we are using them. Whatever else they
are, they compose a constellation of thoughts that sf helps us to become con-
scious of. Some readers will find seven an arbitrary number; others, a full set.
This book emerged out of dialogues with hundreds of students and most
especially with colleagues and friends, who alerted me again and again that
science fiction is more than a literary genre or a social passion. It is a way of
organizing the mind to include the contemporary world. There is much to
criticize in a genre that is dominated by entertainment industries and popu-
lar tastes. But there is also much to care about. SF is an art that delights in vi-
sion, intelligence, and the infinite possibilities of change. It calls into question
all verities, except curiosity and play.

❍ ❍ ❍ ❍ ❍ ❍ ❍

Many friends and colleagues inspired and supported this work. I thank espe-
cially David Porush, Katherine Hayles, Scott Bukatman, Brooks Landon, David
Seed, Robert Philmus, and my colleagues in the English department of De-
Pauw University. My coeditors at Science Fiction Studies — Arthur Evans, Joan
Gordon, Veronica Hollinger, Rob Latham, and Carol McGuirk — taught me
that sf is not only an object of study, but an occasion for love, care, and inspi-
ration. Most of all, I am grateful to my wife, Etti, and my son, Sacha, for
understanding what this book was truly all about.

x preface
 I also thank DePauw University and the National Endowment for the Hu-
manities for fellowships to pursue this work. The chapter “Fifth Beauty” was
originally published in somewhat different form in Science Fiction Studies 29,
no. 3 (March 2002); a shorter version of the chapter “Sixth Beauty” appeared
in métal et chair/flesh and metal 4 (February 2002).

preface xi
 Introduction

Science Fiction and This Moment

❍ ❍ ❍ ❍ ❍ ❍ ❍

“These are the days of lasers in the jungle.” 1 SF has emerged as a pervasive genre
of literature — and of film, video, comics, computer graphics and games —
in the postindustrial North. Indeed, it elicits intense interest in the rest of the
world. It is not so much that sf has grown into this position, as the reverse: the
world has grown into sf. Gertrude Stein once pronounced the United States
the oldest country on earth, because it was the first to enter the twentieth
century. By the same token, sf is one of the most venerable of living genres: it
was the first to devote its imagination to the future and to the ceaseless revo-
lutions of knowledge and desire that attend the application of scientific and
technical knowledge to social life.
From its roots, whether we trace them to Lucian, Swift, Voltaire, Mary Shel-
ley, or Hugo Gernsback, sf has been a genre of fantastic entertainment. It has
produced many works of intellectual and political sophistication, side by side
with countless ephemeral confections. Unlike most popular genres, it has also
been critically self-aware. The fiction has inspired a steady production of com-
mentary about what distinguishes it from other modes of expression. This
body of critical work is rich in social diversity, and unparalleled in its alle-
giance to reimagining the world with a passion that has at times resembled the
commitment to a political movement.2
The once-regnant view that sf can’t help but be vulgar and artistically shal-
low is fading. As the world undergoes daily transformations via the develop-
ment of technoscience in every imaginable aspect of life, (and, more impor-
tant, as people become aware of these transformations) sf has come to be seen
as an essential mode of imagining the horizons of possibility. However much
sf texts vary in artistic quality, intellectual sophistication, and their capacity to
give pleasure, they share a mass social energy, a desire to imagine a collective
future for the human species and the world.
In the past forty years, not only have sf artists produced more artistically
ambitious works than in the previous hundred, but works of criticism have

1
established the foundations for definition and self-examination characteristic
of mature artistic movements. Major critical works — from Darko Suvin’s
Metamorphoses of Science Fiction (1979) to Scott Bukatman’s Terminal Identity
(1993), journals of academic scholarship and criticism (Foundation, Extrapo-
lation, Science Fiction Studies, The New York Review of Science Fiction), and the
Encyclopedia of Science Fiction’s second edition, which gave the first compre-
hensive overview of the history of the genre for scholars — have provided
tools for thinking about the genre and its implications in sophisticated
philosophical and historical terms.
At this moment, a strikingly high proportion of films, commercial art, popu-
lar music, video and computer games, and nongenre fiction are overtly sf or
contain elements of it. This widespread normalization of what is essentially a
style of estrangement and dislocation has stimulated the development of
science-fictional habits of mind, so that we no longer treat sf as purely a genre-
engine producing formulaic effects, but rather as a kind of awareness we might
call science-fictionality, a mode of response that frames and tests experiences
as if they were aspects of a work of science fiction. It is one mode of response
among many others, and it influences people’s actions to different degrees.
Some are inspired to create, as H. G. Wells’s novel The World Set Free inspired
Leo Szilárd to imagine nuclear fission,3 or as William Gibson’s depiction of the
cyberspace matrix and virtual reality in Neuromancer stimulated countless
computer programmers.4 Some are drawn, in games and in life, to playing out
roles they identify with in sf texts. Most people merely bracket difficult-to-
process, incongruous moments of technology’s intersection with everyday life
as science-fictional moments.
Increasingly, this sense of technosocial aspiration meshing with the limits
and desires of concrete social life, often involving violent collisions of hard
techniques with human and natural complexity, is the appropriate response
to contemporary reality. Consider the daily news: the postmodern hecatomb
of the World Trade Center; Chernobyl’s lost villages and mutant flora; CGI
pop stars; genocide under surveillance satellites; the cloning of farm animals;
Internet pornography raining down in microwaves; helicopter gunships de-
ployed against stone-throwing crowds; GM pollen drifting toward the calyces
of natural plants; Artificial Life; global social movements (and even nations)
without territories; the ability to alter one’s physical gender; the evaporation
of the North Pole. It is sf that has most assiduously imagined and explored
such collisions and transitions. It is from sf ’s thesaurus of images that we draw
many of our metaphors and models for understanding our technologized
world, and it is as sf that many of our impressions of technology-aided desire
and technology-riven anxiety are processed back into works of the imagina-

2 The seven beauties of science fiction

tion. It is impossible to map the extent to which the perception of contempo-
rary reality requires and encourages science-fictional orientations.

The Gaps of Science Fiction

The genre of sf has been notoriously difficult to define; how much more so
a mode of thought like science-fictionality, which is neither a belief nor a
model, but rather a mood or attitude, a way of entertaining incongruous ex-
periences, in which judgment is suspended, as if we were witnessing the trans-
formations happening to, and occurring in, us. Nonetheless, let us make a ten-
tative approach. The attitude of science-fictionality is characterized by two
linked forms of hesitation, a pair of gaps. One gap extends between the belief
that certain ideas and images of technoscientific transformations of the world
can be entertained, and the rational recognition that they may be realized,
with ramifications for social life. This gap lies between the conceivability of
future transformations and the possibility of their actualization. The other
gap lies between belief in the immanent possibility (perhaps even the inexora-
bility) of those transformations, and reflection about their possible ethical,
social, and spiritual consequences. This gap stretches between conceiving of
the plausibility of historically unforeseeable innovations in human experience
(novums)5 and their broader ethical and social-cultural implications and reso-
nances. SF thus involves two forms of hesitation: a historical-logical one (how
plausible is the conceivable novum?) and an ethical one (how good/bad/
altogether alien are the transformations that would issue from the novum?).
These gaps compose the black box in which technoscientific conceptions, os-
tensibly unmediated by social and ethical contingencies, are transformed into
a rational recognition of their possible realization and implications. The re-
sulting fictions may be credible projections of present trends or fantastic im-
ages of imagined impossibilities. Usually, they are amalgams of both.
SF embeds scientific-technical concepts in the broad sphere of human in-
terests and actions, explaining them, mythologizing them, and explicitly at-
tributing social value to them. This embedding may take many literary forms,
from the exhumation of dead mythologies, pseudomimetic extrapolation, and
satirical subversion, to utopian transformation and secularized apocalypse. It
is an inherently, and radically, future-oriented process. Imaginary worlds of sf
are pretended resolutions of dilemmas insoluble and often barely perceived in
the present. The exact ontological status of sf worlds is suspended in anticipa-
tion. Unlike historical fiction (of which sf is a direct heir), where a less intense
suspense operates because the outcome of the past is still in the process of
being completed in the present’s partisan conflicts, sf is suspended because all

introduction ° Science Fiction and This Moment 3

the relevant information about the future is never available. Because future
developments influence revisions of the past, sf ’s black box also involves the
past, in the hesitation that comes in anticipating the complete revision of ori-
gins. A past that is not yet known is a form of the future. So too is a present
unanticipated by the past. Further, because sf is concerned mainly with the
role of science and technology in defining human cultural value, there can be
as many kinds of sf as there are theories of technoscientific culture. This con-
ception of sf concerns not just the actual historical production of the commer-
cial genre known as Science Fiction, but the range of possible science fictions,
many of which have not been realized.
This range is why sf is not a genre of aesthetic entertainment only, but a
complex hesitation about the relationship between imaginary conceptions and
historical reality unfolding into the future. SF orients itself within a concept of
history that holds that science and technology actively participate in the crea-
tion of reality, implanting human uncertainty into the natural/nonhuman
world. At the same time, sf ’s hesitations also involve a sense of fatality about
instrumental rationality’s power to transform or to undermine the conditions
of thought that gave rise to it. The same freedom that detaches nature from a
mythology of natural necessity restores that fatality, ironically, in the irre-
pressible drive of human beings to transform nature continually and without
transcendental limits.
SF has become a form of discourse that directly engages contemporary lan-
guage and culture, and that has, in this moment, a generic interest in the inter-
sections of technology, scientific theory, and social practice. Since the late
1960s, when it became the chosen vehicle for both technocratic and critical
utopian writing, sf has experienced a steady growth in popularity, critical in-
terest, and theoretical sophistication. It reflects and engages the technological
culture that pervades modernized cultures. The irresistible expansion of com-
munications technologies has drawn the traditional spheres of power into an
ever-tightening web of instrumental rationalization. Simultaneously, the
culture of information has rewritten the notions of nature and transcendence
that have dominated Western societies for the past few centuries, replacing
them with an as yet inchoate worldview of artificial immanence, in which every
value that previous cultures considered transcendental or naturally given is at
least theoretically capable of artificial replication or simulation, and eventual
transmutation. In this sense, sf has established its own domain, linking liter-
ary, philosophical, and scientific imaginations, and subverting the cultural
boundaries between them. In its narratives it produces and hyperbolizes the
new sense of immanence. SF regularly employs radically new scientific con-
cepts of material and social relations; these relations, in turn, influence our

4 The seven beauties of science fiction

conceptions of what is imaginable or plausible. Indeed, sf is ingrained within
the quotidian consciousness of people living in the postindustrial world; each
day they witness the transformations of their values and material conditions
in the wake of technical acceleration beyond their conceptual threshold.
So it is that, encountering problems issuing from the social implications of
science, and viewing dramatic technohistorical scenes in real life, we displace
them into a virtual imaginary space, an alternate present or future that we can
reflect on, where we can test our delight, anxiety, or grief, or simply play, with-
out having to renounce our momentary sense of identity, social place, and the
world. We transform our experience into sf, if only for a moment.

The Seven Beauties

I believe that sf can be treated as a particular, recognizable mode of thought

and art. But rather than a programlike set of exclusive rules and required de-
vices, this mode is a constellation of diverse intellectual and emotional inter-
ests and responses that are particularly active in an age of restless technologi-
cal transformation. I consider seven such categories to be the most attractive
and formative of science-fictionality. These are the “seven beauties” of my title:
fictive neology, fictive novums, future history, imaginary science, the science-
fictional sublime, the science-fictional grotesque, and the Technologiade. Each is
an aspect of sf that audiences desire from the genre.

1. Fictive neology. Readers of sf expect to encounter new words and other

signs that indicate worlds changed from their own, just as viewers of
visual sf expect special visual effects, and listeners expect special sonic
effects representing new sense-perceptions and aesthetic designs. Our
culture treats sf as the primary source for such symbolic indications of
radical newness. The fictive neologies of sf are variations and com-
binations based on the actual process of lexicogenesis experienced
in social life. They can appear in a great variety of forms, in diverse
registers, from the prophetic to the comic. In every case, they imply
linguistic-symbolic models of technological transformation, playfully
suspended and seriously displaced. They engage audiences to use them
as clues and triggers to construct the logic of science-fictional worlds.
2. Fictive novums. Similarly, sf is expected to provide imaginary models
of radical transformations of human history initiated by fictive novums.
The concept of the novum, introduced in sf studies by Darko Suvin,
refers to a historically unprecedented and unpredicted “new thing”
that intervenes in the routine course of social life and changes the

introduction ° Science Fiction and This Moment 5

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