Seven Decades of Science Fiction Books: The Eighties

The eighties, now this is when I started reading sci-fi, so there are going to be some real favourites here. And it was a pretty good decade to get the sci-fi bug really. As well as new books we also had new sub-genres, which is a sure sign of rude health.

Firstly the graphic novel really came of age during this decade. Perhaps they should have their own category, but personally I'd rate Alan Moore's V for Vendetta (1982-5), The Ballad of Halo Jones (1984-6) and Watchmen (1986-7), and Neil Gaiman's Sandman (1989-96) as up their with the best novels.

Given how visual the graphic novel is it's a bit of a surprise that the film versions have only been mediocre, but I suspect perhaps that's because people underestimate the subtlety of a good graphic novel. They may have pictures, but they still require you to have an imagination, whereas cinema doesn't.

A genuine new sub-genre was Steampunk. It's difficult to say when this began, but the novel that brought it to my attention was The Anubis Gates by Tim Powers. A menagerie of weird and wacky ideas including sinister stilt walking clowns and an attempt to catch a body-swapping werewolf by opening a hair removal clinic. It really has to be read to be experienced.

Then there was Cyberpunk. I suppose an unbiased list would give this decades award to the book that begins "The sky was the colour of television, tuned to a dead channel." Not really my genre but still, great book. And those of us who've grown up with the Information Revolution sometimes forget how new ideas like this are. When I were a lad sci-fi computers were, at best, avatars of HAL from 2001. The one in the original Star Trek seems little better than a Sinclair Spectrum. Arthur C Clarke may have said that sufficiently advanced technology is indistinguishable from magic, but it took William Gibson to show us how close we were to that point. This may not have been the first cyberpunk novel, that may have been Bug Jack Barron by Norman Spinrad, serialised in New Worlds in 1969, but it in the book that popularised the genre.

Another novelty was in Bob Shaw's The Ragged Astronauts , about a binary planet with shared atmosphere, hence interplanetary travel could be accomplished in a balloon.

Rather more complex was Gene Wolfe's The Shadow of the Torturer. Set in a future where the galaxy has been colonised but the earth has slipped back into medieval barbarism, the titular hero is a Journeyman of the Guild of the Seeker After Truth And Penitence. The layers of deception laid down by the author are Byzantine in their complexity and nobody is as they seem.

Another almost winner is a novel in an unlikely location for a science fiction story; a wood in Kent. This is Mythago Wood by Robert Holdstock,a place that is it not only bigger on the inside than the outside, but also a place where myths take physical form.

I read the book whilst living in the woods of Newbury during a record cold winter, which probably increased its effect on me a touch, but it is a magnificent and thoughtful book. Alas I have to admit that although you could make an attempt at explaining all this by means of Relativity and Jungian archetypes, I have to ultimately classify Mythago Wood as fantasy and not sci-fi.

Gosh that's a lot of worthy winners, and I haven't had time to mention Carl Sagan's Contact, Margaret Atwood's The Handmaiden's Tale, Greg Bear's Eon, Frank Herbert's Dune and many others.

Instead I'll skip straight to the winner; Consider Phlegas by Iain M Banks, the first of his Culture novels.

It is difficult to describe how much I love these books. Firstly here is top notch space opera, lasers, battles, robots, The Works. Secondly we also have something that has largely disappeared from the silver screen - an optimistic, liberal future.

Banks's Culture is a strange beast. It is not only Post-Scarcity, it's also post-human. The Dictatorship of the Proletariat has been ditched in place of the Dictatorship of the Artificial Mind. It clearly works, because Banks says it does, but does beg some interesting questions. Do the controlling Minds really have the best interests of human being at heart?

And what do those humans (and not quite humans) actually do? Banks describes their spaceships in details. Communist from the inside and Anarchist from the outside, they skip merrily about his stories. However as we only ever get to hear about how the Culture interacts with other civilisations we don't learn alot about the daily lives of its less adventurous denizens. Oodles of sex and drugs are clearly on the menu, but its not clear how they avoid the pointless debauchery of Brave New World.

But most of these questions are for the future for in Consider Phlegas we are catapulted into the middle of the best space war since Bob Heinlein passed on as the Culture takes on the Idirans, a bunch of space faring warriors who make the Klingons look like a bunch of boy scouts.

We have not yet seen a film version of any of these books, which is probably fortunate, but thanks to his non-sci-fi output Banks has at least received the critical acclaim he deserves, and which previous writers have been denied. As a book of the decade Consider Phelgas could well mark the high point of the genre.

Winner: Consider Phlegas by Iain M Banks (1987)

Seven Decades of Science Fiction Books: The Seventies

In the sixties the sci-fi novel had managed the quantum leap to serious literary style, but still nobody took them seriously. Still it was a strong decade for the genre.

In 1970 Larry Niven gave us Ringworld, an artificial habitat the size of three million earths. Unfortunately it's an idea bigger than his imagination and instead of a thriving civilisation of several trillion people we land in an almost abandoned desert, which is a bit of a disappointment.

Another big concept novel is Rendezvous with Rama by Arthur C Clarke, a welcome return to top form by the British master. Once again though the idea is bigger than novel and once it's all over we are not much wiser about Rama or its designers.

One writer who could take the Big Concept and run with it though was Philip José Farmer, who in 1971 gave us To You Scattered Bodies Go, the first of his Riverworld series. Here we had everyone who had ever lived brought back to life and youth for some unknown reason on a specially made planet whose surface is a 20 million mile long version of the Mississippi.

Eventually pretty much everyone would turn up in Riverworld, from Herman Goering to Jesus. Framer himself even has a cameo under pseudonym. The series would run to five books and an anthology of short stories and although such high concept stuff often disappoints in the final real, Farmer does a pretty good job of bringing it to a conclusion. Basically the Buddhists were right.


Meanwhile back in Blighty John Brunner had two more classics left in him. Sheep Look Up gives us a vision of environmental apocalypse with corrupt corporations, a compliant legal system and a President chosen because the "public obviously wanted a figurehead who'd look good and make comforting noises."

Then he wrote Shockwave Rider, which looked at the social effects of technology. A natural disaster reveals the truth, quickly suppressed by the authorities, that people are actually happier with less gadgets. The hero then sets out to destroy the corrupt system by means of a computer program that reproduces itself - the first computer virus in sci-fi. I'd dearly love to give Brunner an award, but I will once again have to pass him over.

Another writer from the sixties still knocking them out was Philip K Dick, and this decade he produced A Scanner Darkly and Flow My Tears The Policeman Said. The latter is set in a future police state in which a television star wakes up an finds he no longer exists. Boy, aren't there a few people I'd like that to happen to in real life.

Another author I feel guilty about not manging to give a winners medal to is Ursula Le Guin. Having started strongly in the sixties, in the seventies she gave us The World for World is Forest, which is Avatar for grown ups. She also wrote The Lathe of Heaven , a moral tale about being careful what you wish for, and Eye of the Heron, a feminist view of both men who oppress by violence and those who choose to get themselves beaten up by opposing them.

Best of all she wrote The Dispossessed, a political novel that compares a planet split between capitalism, with the anarchists who live on its moon. It's clear where the author affections lie, but fair play to her she gives her opponents a fair hearing and her capitalists are environmentally friendly whilst the authoritarians do seem to actually be trying to be a Dictatorship of the Proletarian. However its the anarchists who are the interesting ones. Two hundred years into their experiment centripetal forces are threatening to create hierarchies and everyone is still dirt poor.


But my winner is neither a grim prediction of the future or a meditation on political realities, but something completely differnet. Douglas Adams's The Hitchhiker's Guide to the Galaxy is really a radio show, but it turns into a decent book (or decent pair of books really as it makes very little sense without The Restaurent at the End of the Universe.

I started my review of the decade by discussing authors who went for the Big Concept, and you don't get many bigger questions than the Answer to Life, the Universe and Everything. You also don't get many better answers than 42.

Winner: The Hichhiker's Guide to the Galaxy by Douglas Adams(1979)

Seven Decades of Science Fiction Books: The Sixties

Now its getting really hard. Heinlein, Clark and Asimov were still busy, the former writing his best stuff. But there were new kids on the block, and a very new style of writing.

At the heart of this revolution was a British magazine called New World's, especially after Michael Moorcock took over editorship in 1964. It never made any money, and was funded by the success of the Elric books (and apparently by the regular sale of dirty jokes to Playboy magazine written by Christopher Priest), but it helped launch a whole galaxy of sci-fi greats; J G Ballard, Brian Aldis, Harlan Ellison, George R R Martin, Norman Spinrad, John Brunner and Philip Jose Farmer. However when it comes to the best book of the decade I'm torn between three Yanks and a Brit.

Firstly there's Kurt Vonnegut, maybe not Slaughterhouse 5, but the rather better Cat's Cradle. Having survived the fire bombing of Dresden whilst a POW and then been sent to search for survivors using candles made from victims of the death camps, Vonnegut has a certain view on life. However he leavens his grim stories with ironic humour. He also introduced us to the world's best science fiction writer, Kilgore Trout, but unfortunately he's fictional so can't win.

Then there's Ursula Le Guin. Best know for Earthsea, her science fiction books are at least as good. Her debut novel, Rocannon's World, gave us Lord of the Rings in space, and The Left Hand of Darkness, and everyday tale of life on a planet of gender-shifting humans in which the king gets pregnant.

The final American is Philip K Dick. Drug addled and by the end of his life arguably clinically insane, his books resemble the decade as a whole: brilliant and revolutionary, confusing and conservative all at the same time. Unlike some of the space operas and nuts-and-bolts sci-fi stories his tales of warped realities and fractured identities have aged well and are as unsettling and believable today as when they were written. His stand out stories of the decade include Do Androids Dream of Electric Sheep?, the book that became Blade Runner, and The Man in the High Castle, an outstanding alternative history (or is it an alternative reality?) story.

The token Brit is the scandalously underrated John Brunner. He wrote a lot of mediocre storied for money, but he also wrote four absolute classics and in the sixties these were Jagged Orbitt and Stand on Zanzibar . The first gave us a twenty-first century America where arms manufacturers and racial tensions had stoked an arms race in personal weaponry, whilst the second gave a grim vision of the world in the year 2010. This is a planet straining under the weight of 7 billion people, a place characterised by random spree killings, anti-technological eco-terrorists, an obsession with cosmetic beauty treatments and powerful corporations.

Picking a winning out of these is going to be tough.

Whilst I was planning this blog I was sure Stand on Zanzibar would be the winner. If sci-fi is about predicting the future then the winner has to be Brunner.

However he is typical of the decade only in so far as he represents that strand of the New Left who still clung on to rationality whilst everyone else went to discover themselves by meditating in an Ashram in California.

But if sci-fi really reflects contemporary themes then it's got to be Philip K Dick. Picking his best book is difficult, but my personal favourite is The Man in the High Castle. Alternative history, life in fascist state, five overlapping sub-plots, a book-within-the-book and a meditation on the nature of reality, Philip K Dick shows us why this was the decade that the sci-fi book grew up and became serious literature.

It was also massively ahead of it time. Psychedelia, opposition to the Vietnam War and the whole counter-culture thing were years in the future in 1962. So Dick isn't just a product of his time, he is, as much as Jack Kerouac and the Beatniks, a foretaste of the wackiness and rebellion that was to come. And it was to be quite a trip.

Winner: The Man in the High Castle by Philip K Dick (1962)

Seven Decades of Science Fiction Books: The Fifties

Now it's getting hard.

The fifties was when sci-fi really took off. The age of the Atom Bomb and the Space Race people were split into believing we were on the verge of curing all the world's ills, or else that we would blow ourselves to oblivion. In the end we did neither, but we did write a lot of good books.

This was the decade that defined sci-fi, and for me four authors stand out.

Firstly there was Bob Heinlein, an all American right wing individualist nut job, but a first rate writer. Starship Troopers is scarily fascistic, but pretty much gave us the well known Star Trek future of minimal states with massive navies as well as Avatar-style power armour.


Then there was Ray Bradbury, who this decade wrote The Martian Chronicles and Fahrenheit 451. Bradbury though was more of a stylist than an ideas man, so he only gets the bronze medal.

So this leaves the two giants of the fifties to battle it out: Isaac Asimov and Arthur C Clarke. It's a tough choice, in no small part because both have written an awful lot of guff over the years.


Asimov gave us the big picture, the fall and rise of space empires in the Foundation Trilogy , time travel in The End of Eternity, space opera whodunnits in The Caves of Steel and The Naked Sun and robots by the bucket load.

Clarke, the man who invented the communications satellite, eventually became the master of the 'nuts and bolts' style of realistic near-future stories. However in the 50s he was writing about broader topics and his great books of this decade are The City and the Stars, Childhood's End and the short story The Sentinel - which eventually turned into 2001 A Space Odyssey.



It's a close call, and I'm tempted to give the award to Asimov's Foundation for the breadth of its vision. However the sheer 1950ishness of a space empire with atomic powered spaceships and a filing system based on microfilm lets it down and, to be honest, it's not that well written.

So maybe it's just patriotism, but I'm going to give the award to the Englishman for Childhood's End. Clarke not have predicted the future of space travel, but he did predict the future of sci-fi as he gave us giant alien spaceships hovering over our cities and the world's children being rounded up to give to the aliens fifty years before District 9 and Torchwood: Children of Earth.

Winner: : Childhood's End by Arthur C Clarke (1953)

Seven Decades of Science Fiction Books: The Fourties

Funnily enough there weren't all that many great sci-fi books written in the 1940s.

Partly his was because H G Wells died in 1946, a year after the war he predicted had been brought to an end in a flash of heat rather similar to a Martian death ray.

The winner then is rather obvious. It is of course George Orwell's 1948 taster of what life might be like during the Cold War - Nineteen Eighty-Four.

A sombre book made even darker by the fact that Orwell died just after finishing it. It appears to be his last will testament, a pessimistic look back at his life's futile struggle against totalitarianisms from Barcelona to the Blitz.

But of course he didn't mean to die when he did. "Don't let it happen" was his motto, and he certainly didn't want anyone who read his book to give up and let Big Brother take over. Optimists have even seen hope in the essay on Newspeak at the back of the book. It's written in the past tense, so does that mean it was written after the time of Big Brother?

Neither was he sure that English Socialism would mutate into IngSoc. His near contemporary essay The Lion and the Unicorn sets out a curious vision of a post-war England after the Revolution in which the judges still wear wigs and the pubs still serve warm beer.

Compared to Huxley's globalised world of trivial hedonism and slick advertising, the world of Big Brother seems rather old fashioned. Doublespeak is mere crude propaganda compared to the delights of the Feelies. But Orwell still packs his punch.

Maybe the future of 1984 came crashing down with the Berlin Wall, but maybe not.

We are still Airstrip One, 'Compassionate Conservatism' and 'Blue Labour' show Doublespeak is alive and well but today called Triangultion. Rupert Murdoch does a good line in Prolefeed and despite the Credit Crunch the Ministry of Plenty is still trying to convince us we've never had it so good. Perhaps today we call the Ministry of Truth Fox News, Room 101 Guantanamo Bay, and as for English Socialism? Well, it has clearly been to see O'Brien and now thinks two plus two equals five.

Winner: Nineteen Eighty-Four by George Orwell (1948)

Seven Decades of Science Fiction Books: The Thirties

Sci-Fi is primarily a literary medium as frankly the pictures are better, so having done Sci-Fi films I thought I'd have a look at books. I've started 20 years earlier as literary sci-fi is at least a decade or two ahead of the cinema.

Had a started this list earlier the thirties would have been the first decade since the 1880s not to be won by H.G. Wells, but it would be a close call. Wells published The Shape of Things to Come in 1933, his last great book, in which he predicted a devastating world war beginning in January 1940, and ending with the world run from an air base in Basra. Hmmm.


There was also Olaf Stapledon who in 1930 published Last and First Men, a history of the entire future of the human race over the next two billion years and which included in its predictions the prominent death of a British Princess in Paris. He followed that in 1937 with Star Maker, a history of the entire universe. He didn't exactly do kitchen sink drama, and his books aren't exactly easy to read either, but they are dizzying in their perspective.

A slightly left field choice would be pulp horror writer H. P. Lovecraft's Shadow Out of Time. Lovecraft may have been possibly insane, potentially a Nazi and certainly a bit of a weirdo, but he could write. Most of his work is clearly fantasy or horror, but this book, whilst set in the Cthulhu Mythos universe, can count as sci-fi as its the one about the body swaping, time travelling Great Race of Yith. The final scene where the hero, now back in his own body, discovers an ancient manuscript in his handwriting would make a pretty good Doctor Who scene.

However despite the stiff competition I will, rather predictably, give the prize to Aldrous Huxley's Brave New World. The idea of a future that is trivial, uniform and soulless must have seemed pretty boring compared to the grand adventures of Wells and Stapledon. But lets face it - this is what we've got.

Huxley was a strange chap, and although always described as a dystopia, I suspect he was rather ambivalent about the future he created, at least when it comes to the sex and drugs. His later utopia, The Island, quite a lot of both as well.

But that's not the main point of the book. Instead Huxley looked at how industrialisation had changed the workplace, and imagined those forces being set to work on society. He realised that the best best way to hide the truth was not to ban books, but to deluge us with trivia.

Huxley released that the prison we need to really fear does not have walls made of the things we hate and fear, but bars forged from the things we crave and desire. The book is hilariously funny in places, but also unrelentingly grim as Huxley describes a world that is shockingly familiar to us. When the hero finally hangs himself, you can see why.

Winner: Brave New World by Aldrous Huxley (1932)