One only has to think of some of the most important writers of mid-century science fiction-Ray Bradbury, Robert Heinlein, C.S. Even as science fiction writers had to content themselves with selling their stories next to other forms of pulp, many of them barely reputable and often downright pornographic, they critiqued the conformity demanded by governments, corporations, public education, and mass media. In the 1930s, 40s, and 50s, though, the science-fiction community served as one of the few forms of art that actively welcomed non-conformists, non-ideologues, luddites, and others of imagination. As I explored the history of the genre, I found that few took it seriously until the 1960s, when it became profitable. Two references to Keats in a day or two of each other seemed a little too coincidental and I decided to read Hyperion.īecause of the inherently speculative and progressive nature of science fiction, older conservatives have traditionally thought little of science fiction as a genre. I was already somewhat familiar with the unfinished poem, “Hyperion,” by John Keats, and, at that same moment, Winston Elliott asked me and a few others if we had watched the movie, Dead Poets’ Society, recently. We already share a lot in common, and, after comparing lists, Russell realized I’d not read anything by Dan Simmons. A month or so ago, I asked two of my Kiwi progressive rock/science fiction friends, Russell Clarke and Paul Watson, for some recommendations for dystopian and apocalyptic fiction.
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