I’ve always been baffled by the complaints by certain groups in recent years that too much scifi addresses social and political issues. The verbal and voting wars over the scifi Hugo award stands out as one of the biggest fights over socio-political scifi. The complaints baffle me because scifi is always about socio-political issues!
To discuss this, let’s just take one example story, H.G. Well’s The War of the Worlds (TWotW). From its original publication to the present, TWotW is always a socio-political (s-p) story.
When Wells first published TWotW, he was making a s-p statement about the British Empire and its imperialism and colonization program. Wells offers a look at imperialism and colonization from the perspective of the conquered, especially during the Victorian Era period of Empire expansion.
A few years go by then TWotW reappears in the form of the Orson Welles radio drama in 1938. The resulting chaos from public reaction demonstrates that once again, TWotW was making a s-p statement. This time, it was addressing the spread of Hitler’s Third Reich across Europe.
TWotW fades from memory for a while until George Pal’s 1953 movie version of TWotW emerges in theaters. This time, TWotW was making a s-p statement about the recent (at the time) Korean War and the larger Cold War taking place between the Soviet Union and the United States.
Again TWotW vanishes from the public consciousness until the 1978 album, Jeff Wayne’s Musical Version of TWotW, appears. Appearing in record stores and on radio stations, this time the s-p statement continues the fears of the Cold War while also addressing the uncertainty of the non-victorious U.S. military after Vietnam.
Public interest in TWotW disappears again until the 1988 tv series brings TWotW into American homes. Once again s-p statements are made in a world where the Cold War is winding down, the Soviet Union appears to be collapsing under its own economic weight, and the U.S. appears to be rising as the new empire of the world.
TWotW once again drops out of sight until Stephen Speilburg’s 2005 movie version of TWotW. And again, the s-p statements are in forefront. Here the fears of terrorism in the post-9/11 world are addressed as well as the clash between parents and their children over the nature of duty and service on the part of children who want to fight the new evil in the world.
The War of the Worlds has once again been sidelined in the minds of the general public. In the current state of the world, I think it’s only a matter of time before the inevitable return of The War of the Worlds and its latest socio-political statements addressing the current chaos of the world. Until then, there’s a whole host of scifi stories making socio-political statements.