Anthropological science fiction

Anthropological science fiction is best exemplified by the work of writers such as Ursula K. Le Guin, Michael Bishop, Joanna Russ, Ian Watson, and Chad Oliver. Of this pantheon, Oliver is alone in being also a professional anthropologist, author of academic tomes such as Ecology and Cultural Continuity as Contributing Factors in the Social Organization of the Plains Indians (1962) and The Discovery of Anthropology (1981) in addition to his anthropologically-inflected science fiction. Although he tried, in a superficial way, to separate these two aspects of his career, signing his anthropology texts with his given name "Symmes C. Oliver", he nonetheless saw them as productively interrelated. "I like to think," he commented in a 1984 interview, "that there's a kind of feedback ... that the kind of open-minded perspective in science fiction conceivably has made me a better anthropologist. And on the other side of the coin, the kind of rigor that anthropology has, conceivably has made me a better science fiction writer."[5]^:243

Thus "Oliver's Unearthly Neighbors (1960) highlights the methods of ethnographic fieldwork by imagining their application to a nonhuman race on another world. His Blood's a Rover (1955 [1952]) spells out the problems of applied anthropology by sending a technical-assistance team to an underdeveloped planet. His Rite of Passage (1966 [1954]) is a lesson in the patterning of culture, how humans everywhere unconsciously work out a blueprint for living. Anthropological wisdom is applied to the conscious design of a new blueprint for American society in his Mother of Necessity (1972 [1955])".[15] Oliver's The Winds of Time is a "science fiction novel giving an excellent introduction to the field methods of descriptive linguistics".[16]^:96

In 1993 a journal of SF criticism requested from writers and critics of SF a list of their 'most neglected' writers,[17] and Chad Oliver was listed in three replies. Among the works chosen were: Shadows in the Sun,[18] Unearthly Neighbors,[19] and The Shores of Another Sea.[20] One respondent declared that "Oliver's anthropological SF is the precursor of more recent novels by Ursula K. Le Guin, Michael Bishop, and others"; another that "Chad Oliver was developing quiet, superbly crafted anthropological fictions long before anyone had heard of Le Guin; maybe his slight output and unassuming plots (and being out of print) have caused people to overlook the carefully thought-out ideas behind his fiction".

In the novel Shadows in the Sun the protagonist, Paul Ellery, is an anthropologist doing field work in the town of Jefferson Springs, Texas—a place where he discovers extraterrestrial aliens. It has been remarked that:

Not only are these aliens comprehensible in anthropological terms, but it is anthropology, rather than the physical sciences, that promises a solution to the problem of alien colonization. According to the science of anthropology, every society, regardless of its level of development, has to functionally meet certain human needs. The aliens of Jefferson Springs "had learned, long ago, that it was the cultural core that counted-the deep and underlying spirit and belief and knowledge, the tone and essence of living. Once you had that, the rest was window dressing. Not only that, but the rest, the cultural superstructure, was relatively equal in all societies (115; emphasis in original). For Ellery, the aliens are not "supermen" (a favorite Campbellian conceit): despite their fantastic technologies, they are ultimately ordinary people with the expected array of weaknesses – laziness, factionalism, arrogance – whose cultural life is as predictable as any Earth society's. Since they are not superior, they are susceptible to defeat, but the key lies not in the procurement of advanced technologies, but in the creative cultural work of Earth people themselves.[5]^:248

A reviewer of The Shores of Another Sea finds the book "curiously flat despite its exploration of an almost mythical, and often horrific, theme".[21]^:202 The reviewer's reaction is not surprising because, as Samuel Gerald Collins points out in the 'New Wave Anthropology' section of his comprehensive review of Chad Oliver's work: "In many ways, the novel is very much unlike Oliver's previous work; there is little moral resolution, nor is anthropology of much help in determining what motivates the aliens. In striking contrast to the familiar chumminess of the aliens in Shadows in the Sun and The Winds of Time, humans and aliens in Shores of Another Sea systematically misunderstand one another."[5]^:253 Collins continues:

In fact, the intervening decade between Oliver's field research and the publication of Shores [1971] had been one of critical self-reflection in the field of anthropology. In the United States, qualms about the Vietnam war, together with evidence that anthropologists had been employed as spies and propagandists by the US government, prompted critiques of anthropology's role in systems of national and global power. Various strains of what came to be known as dependency theory disrupted the self-congratulatory evolutionism of modernization models, evoking and critiquing a world system whose political economy structurally mandated unequal development. Less narrowly academic works such as Vine Deloria, Jr.'s, Custer Died for Your Sins (1969), combined with the efforts of civil-rights groups like the American Indian Movement, skewered anthropology's paternalist pretensions. Two major collections of essays -- Dell Hymes's Reinventing Anthropology (1972) and Talal Asad's Anthropology and the Colonial Encounter (1973) -- explored anthropology's colonial legacy and precipitated a critical engagement with the ethics and politics of ethnographic representation.^:253

At the conclusion of his essay, discussing Chad Oliver's legacy Collins says:

The lesson of Chad Oliver for sf is that his Campbell-era commitments to the power of technology, rational thinking, and the evolutionary destiny of "humanity" came to seem an enshrinement of a Western imperialist vision that needed to be transcended, through a rethinking of otherness driven by anthropological theory and practice. Above all, Oliver's career speaks to many of the shared impulses and assumptions of anthropology and sf, connections that have only grown more multifarious and complex since his death in 1993.^:257

It has often been observed that Ursula K. Le Guin's interest in anthropology and its influence on her fiction derives from the influence of both her mother Theodora Kroeber, and of her father, Alfred L. Kroeber.[22]^:410[23]^:61[24]^:1

Warren G. Rochelle in his essay on Le Guin notes that from her parents she:

acquired the "anthropological attitude" necessary for the observation of another culture – or for her, the invention of another culture: the recognition and appreciation of cultural diversity, the necessity to be a "close and impartial observer", who is objective, yet recognizes the inescapable subjectivity that comes with participation in an alien culture.[22]^:410

Another critic has observed that Le Guin's "concern with cultural biases is evident throughout her literary career", and continues,

In The Word for World is Forest (1972), for example, she explicitly demonstrates the failure of colonialists to comprehend other cultures, and shows how the desire to dominate and control interferes with the ability to perceive the other. Always Coming Home (1985) is an attempt to allow another culture to speak for itself through songs and music (available in cassette form), writings, and various unclassifiable fragments. Like a documentary, the text presents the audience with pieces of information that they can sift through and examine. But unlike a traditional anthropological documentary, there is no "voice-over" to interpret that information and frame it for them. The absence of "voice-over" commentary in the novel forces the reader to draw conclusions rather than rely on a scientific analysis which would be tainted with cultural blind spots. The novel, consequently, preserves the difference of the alien culture and removes the observing neutral eye from the scene until the very end.[23]

Le Guin's novel The Left Hand of Darkness[25] has been called "the most sophisticated and technically plausible work of anthropological science fiction, insofar as the relationship of culture and biology is concerned",[26]^:472 and also rated as "perhaps her most notable book".[27]^:244 This novel forms part of Le Guin's Hainish Cycle (so termed because it develops as a whole "a vast story about diverse planets seeded with life by the ancient inhabitants of Hain".[28]^:46–47[note 1] The series is "a densely textured anthropology, unfolding through a cycle of novels and stories and actually populated by several anthropologists and ethnologists"."[29]^:183 Le Guin employs the SF trope of inter-stellar travel which allows for fictional human colonies on other worlds developing widely differing social systems.[30] For example, in The Left Hand of Darkness "a human envoy to the snowbound planet of Gethan struggles to understand its sexually ambivalent inhabitants".[31]^:180 Published in 1969, this Le Guin novel:

is only one of many subsequent novels that have dealt with androgyny and multiple gender/sex identities through a variety of approaches, from Samuel R. Delany's Triton (1976), Joanna Russ's Female Man (1975), Marge Piercy's Woman at the Edge of Time (1976), Marion Zimmer Bradley's Darkover series (1962–1996) and Octavia Butler's Xenogenesis Trilogy (1987-89). Though innovative in its time, it is not its construction of androgyny itself that is remarkable about Le Guin's text. Rather, it is her focus on the way that the androgynes are perceived and how they are constructed within a particular discourse, that of scientific observation. This discourse is manifested specifically in the language of anthropology, the social sciences as a whole, and diplomacy. This focus, in turn, places Le Guin's novel within a body of later works – such as Mary Gentle's Golden Witchbreed novels (1984-87) and C. J. Cherryh's Foreigner series (1994-96) – that deal with an outside observer's arrival on an alien planet, all of which indicate the difficulty of translating the life-style of an alien species into a language and cultural experience that is comprehensible. As such, these texts provide critiques of anthropological discourse that are similar to Trinh Minh-ha's attempts to problematize the colonialist beginnings and imperialistic undertones of anthropology as a science.[23]

Geoffery Samuel has pointed out some specific anthropological aspect to Le Guin's fiction, noting that:

the culture of the people of Gethen in The Left Hand of Darkness clearly owes a lot to North-West Coast Indian and Eskimo culture; the role of dreams of Athshe (in The Word for World is Forest) is very reminiscent of that described for the Temiar people of Malaysia; and the idea of a special vocabulary of terms of address correlated with a hierarchy of knowledge, in City of Illusions, recalls the honorific terminologies of many Far Eastern cultures (such as Java or Tibet).[30]

However, Fredric Jameson says of The Left Hand of Darkness that the novel is "constructed from a heterogeneous group of narratives modes ...", and that:

... we find here intermingled: the travel narrative (with anthropological data), the pastiche myth, the political novel (in the restricted sense of the drama of court intrigue), straight SF (the Hainish colonization, the spaceship in orbit around Gethen's sun), Orwellian dystopia ..., adventure story ..., and finally even, something like a multiracial love story (the drama of communication between the two cultures and species).[32]^:267

Similarly Adam Roberts warns against a too narrow an interpretation of Le Guin's fiction, pointing out that her writing is always balanced and that "balance as such forms one of her major concerns. Both Left Hand and The Dispossed (1974) balance form to theme, of symbol to narration, flawlessly".[27]^:244–245 Nevertheless, there is no doubt that the novel The Left Hand of Darkness is steeped in anthropological thought, with one academic critic noting that "the theories of [French anthropologist] Claude Lévi-Strauss provide an access to understanding the workings of the myths" in the novel.[33] Later in the essay the author explains:

Unlike the openended corpus of actual myths that anthropologists examine, the corpus of myths in The Left Hand of Darkness is closed and complete. Therefore, it is possible to analyze the entire set of Gethenian myths and establish the ways in which they are connected. Kinship exchange, in the Lévi-Straussian sense, comprises their dominant theme. In them, Le Guin articulates the theme of exchange by employing contrary images – heat and cold, dark and light, home and exile, name and namelessness, life and death, murder and sex – so as finally to reconcile their contrariety. The myths present wholeness, or unity, as an ideal; but that wholeness is never merely the integrity of an individual who stands apart from society. Instead, it consists of the tenuous and temporary integration of individuals into social units.^:181