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The best and newest science fiction and fantasy story collections
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In the latest wave of science fiction, authors of color take space to imagine multiple new societies Salon 2 hrs ago The female engine, woman as a machine Getty Stock Photo
The year 1968 was one of racial progress and retreat: the year athletes raised their fists in a Black power salute at the Olympics, the year Martin Luther King Jr. was slain. In the world of science fiction – far ahead in an invented future – the period brought more progress. Star Trek aired the first kiss between two characters of different races on television. And in literature, Ursula Le Guin launched the Earthsea Cycle, a series whose protagonist had red-brown skin, Le Guin s attempt to correct a canon populated by pale heroes.
The first of two collections of Izumi Suzuki’s (1949-1986) work forthcoming from Verso Books,
Terminal Boredom: Stories contains seven pieces appearing for the first time in English translation in some cases more than forty years after their original release. However, from gender politics in a queer matriarchy to media oversaturation and disaffection, the themes of her fiction still thrum with a resistant, brightly grim tension. Passing decades certainly haven’t dulled the the razor’s cut of her punk sensibilities.
Instead of one translator handling the entire collection, the stories are split between six: Daniel Joseph, David Boyd, Sam Bett, Helen O’Horan, Aiko Masubuchi, and Polly Barton. Across their individual stylistic approaches to Suzuki’s prose, bedrock features come through: crispness edging toward a cruel gloss in the dialogue, emotional saturation (or desaturation) as both literal experience and speculative metaphor, references to American films and Jazz music
Calum Barnes
, April 24th, 2021 09:21
New translations of the pathbreaking SF stories of Izumi Suzuki feel like transmissions from a lost future that ended long ago, finds Calum Barnes
Photo credit: Nobuyoshi Araki
According to Franco Bifo Berardi, the future ended in 1977. “This was the year when the punk movement exploded, whose cry – ‘No Future’ – was a self-fulfilled prophecy that slowly enveloped the world,” he argues in his 2011 book,
After the Future, sketching a knotty complex of social, cultural, and economic trends that all reached their terminus that year. The oil crisis exposed the volatility of the post-war economic model and the mass movements of the sixties fragmented. What could be a hollow polemical flourish turns out to be an instructive juncture from which to consider how the twentieth-century belief in progress came to be replaced by the neoliberal malaise that persists to the present.
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