Revolutions vary from the disparate traditional tropes of the French and American revolutions to non-violent revolution (Gandhi’s India), The entrenched power may be colonial, class-based, or simply authoritarian. How well does SF & F represent the ideals and ambiguities of revolution, the need to rebuild, and the cultural stresses that result.
I almost titled this post Politics in Fantasy part 2. Revolutions are politics. They are one of it’s most visible forms, like earthquakes are for plate tectonics. (International wars are volcanoes in this analogy, in case you’re interested. No? Well alright.)
Revolutions in Speculative Fiction tend to be he big flashy kind with epic battles and heroic deeds. They also tend to be fought by the Good Guys(tm). We love underdogs, and rebellions are the underdogs in a big way. Furthermore, a Good King or a democracy never seems to have a revolution raised against them. History however is full of stories of revolutions that brought brought cruel dictators like the Ayatollah to power, or revolutions fought against democracies, like the American Civil War.
In Speculative Fiction the kind of revolution that shows up is also different. Most fictional revolutions, as I said before are the kind that involve a war. Peaceful revolutions happen on occasion, while ideological social, and technological revolutions are rarer still, except as backstories. These are revolutions where the outcome is inevitable, and the combat verbal. The shakeups change the fabric of society fundamentally. Part of this is a sense of stasis in especially fantasy. Series that take place over a thousand years may have a society and material culture that is almost identical. Revolutions run counter to this.
Most Speculative Fiction ends when the revolution ends, but there are exceptions. Firefly has the browncoats, a class of failed revolutionaries, meant according to the show creator, Joss Whedon, to be analogous to the former Confederate soldiers after the American Civil War, only with more of a moral leg to stand on. The first book of Carol Berg’s Rai-Kirah trilogy ends with the main character’s nation being given its freedom, and he next two books deal with the resulting shakeups. The Snow Queen by Joan D. Vinge ends with Moon taking power, and The Summer Queen is about her reign. The Star Wars Expanded Universe deals with the transition from the Rebel Alliance to the government of the New Republic, what it means to become a centralized government, and the Imperial Remnants, themselves attempting a counter-revolution. At the end of a revolution, no matter who wins, suddenly, the story becomes more complex, and less black and white, yet one of the great attractions of epic fantasy and space opera, huge segments of the reading public for Speculative Fiction is that it deals in black and white. As with cop shows, the muddy grays of the world can be forgotten, and good can unequivocally triumph over evil until the end of the story.
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bittercon the online convention for those of us who can't make it to any other kind, on a topic stolen from a panel at the 2011 Worldcon.
I almost titled this post Politics in Fantasy part 2. Revolutions are politics. They are one of it’s most visible forms, like earthquakes are for plate tectonics. (International wars are volcanoes in this analogy, in case you’re interested. No? Well alright.)
Revolutions in Speculative Fiction tend to be he big flashy kind with epic battles and heroic deeds. They also tend to be fought by the Good Guys(tm). We love underdogs, and rebellions are the underdogs in a big way. Furthermore, a Good King or a democracy never seems to have a revolution raised against them. History however is full of stories of revolutions that brought brought cruel dictators like the Ayatollah to power, or revolutions fought against democracies, like the American Civil War.
In Speculative Fiction the kind of revolution that shows up is also different. Most fictional revolutions, as I said before are the kind that involve a war. Peaceful revolutions happen on occasion, while ideological social, and technological revolutions are rarer still, except as backstories. These are revolutions where the outcome is inevitable, and the combat verbal. The shakeups change the fabric of society fundamentally. Part of this is a sense of stasis in especially fantasy. Series that take place over a thousand years may have a society and material culture that is almost identical. Revolutions run counter to this.
Most Speculative Fiction ends when the revolution ends, but there are exceptions. Firefly has the browncoats, a class of failed revolutionaries, meant according to the show creator, Joss Whedon, to be analogous to the former Confederate soldiers after the American Civil War, only with more of a moral leg to stand on. The first book of Carol Berg’s Rai-Kirah trilogy ends with the main character’s nation being given its freedom, and he next two books deal with the resulting shakeups. The Snow Queen by Joan D. Vinge ends with Moon taking power, and The Summer Queen is about her reign. The Star Wars Expanded Universe deals with the transition from the Rebel Alliance to the government of the New Republic, what it means to become a centralized government, and the Imperial Remnants, themselves attempting a counter-revolution. At the end of a revolution, no matter who wins, suddenly, the story becomes more complex, and less black and white, yet one of the great attractions of epic fantasy and space opera, huge segments of the reading public for Speculative Fiction is that it deals in black and white. As with cop shows, the muddy grays of the world can be forgotten, and good can unequivocally triumph over evil until the end of the story.
Written for
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Date: 2011-09-04 09:08 pm (UTC)It wa a very long and most bloody war, as to be expected with at times as many as seven armies fielded at one time, each and every one at war with all the others.
And then, afterwards, no nation recognized them as a nation, and France demanding restitution for their lost property, most of which was in two-legged flesh. This wasn't paid back in full -- PLUS INTEREST -- and retired until 1947. From 1803 on, each Haitian man, woman and child were paying for the freedom of their ancestors from 1791 - 1803. We've never seen anything like this before or since. Except, maybe, with Jim Crow and the neo slavery of share cropping and convict gangs? In any case, one way and another, Haiti is still paying the rest of the developed world for the audacity of having the one and only successful slave revolution in the New World.
Not classified as fantasy, but you most likely have read Moon is a Harsh Mistress?
Love, C.
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Date: 2011-09-04 09:14 pm (UTC)Can't stand Heinlein.
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Date: 2011-09-04 09:36 pm (UTC)no subject
Date: 2011-09-04 09:55 pm (UTC)And yes, this is another reason fiction romanticizes revolutions, but I just can't seem to figure out why British authors do it too...
no subject
Date: 2011-09-04 10:27 pm (UTC)The British have their own history of revolutions -- real ones, directed at the government in situ, not far away across an ocean -- celebrated in song and story, of course. Add that to pervasive American cultural influence, and you've probably got your answer.
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Date: 2011-09-04 10:33 pm (UTC)Love, C.
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Date: 2011-09-04 10:41 pm (UTC)1812, it was more like nobody won, nobody lost, but because it was fought here, we had the most damage done to us. Like the revolution, we just made it miserable enough that the British said screw it.
But then they have things like the English Civil War which put Cromwell into power, the signing of the Magna Carta, which was more like a bunch of nobles kidnapping the king saying "You will give us more power and let us oppress the peasants more!" and the Glorious Revolution where not a shot was fired, the peasant revolt under Richard II which went home when the king gave them a stern telling off... I mean how did these things become glorified as great revolutions striving for human freedom against the forces of tyranny? Why is that myth so pervasive that the Brits would reshape the way they told history around it?
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Date: 2011-09-04 11:35 pm (UTC)As for the War of 1812 (the bicentennial is next year), the take these days was that Britain won, but had no desire to retake the US because they figured it would be too much trouble, and the fact Britain was all worn out after the Napoleonic wars and just wanted to rest and recuperate.
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Date: 2011-09-05 12:06 am (UTC)Most of the American takes on it I have seen say British were distracted, we were a side show, but nobody won, nobody lost, and if we had lost, the British would have demanded concessions. The treaty was one long exercise in pretending the whole thing never happened on both sides. Basically we did the same thing as we did with the revolution. It's not that we won any major battles, we just made ourselves too unpleasant to bother with while they were at war with the French. Of course during the revolution, we also convinced France to go to war with Britain, but the same principle applied.
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Date: 2011-09-05 02:58 am (UTC)It might not have been pleasant, but Ireland it would not have been.
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Date: 2011-09-05 03:07 am (UTC)no subject
Date: 2011-09-05 03:14 am (UTC)no subject
Date: 2011-09-05 03:16 am (UTC)