Dr Tris Kerslake, author of the book Science Fiction and Empire (2010), provides the final post of our multi-week roundtable on science fiction and imperial history, co-edited by Marc-William Palen and Rachel Herrmann. You can read our call for posts here, and the other posts in the series here,here, here, here, here, here, here, and here. Thanks to all of our participants for writing and we’re still looking forward to hearing what you think!
This is the penultimate post of our five-week roundtable on science fiction and imperial history, co-edited by Marc-William Palen and Rachel Herrmann. You can read our call for posts here, and the other posts in the series here,here, here, here, here, here, and here. We look forward to hearing your thoughts!
“No starship may interfere with the normal development of any alien life or society.”
— Prime Directive (United Federation of Planets General Order 1)
“The Prime Directive is not just a set of rules; it is a philosophy…and a very correct one. History has proven again and again that whenever mankind interferes with a less developed civilization, no matter how well intentioned that interference may be, the results are invariably disastrous.” – Capt. Jean-Luc Picard
The Victorian political philosopher John Stuart Mill (1806-1973) and Star Trek’s far-future United Federation of Planets (the Federation) differ substantially on the colonial question. In particular, Mill the Victorian liberal imperialist thought that it was the duty of the British to help “civilize” less developed states through colonialism. Within his stages of civilization, Mill regarded underdeveloped states like India to be backwards and in need of benign British despotism, which was “a legitimate mode of government in dealing with barbarians, provided the end be their improvement, and the means justified by actually effecting that end.”
Although Star Trek‘s Federation may share some similar Victorian-era ideas about imperial power structures and civilizational stages, by contrast it has strict rules about not attempting to “civilize” or colonize “backward” societies. It is enshrined in their Prime Directive, which was first introduced in the Original Series (1966-69) as a none-too-subtle anti-imperial rebuke of the US war in Vietnam.
This is the newest post kicking off the third week of our roundtable on science fiction and imperial history, co-edited by Marc-William Palen and Rachel Herrmann. You can read our call for posts here, and the other posts in the series here,here, here, and here. Posts will run twice a week until the second week in July. We look forward to hearing your thoughts!
During the day in the mid-2000s I took classes in imperial history. On Friday and Saturday nights I descended to the basement of the student center at the University of Auckland to take part in an intense, desperate, and sometimes violent feud with five friends over control of the planet of Arrakis through Avalon Hill’s legendary strategy board game, Dune.
The board game was released in 1979, the same year as Edward Said’s Orientalism. These sessions extended long into the night (the game can take ten hours to complete) and both tested and forged friendships as we schemed with, tricked, and betrayed each other. At the time, I didn’t consider any connection between my history classes (or even discussions about Said with the same friends) and these nocturnal contests. In hindsight, though, the source material for the game, Frank Herbert’s 1965 novel, Dune, built on nineteenth- and twentieth-century imperial fantasies of knowledge, control, and power.
On the surface, the novel Dune fulfills a popular imperialist fantasy by granting its main character mastery over native “others” whose superstition and history makes them comprehensible and exploitable. However, it is also a book of schemes, assassination, betrayal, hidden motives, and unexpected consequences. Like the novel’s main antagonists, this fantasy ends stabbed and poisoned on the floor of a broken palace. In certain ways, Herbert’s embrace and subversion of orientalist tropes around knowledge even anticipated modern critiques of empire. Continue reading ““Going Native” with Dune’s Paul Atreides”→
This post is the third in a roundtable co-edited by Marc-William Palen and Rachel Herrmann on science fiction and imperial history. You can read our call for posts here, and the other posts in the series here,here, and here. Posts will run twice a week until the second week in July. We look forward to hearing your thoughts!
Ahmed R. Memon University of Kent
Star trek Discovery—the new instalment to the Star Trek universe—only confirms what enthusiasts of the series have long said: that it is a science fiction show with unmistakable allusions to an international vision of a peaceful, cooperative world reflecting the liberal internationalism of the post-Second-World-War global legal order.
The Charter of the United Federation of Planets is in fact based on the international vision of global order entrenched in the United Nations charter. The text of the Federation’s charter was merely a rewording of the United Nations, wherein Earth-centric terms such as “people,” “human,” and “international community” have been replaced by inclusive and expansive “life forms,” “planetary communities,” and “sentient beings.” The main body of the text in the Federation charter even reproduces important phrases from the United Nations charter such as “to save succeeding generations from the scourge of war,” “promote cooperation, maintain peace and security” based on values of “universal peace, liberty and equal rights,” “obligation to treaties,” and the “social progress and better standards to life.”
Yet despite these obvious allusions to the United Nations, the imperial history of the League of Nations is an even more apt historical parallel to Star Trek’s United Federation of Planets (the Federation). In understanding the ideological discourses of the League of Nations, we can thus see how the Federation is a far-future model of early-twentieth-century imperial internationalism. Continue reading “Star Trek’s United Federation of Planets: a far-future League of Nations?”→
This post is the third in a roundtable co-edited by Marc-William Palen and Rachel Herrmann on science fiction and imperial history. You can read our call for posts here, and the other posts in the series here and here. Posts will run twice a week until the second week in July. We look forward to hearing your thoughts!
Tris Kerslake Central Queensland University
For as long as the concept has existed, the struggle for empire has been seen as the most masculine of endeavours; strategic conflict, war and bloodshed on an industrial scale was not, apparently, for the ladies.
Of course, this attitude originated in the patriarchal headspace that considered women to be most useful as producers and nurturers of the next generation of soldiers, rather than as soldiers in their own right.
This mindset has never really been shaken off and wanders on even today in the realm of science fiction (SF), despite the best efforts of Black Widow in the latest DC marvel escapade (Infinity War, 2018). Publishers routinely advise women SF/Fantasy authors such as K. A. Stewart (Second Olympus, 2015), Rob Thurman (Everwar, 2016), and K. J. Taylor (The Last Guard, 2016) to avoid adopting a feminine authorial name as male readers tend not to read female writers of SF.
This is a shame for several reasons, not least of which being that any male readers who think this way are missing out on some of the best pulse-thumping action involving the violent ending of worlds, the annihilation of aggressive alien species and the unleashing of unspeakable doomsday weapons.
Imperialism flourishes in all its forms in SF and the spread of empire has formed the crux of stories written by the most respected names in the SF genre, not all of them men. To illustrate this point, I shall examine, in brief, a unique imperial concept from each of three past and much-lauded SF authors, all of whom shared the XX chromosome: Ursula K. Le Guin (1929-2018), Anne McCaffrey (1926-2011), and Julian May (1931-2017). Continue reading “Deadlier than the male: The imperial designs of Le Guin, McCaffrey, and May”→
This post is the second in a roundtable co-edited by Marc-William Palen and Rachel Herrmann on science fiction and imperial history. You can read our call for posts here, and the first post in the series here. Posts will run twice a week until the second week in July. We look forward to hearing your thoughts!
All iterations of the classic American science fiction television show Star Trek present space as a place for exploration and discovery accessible as the result of superior technology. Through the codependence on adventure and technology, Star Trek reinforces an empire that exists without features of conquest seen in much historical imperialism. The narrative of empire in Star Trek is rooted in historical imperial power relations that continue into the present, and are projected far into the future. I would suggest that the links between adventure narratives, technology, empire, and Star Trek demonstrate how one of the most popular American SF TV shows reinforces and perpetuates imperial power structures through the emphasis on discovery and exploration.
Star Trek was created by Gene Roddenberry in 1966, and the original series details the adventures of Captain Kirk (William Shatner) and his crew aboard the USS Enterprise. After three years on the air, the show sparked a movie franchise and was later revised on television with Captain Picard (Patrick Stewart) at the helm of the Enterprise in The Next Generation (1987-1994). Although Roddenberry passed away in 1991, the series has continued in various iterations, including Deep Space Nine (1993-1999), Voyager (1995-2001), Enterprise (2001-2005), and most recently, a series of rebooted films and Discovery (2017-present).
Despite the many versions of the story, the show remains true to Roddenberry’s original interest in exploration and adventure, as outlined in the opening credits of TOS and TNG: “To explore strange new worlds. To seek out new life, and new civilizations. To boldly go where no one has gone before!” This goal of exploration links the Star Trek universe to the genre of adventure narratives, which Martin Green traces to the publication of Daniel Defoe’s classic Robinson Crusoe in 1719. In Dreams of Adventure, Deeds of Empire (1980), Green links the origin of the novel with adventure narratives and the spread of English imperialism, beginning with the 1707 union of England and Scotland. Predating Edward Said’s notable exploration of the “imagination of empire” woven into British novels of the eighteenth and nineteenth centuries, Green argues that “adventure is the energizing myth of empire.” Specifically, Green explores a capitalist adventure narrative that strengthens the expansion of the British Empire in a subtle manner through a civilizing mission disguised through adventure and discovery. Building on narratives that predate official British imperialism, Victorian and Edwardian adventure novels popularized and reinforced the sense of excitement and discovery utilized by English explorers as a vital component to imperial expansion in the traditional “Age of Imperialism.” Continue reading ““To boldly go!”: Adventure and Empire in Star Trek”→
This post is the first in a roundtable co-edited by Marc-William Palen and Rachel Herrmann on science fiction and imperial history. You can read our call for posts here. Posts will run twice a week between now and the second week in July. We look forward to hearing your thoughts on these posts!
Five hundred years in the future, humanity has left earth and expanded into a new solar system. New planets have been terraformed and colonised. Life at the centre of this system is luxurious, sophisticated, civilised. On the outer fringes, existence is more precarious, eking out a living a more dangerous game. This is the world of Joss Whedon’s regrettably short-lived television series Firefly (2002) and its feature film follow-up Serenity (2005). Both follow the rag-tag crew of the spaceship Serenity, led by captain Mal Reynolds (Nathan Fillion), as they struggle to make ends meet by means legal and otherwise on the rough outer edges of this fictional universe, known in the show’s jargon as “the Verse.”
The Verse is cast in the mode of not one but two genres—the space opera and the western—that dramatise life on the frontier, and much of its humour and interest lies in the productive tension between their respective visions of that setting. According to Whedon, Firefly’s genesis lay in his reading of The Killer Angels (1974), Michael Shaara’s historical novel about the Battle of Gettysburg. He afterwards became “obsessed with the idea of life on the frontier, and that of course [made him] think of the Millennium Falcon.” In imagining the space opera as an adapted western that shifted nineteenth-century imperial tropes into an extraterrestrial future, Whedon was merely making explicit long-standing undercurrents within the genre. (Gene Roddenberry’s working title for Star Trek—a constant intertextual counterpoint in Firefly—had been Wagon Train to the Stars. Its trademark incantation of “space, the final frontier” was not incidental.) Continue reading “Colonising the Verse: Genre, Imperialism and Frontier Violence in Firefly and Serenity“→