Reviewed by Paul Graham Raven. This review first appeared in The BSFA Review.
If you ever publicly identify as a futurist, you will eventually be asked what contemporary futurism – an admittedly vague term which somehow covers everyone from tech-centric venture capital strategists and Pentagon policy wonks to Ray “Singularity” Kurzweil and the snake-oil Barnums of Silicon Valley – has to do with the proto-fascist 1920s Italian art movement of the same name. Bruce Sterling’s latest novella, Pirate Utopia, is (in part) an attempt to answer that question.
Written in the bombastic style that animates much of Sterling’s more recent short fiction, Pirate Utopia is populated by characters whose larger-than-lifeness is predominantly a function of their unfettered will-to-power (but also cocaine). In this alternate Adriatic, minor historical figures and allegorical types rub shoulders in Fiume, the little city at the heart of the breakaway microstate known as the Republic of Carnaro, where Futurist poets and artists work side by side with rogue military leaders and mercenary engineers to establish a proto-fascist entrepôt with its own hi-tech missile factory.
Identified by glamorous (and thus ridiculous) nicknames – “the Poet”, “the Ace of Hearts”, “the Art Witch” – the heroes of capital-F Futurism unwittingly slip into the narrative space occupied, in our own timeline, by the more fully developed European fascisms of the early 20th Century: Mussolini, a magazine editor, is emasculated in his office chair by Syndicalist women with single-shot handguns, while a former Austrian art student takes someone else’s bullet during a failed putsch in a Bavarian beer-hall. But Carnaro is doomed not to last – for as Peter Lamborn Wilson has observed, the pirate utopia is always-already temporary and contingent; the polder cannot hold.
The arrival of “the Magician” – one Harry Houdini, squired by two USian pulp fiction pioneers – and his inviting of Lorenzo Secondari the Pirate Engineer to the States completes the story of Futurism and futurism. Both are essentially poetic movements fuelled by utopian genres of writing and the creative arts, and powered by the modernist legacy of a lust for power, velocity and creative destruction. Which is not to claim that small-f futurism is necessarily fascist, of course – but the same desires and fetishes can be found the manifestos of both, and today’s self-styled “neoreactionaries” (a small but scary intellectual splinter of the soi disant “alt-right”, fond of cool tech, racist pseudoscience and the presumed meritocracy of enlightened dictatorship) mark the ideological space where futurisms past and present overlap. Both futurism and Futurism are far less about the future than they are about a present in the perpetual process of radical sociotechnical reconfiguration, and the possibilities of power in times of flux.
Warren Ellis’s Normal begins with an ageing academic demanding cat gifs with menaces (assuming “menaces” can stretch to include a shank whittled from the handle of a ten-buck toothbrush), and the story only gets darker and weirder, unfolding around a plot featuring “a missing guy, a locked-room mystery out of Agatha Christie, and a pile of insects.” Normal Head is a retreat facility for burned out futurists – not the “woo, flying cars!!” sort of futurist, but the strategists and forecasters who have learned the truth of Nietzsche’s old aphorism about gazing into the abyss, and learned it the hard way. The abyss in question is the light-cone of increasingly plausible and probable end-games facing a civilisation whose ability to generate interesting new technologies has far outpaced their ability to plan, predict or control the consequences – and speaking from beneath my own futurist’s hat, I assure you it can best a basilisk when it comes to lookin’ back atcha.
In contrast to the pulpy swaggerdocio of Sterling’s story, Normal has a stark style and shape, tracing a bleakly Ballardian arc which, plotted on paper, would resemble a stock-market chart during a bank run: a justifiably and self-consciously doomed male Western professional attempts a heroic final act of self-abnegating redemption, only to reveal in doing so the even more comprehensive fuckedupness of, well, pretty much everything. Mercifully, Ellis leavens his grim prognosis with gallows humour, and with his well-tuned ear for the contemporary vernacular: you may be headed for a boot-on-a-human-face-forever sort of an ending, but you’ll find yourself smiling as an academic from a rival discipline describes economics as “a speeding death kaleidoscope made of tits” – particularly if you know anything about economics. (Or about academics, for that matter.)
Taken together, these two books shine a light on the intimate but often occluded kinship between science fiction and futurism, rooted in a shared ideology and teleology. I am reminded of a recent Clute riff, in which he observes – and I paraphrase – that in “the old sf” (which is to say, roughly speaking, 20th century sf) the reward for saying ‘yes!’ was the future, while in “new” sf, the reward for saying ‘yes!’ is death; this reflects and reproduces a recent tectonic slippage in our attitude to change, and to technological change in particular. The Republic of Carnaro may be doomed in Sterling’s story, but as Houdini and friends say ‘yes!’ to Futurism and smuggle its Promethean flame back to their homeland, they mark the beginning of a hegemonic American century – albeit one which seems to be drawing to a shuddering halt even as I type. But Adam Dearden and the other inmates of Normal Head, after long careers of saying ‘yes, but…’ to the future, suddenly find that it’s too late for questions and analysis, let alone for saying ‘no’.
Things being what they are, I think we’re all victims of #abyssgaze to some extent … and yet the dream of Carnaro lives on in the tax-exempt sea-steading fantasies and vaporware Martian colonies of libertarian millionaires. Perhaps, then, we could say that Futurism’s greatest trick was – and still is – making the capital disappear.
Copyright Paul Graham Raven. All rights reserved.