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“Science Fiction” Novels of the 1950s

Masterpieces that will stimulate future standards

(Romanian)

But, let’s move on now to the works of “Science Fiction”, from the point of view of the award-winning novels of those times!

Note: It will not be a “complete” approach and only with exemplification or documentation value. But, my effort is not an insignificant one. By including the remarkable elements of these novels, absolutely all awarded by the world of SF literature of that time, you will have suggestions of ideas about what not to write (if you consider that your future work concludes that the already existing one is “perfect”) or, about what to write (if what you write has surpassed the times of that time, completes or improves the work of that time, and other consequent considerations).

Then, to avoid a particularly consistent “single chapter” (which “tires” the current reader if it offers “too long” content – TLTR), from this point of my work, I will be forced to segment it into several episodes, to “place” myself within a kind of limit of 2 – 3,000 words (Thanks for your understanding!)…

So, here’s the first episode of what would be 1950s science fiction novels!

Farmer in the Sky by Robert A. Heinlein (1950) (one of the most notable novels in the “juvenile SF” series, written for a young audience, but full of profound themes and ideas), is a remarkable work that explores themes such as space colonization (presented with impressive technological realism for the time – presenting elements of “Hard Science Fiction” and science education), human adaptability and the importance of the pioneering spirit (it was awarded for the best short story of that year), through a captivating adventure, describing a story full of action, suspense, and memorable characters.

Even though I may seem boring, the “technical” genre classification of this novel is:

• Science fiction for young adults, the novel is often classified as science fiction for young adults, due to the teenage protagonist and the themes of coming of age and adventure, the narrative style being accessible and captivating, suitable for a young audience.
• Hard Science Fiction, Heinlein pays close attention to scientific detail, accurately describing the challenges of colonizing an alien planet, especially concerning aspects related to terraforming, space agriculture, and adaptation to a new environment which are treated with scientific rigor.
• Space opera, although not a classic space opera, the novel includes elements of space adventure, interstellar travel, and the exploration of a new world.
• Social science fiction, the novel explores themes related to the organization of colonial society, adaptation to a new environment, and the challenges of building a community.

The novel tells the story of a family (the protagonist, Bill Lermer, a young man who moves to Ganymede with his family) who leave the overpopulated Earth and move to Ganymede, one of Jupiter’s moons, to start a new life, describing in detail the challenges and difficulties of space colonization, from adapting to a hostile environment to building a new society.

Heinlein addresses ecological themes, emphasizing the importance of protecting the environment and adapting to different natural conditions, later influencing many works about space colonization, including modern terraforming novels such as Kim Stanley Robinson’s “Red Mars“.

Pebble in the Sky by Isaac Asimov (1950) is a remarkable work (part of what would become the Galactic Empire series, linking the Robots series, the Empire series, and the Foundation series) that explores themes such as time travel, cultural prejudice, and the survival of humanity, representing an important work in Asimov’s bibliography and a testament to his talent for combining science with fiction, resulting in a story full of action, suspense, and memorable characters (although originally written as a short story under the name “Grow Old Along with Me”, Asimov expanded it to the size of a novel at the request of his publisher).

As you may have noticed when approaching the previous novel, it is the “turn” to classify this genre of literature as “Science Fiction” and its associated subgenres.

But, I have to clarify (which I will not repeat throughout this entire work)! This effort of “framing” is not just about a simple and justified “technical” enumeration but about accumulating the “data” necessary for a chronological summary of the evolution, constancy, frequency, etc. of this literary genre (science fiction) with the rather obligatory particularization on the associated subgenres. Therefore, the “technical” framing of this novel is:

• Social science fiction, the novel explores themes related to the evolution of human society, the impact of radiation on the population, and cultural conflicts between different groups, with Asimov describing a complex future society with its own laws and customs.
• Speculative science fiction, the novel speculates on the possible consequences of radiation on Earth and on human evolution, exploring ideas related to time travel and its impact on history.
• Space opera, although the action takes place mainly on Earth, the novel is part of Asimov’s Galactic Empire series, which explores humanity’s expansion into the galaxy, to which is added the fact that elements of adventure and space exploration are present in the story.
• Time travel is a basic theme of the book, with a man from the 20th century arriving in the distant future.

So, the novel tells the story of a 20th-century man, Joseph Schwartz, who is transported into the future (accidentally, as a result of a scientific experiment), to a time when Earth is a radioactive and forgotten, post-apocalyptic place, seen as a galactic pariah, being considered a primitive world, marginalized in the vast Galactic Empire, questioning the fate of humanity and its ability to survive in the face of major challenges.

Asimov explores cultural and racial prejudice, presenting a future society that despises Earth and its inhabitants (the inhabitants of the Empire considering Earthlings genetically inferior), offering a subtle critique of prejudice and intolerance, with the Galactic Empire being a vast and powerful, bureaucratic society that controls much of the galaxy.

This narrative device allows Asimov to explore the cultural differences between the contemporary reader and a futuristic society, a concept similar to that used in Philip K. Dick’s “The Man in the High Castle” or Arthur C. Clarke’s “The City and the Stars.”

A central theme of the novel is the conflict between Earth and the Galactic Empire, where the inhabitants of Earth plan a revolution against their imperial oppressors, developing a biological weapon capable of exterminating billions of people in the Empire, and the protagonist becomes involuntarily involved in this conspiracy (the idea of ​​a marginalized planet trying to change the course of history will later be developed in “Foundation“, where small groups try to influence the future of civilization).

Then, although the novel does not directly introduce psychohistory (the key concept in the Foundation series), it explores the idea that history and politics can be manipulated by elites who understand social and economic flows, a theme that would be refined in Asimov’s later works (along with the theme of interstellar discrimination that Asimov would explore in depth in other works, such as “The Currents of Space” and “The Stars, Like Dust” – components of the Galactic Empire series).

Now, chronologically, it would be time to analyze the novel First Lensman by Edward E. Smith (1950), which takes up the baton from where the previous works in the Lensman series (one of the most influential space opera series of all time) left off, delving into the origins of these galactic heroes and revealing the secrets behind their powers, offering a perspective on the origins and evolution of these galactic heroes (being a kind of prequel to the other books in the series, providing details about the formation of the Galactic Patrol organization and the creation of the first Lensmen, detailing the beginnings of the League of Civilizations and the Galactic Patrol, laying the foundation for future intergalactic conflicts), in an epic adventure, full of action and suspense, that will keep you on your toes (providing a picture of the first battles between the forces of good, the Galactic Patrol, and absolute evil, the Boskonians, a corrupt, criminal and expansive civilization, a trope that will be widely used in subsequent SF).

The “technical” classification is:

• A Classic Space Opera, the novel is notable for its cosmic scope, epic space battles, and advanced technology, with the action taking place on a galactic scale, involving diverse alien races and interstellar conflicts, with elements of adventure, action, and heroism being prevalent in the story.
• Military Science Fiction, the novel features a powerful military organization, the Lensmen, fighting against evil forces in the galaxy, with an emphasis on military strategies, combat technology, and heroic sacrifice.
• Superheroes, Lensmen are the equivalent of cosmic superheroes, possessing extraordinary powers, granted by “Lenses”, and fighting to protect the galaxy from evil.

The Demolished Man by Alfred Bester (1953) is a remarkable work of science fiction, an innovative novel that influenced generations of writers and is considered a cornerstone of the genre.

Cornerstone technically argued by the following classifications:

• Cyberpunk (precursor), although the term “cyberpunk” did not exist in 1953, the novel presents elements that would become characteristic of this subgenre, represented by a complex urban society, advanced technology, and an atmosphere of tension and paranoia, through the exploration of human psychology and the impact of technology on the mind are central themes of the novel.
• Science Fiction Detective, the novel combining elements of science fiction with those of the detective novel, presenting a crime in a future society in which telepathy has almost eliminated crime, describing the investigation of the crime and attempts to overcome the telepathic surveillance system are key elements of the plot.
• Psychological science fiction, exploring the depths of the human psyche, revealing the motivations and inner conflicts of the characters, through the use of telepathy and mental manipulation techniques adds a complex psychological dimension to the story.
• Dystopia depicts a future society where telepathy is ubiquitous and intimacy is almost non-existent.

Specifically, Bester creates a futuristic society in which telepathy is ubiquitous (a society in which “espers”, or telepaths, are an integral part of daily life and the justice system), and crimes are almost impossible to commit (violent crime is almost non-existent since thoughts are detected before they are implemented), a premise that creates a complex and fascinating framework for the story, where the protagonist, Lincoln Powell, a high-ranking telepath, tries to capture the other opposing protagonist, Ben Reich, a rich and powerful businessman, who decides to commit a crime, defying the laws of the telepathic society, devising an elaborate plan, using psychology and manipulation to achieve his goal, the theme of “demolition” being a form of punishment, in which the criminal’s mind is completely reset.

Bester uses an experimental narrative style, which combines elements of science fiction, thriller, and psychology (being influenced by pulp fiction and the noir style of detective novels), using literary techniques such as stream of consciousness and collage to create an intense and captivating reading experience, exploring the depths of the human psyche, revealing the motivations and conflicts of the characters, raising questions about the nature of identity, guilt and free will, the nature of reality, the power of the mind and the limits of technology.

Thus, it revolutionized the science fiction genre, by introducing new narrative techniques and psychological themes, influencing writers such as William Gibson and Philip K. Dick, and is considered a precursor novel to cyberpunk (a world ruled by industrial elites, similar to the megacorporations in cyberpunk). However, the “emphasis” is not “placed” on technology, but on how the human mind and telepathy can shape society.

At this “point”, as a long-time reader and cinephile, I can’t help but notice that the film Minority Report (2002) has quite similar themes to The Demolished Man (1953). However, the film is based on the short story The Minority Report (1956) written by Philip K. Dick (which has been noted to have been inspired by the work of Alfred Bester).

But, “The Minority Report” delimits itself by exploring deep themes related to free will, determinism, and the nature of justice (in the conditions of a surveillance society, being a warning against excessive control and sacrificing individual freedom for collective safety), Dick introducing the concept of “pre-crime”, a system in which crimes are prevented before they are committed, based on the precognitive visions of mutants called precogs (precognitives – individuals with psychic powers who can “see” the future).

Thus, the protagonist, John Anderton, head of the Precrime division, is unexpectedly accused of committing a crime, putting him on the run to prove his innocence, based on the concept of “minority report” which comes from the fact that the three precognitives do not always have identical visions of the future (one of them can see an alternative version, which could suggest that the future is not inevitable), Anderton realizing that the system is imperfect and that, in fact, his actions can change the predicted destiny (a key question of the story is whether the future is fixed or if it can be changed).

The story raises fundamental questions about free will, revealing the tension between the ability to choose and the idea that the future is predestined, with Dick examining the nature of justice, questioning whether it is right to punish people for crimes they have not yet committed, exploring the relative nature of reality, suggesting that our perception of the world is often subjective and distorted.

And in the case of the film “Minority Report“, successfully adapted by director Steven Spielberg (certainly inspired by Dick’s novel), the difference appears (even though it is stated that there are no “influences” by “academics”) that the “precogs” (three mutants) predict crimes, and the authorities act preventively to arrest suspects before they commit the act, compared to the telepathic “Espers” who detect criminal intentions and prevent crimes through continuous mental surveillance.

Then, the ending and philosophical implications are different, with Bester’s novel being more focused on psychological conflict and how the protagonist tries to “fantasize” the system, while Dick’s novel, including the film, explores the dangers of a society that sacrifices its freedoms for security.

Another comparative detail is that the film’s vision of the future is more complex and politicized, introducing an antagonist who tries to manipulate the system, while in the novel the ending is darker, and Anderton ultimately accepts that Precrime must continue, while the film the system is destroyed.

But, let’s not overlook this reality (!), the two works have similar themes and concepts, being representative of the major directions of 20th-century dystopian SF.

That’s enough for this episode (to be continued in future episodes)!

Merticaru Dorin Nicolae

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