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David Brin(born October 6, 1950) is a scientist and best-selling author whose
future-oriented novels include Earth and Hugo Award winners Startide Rising and Uplift War.
(The Postman inspired a major film in 1998.) Brin is also known as a leading commentator
on modern technological trends. His non fiction book -- The Transparent Society - won
the Freedom of Speech Award of the American Library Association. Brin's newest novel -
KILN PEOPLE - explores a fictional near future when people use cheap copies of themselves
to be in two places at once. THE LIFE EATERS - a graphic novel - explores a chilling
alternative outcome of World War II.
(more on: David Brin's homepage).
In Startide Rising you were very focused in
imagining intelligent animals to develop a sort of
social structure and cooperate with mankind. Do you
think this could still be a topic for science
fiction, biology and genetic new frontiers?
Of course it can. Just last month, scientists
discovered that dolphins use names for themselves and
others. We are discovering more things in common with
other creatures all the time, and this common traits
help us to understand the many ways that human beings
are new and unique. Not only things that can be
improved about ourselves, but also how we might no
longer be alone.
What should a science fiction author try to
express in his books, on your opinion?
Science fiction is the "jazz" of literature in several
ways. First, though it has European roots - and even
strong tendrils from Asia - the main trunk appears to
be brashly American, exhibiting a sense of defiance
toward boundaries, whether these are borders of space,
time, or philosophy.
Science Fiction is also like jazz in its fascination
with both transformation and change. SF is unafraid
of contemplating transformation of the self, or a
myriad possible changes to the external world. It is
the literature of uncertainty in mutagenic times.
This may be why SF is viewed with suspicion by many in
the classic literary community, which has long touted
the unpleasant notion of "eternal verities" - that
human nature cannot or should not change. Authorities
claim that we are static beings, and that children
must repeat the mistakes of their parents, ad
infinitum. But since literature should, ideally,
instruct, move and transform minds with fresh insight,
this fixation on "eternal verities" can only be seen
as reflecting an inherent failure of confidence in the
power of literature itself.
Science fiction, in contrast, believes that human
beings can remake themselves. True, a majority of
stories are cautionary tales that warn about failures
or bad effects from transformation. But these
warnings carry an implicit notion that it might also
be done right. If - for example - we heed enough
far-seeing tales!
Why do we science fiction fans always more rarely
read about alien races in our favorite novels? Have
all authors suddenly become so skeptical about life
elsewhere than Earth?
SF appears to be in decline in the West, where it was
invented. But it is rising rapidly in China and the
East. Perhaps it is also the literature of
confidence. Perhaps ageing populations do not yearn
for the adventure and romance of meeting alien minds.
That may be a trait of young and vigorous cultures.
I hope to learn more about this when I go to China for
the Asian Year of SF, in 2007
On your writing: is it more important for you to
outline a story or to set up a satisfactory set of
characters?
I let no pattern control me. Sometimes it is a dream
or a phrase or a scientific idea or a character.
Which are the authors that you consider a model
for you?
As with any branch of human storytelling, science
fiction has a spectrum of quality and depth, ranging
from shallow Star Wars romps to the dark, serious
explorations of George Orwell, Aldous Huxley and Mary
Shelley. Poul Anderson was the greatest storyteller.
Frederik Pohl explored ideas. Umberto Ecco showed us
how far back the struggle for light really goes. John
Brunner pierced the near future. Alice Sheldon
pierced out flawed natures.
You have also another occupation than writing. Can you tell me about that?
I travel around the world giving speeches about the
future. I have a new software company (a small one!)
I keep doing little bits of science. Life is busy.
What are you working to at the present moment?
My award winning novel "Kiln People" is a fast-moving
noir detective story, set in a vivid future when
people can literally be in two places at once. Even
more vivid, a hardcover graphic novel "The Life
Eaters" covers a dark theme, my take on how
mystically-obsessed Nazis might have hoped to conquer
using a bizarre kind of magic. Based on a Hugo nom'd
novella, expanded and explored with stirring art by
Scott Hampton. (The French seem keen on this one.)
Also in the works, a "Heinleinian" book. Aliens
kidnap 3,000 kids from a Californian high school!
Also, a set of books about popular culture, starting
with...
..."KING KONG IS BACK! An Unauthorized
Look at One Humongous Ape!" (filled with hilarous
insights about the movies).
Then, later in 2006... ..."STAR WARS ON TRIAL: 21
Authors Examine the Most Popular SciFi Epic of All
Time."
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