SCIENCE FICTION Istvan Csicsery-Ronay Jr.'s The Seven Beauties of Science Fiction Paul Kincoid The commonly accepted academic definition of science fictionwas formulated byDarko Suvin in the 1970s, but now there isa much needed revision ofhis ideas.Butdoes it go farenough? Istvan Csicsery-Ronay Jr.The Seven Beauties of Science Fiction. Middletown, Conn. Wesleyan University Press. 2008. 336 pages. $35. isbn 978-0-8195-6889-2 t: [ his isprobably one of thebest andmost sig nificantworks of science-fictioncriticismto have appeared so far this century.This is not to say that Istvan Csicsery-Ronay Jr. is always right and that I always agree with him: he isn't and I don't. But my disagreements aremostly in the way of thecontinuingdialogue thathe calls for. What makes this book significant is that it marks a necessary, if belated, corrective to the orthodoxMarxist view of science fiction thathas been themore or less default academic response to the genre since at least thework ofDarko Suvin. As such,The SevenBeauties ofScienceFiction is likely to become the central text of SF criticism for some time to come. It is easy tounderstand why science fictionin particular has an appeal toMarxist theorists. The Western myth of science, ever since the days of Francis Bacon, has been that science represents an inevitable advance toward truth and material well being. This makes ita very good fit with Marxist ideas ofhistorical inevitability. And as a proponent of, and channel for, much of that Western myth of science, science fictionseems to match very closely the ideals for how fiction should work. What makes me uneasy about theMarxist approach is the weight itplaces on thescience inscience fiction. Let's face it, science fiction bears as much relation to the scientificas realist fictiondoes to the real. They are at best approximations, at worst gross distortions ofwhat is there, more as an aspiration forthefictionthanas itsdefining characteristic. What's more, wherever we place the origins of thegenre, itshistory has been one of constant change. The literaturehas rarely stayed close to its scientificguidelines, and has oftenwandered off intovery different territory. The view of science fiction espoused by Suvin was vital in provid ing academic authority for the study of science fiction, but the strictures were quite narrow and rigid and bear but a passing relationship to the ever-changing shape of science fiction today. Hence the need for this relaxation of Suvin's views; the only question is whether Csicsery Ronay has gone far enough. At the core of Suvin's characterization of science fiction is thenotion of cognitive estrange ment, adapted from theRussian formalists, and the idea of the novum, adapted from thework of theMarxist philosopher Ernst Bloch. Csicsery Ronay retains the notion of cognitive estrange ment but downplays its significance as a defining characteristic of science fiction. I remain skep tical about cognitive estrangement on several fronts.Estrangement is that literaryeffect which makes us stop and see things afresh; the cogni tive element applies this freshness both to the exercise of our imagination and the product of that imagination. I am not clear that all forms of literaryestrangement are not in some degree cognitive. This in turn leads to furtherconcerns: I am unconvinced thatcognitive estrangement as such applies toeverythingwe would characterize as science fiction,or that itapplies exclusively to what we term science fiction. Indeed, too rigid an application of Suvin's ideas has, as Csicsery Ronay notes inpassing, prompted some academ ics to exclude from the genre works thatmost people uncontentiously identifyas science fiction. Even more problematic is the fact that unques 441World Literature Today tioned classics of science fiction that employ scientific ideaswhich have since been superseded might suddenly find themselves ejected from the genre. A definition of genre that identifies a novel as science fictionone day and thevery next day, due to extraliterary developments such as a chance scientific discovery, is equally insistent that it isnot science fiction,seems tome to serve no criticallyuseful purpose. Although he does not dispense with cog nitive estrangement, Csicsery-Ronay softens its more rigorous aspects. In part he does this by employing Carl Freedman's idea of the "cogni tion effect/' theway inwhich scientific language can be employed to give a consistent illusion of scientific...