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Scale and Speculative Futures in Russell Hoban's Riddley Walker and Kim Stanley Robinson's 2312

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Scale and Speculative Futures in Russell Hoban's Riddley Walker and Kim Stanley Robinson's 2312 Chapter 8: Scale and Speculative Futures in Russell Hoban’s Riddley Walker and Kim Stanley Robinson’s 2312 Matthew Hannah and Sylvia Mayer Any fictional text can be regarded as speculative—in the sense that all fiction invents alternative realities and thus engages with questions of how we under- stand our present worlds and ourselves, our knowledge of the past, and our con- ceptualizations of the future. As readers we enjoy the “cognitive provisionality” fictional texts provide us with, the opportunity to suspend disbelief, engage in “imaginative play” (Gallagher 2006: 347), and speculate about the (im)probable, the (im)possible, the (un)desirable of proposed realities. Some genres, however, have lent themselves particularly well to speculation about possible futures. Whether labeled “utopia,” “dystopia,” “science fiction,” “speculative fiction,” or “post-apoc- alyptic fiction,” future-oriented fictional texts all engage in the imagination of possible future worlds, thereby responding to the political, social, economic, or cultural challenges of the times in which they are written. In some way or another, these genres all share the qualities that Fitting (2010) regards as characteristic for modern science fiction. They represent “a response to the effects of the scientific transformation of the world beginning around the end of the eighteenth century: in the European awareness of history and the future, and in the increasing impact of the scientific method and of technological change on people’s lives” (136).1 This essay addresses two novels that create speculative future worlds as re- sponses to the economic, scientific, and technological challenges that marked the times of their writing: Russell Hoban’s Riddley Walker and Kim Stanley Robinson’s 2312. Each of these novels responds very differently to “the terrors and delights of technological modernity” (Luckhurst 2005: 170) that science fiction explores. 1 On the speculative quality of any fictional text, see Chu’s science-fictional theory of mimesis, which argues that realism and science fiction “exist on a continuum” (Chu 2010: 7), and Freed- man’s claim that even the most realistic fiction reveals “an irreducible degree of alterity and es- trangement” (Freedman 2000: 21). For a survey of more recent scholarship on such genre catego- rization, including discussions on the distinction between science fiction and speculative fiction, see also Fitting (2010); Vieira (2011); and Voigts (2015). 192 Matthew Hannah and Sylvia Mayer Riddley Walker engages in an exploration of the challenges of twentieth-century nuclear technology and develops a thoroughly dystopian far-future scenario. 2312 engages in an exploration of the challenges of early twenty-first-century comput- er, biomedical, and geo-engineering technologies and develops a future scenario marked by a mixture of utopian and dystopian features. Hoban’s novel, published in 1980, imagines the far-reaching effects of nuclear catastrophe. Variously labeled “apocalyptic sf” (Mousoutzanis 2009), “post-apoc- alyptic science fiction” (Branscomb 1991; Maynor/Patteson 1984), or “post-nuclear dystopia” (Horstmann 2015), the novel envisions a geographically isolated, rural society in southeast England some 2,500 years after a nuclear war. The depiction of this future society’s habits of living, political and economic structures, and re- ligious beliefs positions it in what can be identified as a new iron age where daily work routines lack the mechanical assistance of an industrial age existence and life expectancy is low. To Natalie Maynor and Richard F. Patteson, Hoban’s ac- count of this post-apocalyptic world, as well as his invention of an English lan- guage variant that reflects the dramatically altered conditions of social reality, turns Riddley Walker into one of “the most sophisticated work[s] of fiction ever to speculate about man’s future on earth and the implications of a potentially de- structive technology” (Maynor/Patteson 1984: 18). Robinson’s novel, published in 2012, is set 300 years in the future, when hu- manity has successfully colonized the solar system, while planet Earth still strug- gles with ecological devastation, overpopulation, and political strife that extends into space. The local settings of the novel include planets, moons, and asteroids that have been terraformed—in part, to preserve biomes that had been destroyed on Earth due to anthropogenic global climate change—and, in the case of the as- teroids, are not only inhabited by humans but also used as means of rapid trans- portation. Dramatic advances in science and technology have made such terra- forming possible while also accelerating travel and mobility for the privileged, spurring bodily human enhancements, creating flexible sexualities and genders, and significantly increasing life expectancy.2312 can be classified as a critical uto- pia (Moylan 1986) that engages with the social, economic, political, and cultural risks, the chances and threats, generated by the ongoing technological processes of modernization. While the speculative genre of science fiction is clearly defined by its future orientation, the relevance of spatiality for the genre has also increasingly been acknowledged, especially in the wake of postmodern theorizing and the spatial turn in literary and cultural studies. In 1987, drawing on his notion of the predom- inance of space in postmodern culture, Fredric Jameson argued that “we need to explore the proposition that the distinctiveness of SF as a genre has less to do with time (history, past, future) than with space” ([1987] 2005: 313). More recently, James Kneale (2009) claimed that the genre of science fiction lends itself particularly well Chapter 8: Scale and Speculative Futures 193 to the analysis of the shapes and functions of spatial structure in light of current work in human geography as well as literary spatial studies, since it imagines al- ternative worlds without a referent in so-called real life. As “representations of places that do not or cannot exist” (424), science fiction draws particular attention to the relationality, heterogeneity, and process-character that mark the construc- tion of space and place—whether in fiction or in the ‘real’ world. Drawing on these ideas, we focus our analysis on the significance of “scale” for the spatial representation of the two novels’ speculative future worlds. The catego- ry of scale, too, has become increasingly relevant in human geography and in lit- erary spatial studies. In geography, there are two general kinds of scale definition, one quite technical and cartographic, the other “a kind of shorthand to describe either an areal unit on the Earth’s surface (as when studying a phenomenon ‘at the regional scale’) or the extent of a process’s or a phenomenon’s geographical reach (as when suggesting that a particular process is ‘a regional’ or ‘a national’ one)” (Herod 2011: xi). The literary critic Hsuan L. Hsu offers a more encompassing transdisciplinary definition: At once an epistemological framework, an imaginative construct, and an idea materialized in real spaces and activities, scale can only be understood through interdisciplinary analysis that attends to its fictive, geographical, and political eco- nomic properties. (Hsu 2017: 125) In this essay, we understand scalar concepts to pertain to graduated scales in this geographical sense as treated in literary works. Focusing on the role of scale in the novels, we explore how scale is employed in Riddley Walker and 2312 for the purpose of drawing attention to processes of spatial structuring and to specific thematic preoccupations in the two novels. In the next section, we provide definitions of the scale concepts that we turn into tools for textual analysis and interpretation. We then explore the ‘re-scaled’ worlds of the two novels, attending to the loss of the global or planetary scale in Riddley Walker and the expansion of scale in 2312. By explaining processes and out- comes of re-scaling, we shed light on the local, temporal, and social settings from which the novels’ respective plots unfold. We compare scale-related strategies in the two novels, including failed attempts at scale-jumping in Riddley Walker and key instances of successful scale-jumping in 2312. Our analysis focuses on the desperate and misguided mimetic attempts in Riddley Walker to regain access to atomic and molecular knowledge that promises to reopen access to distant parts of the planet, and on the plan to save Earth in 2312 by making use of the opportu- nities of an expanded scale system. 194 Matthew Hannah and Sylvia Mayer Scale, Human Geography, and Science Fiction In international debates in human geography since the 1970s, a number of key concepts have played central roles for addressing the mutual constitution of social and spatial relations. Bob Jessop, Neil Brenner and Martin Jones (2008) identify four such concepts: territory, place, scale, and networks. These concepts have each been the focus of lasting discussion. In the course of examining them, it has be- come clear that all four can be seen as socially constructed (and often contested) heuristic devices, which, through the understandings of social actors, neverthe- less produce real effects in socio-spatial organization of life. It is by now also clear that specific constructions of territory, place, scale, and network influence each other in complex ways. In everyday parlance, scale is usually assumed to refer to a nested hierarchy of geographical levels. More broadly,
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