Aslan's Kin
    Interfaith Fantasy and Science Fiction

    Ursula K. Le Guin

    The Earthsea Quartet, by Ursula K. Le Guin, breaks away from Western patterns of fantasy to depict a world run on Taoist principles. In her other books of science fiction and fantasy, this American writer has sometimes drawn upon mythology.

    For an example of the use of science fiction of a living religious mythos one may turn to the work of Cordwainer Smith, whose Christian beliefs are evident, I think, all through his work, in such motifs as the savior, the martyr, rebirth, the "underpeople." Whether or not one is a Christian, one may admire wholeheartedly the strength and passion given the works by the author's living belief. In general, however, I think the critics' search for Christian themes in science fiction is sterile and misleading. For the majority of science-fiction writers, the themes of Christianity are dead signs, not living symbols, and those who use them do so all too often in order to get an easy emotional charge without working for it. They take a free ride on the crucifix, just as many now cash in cynically on the current occultist fad. The difference between this sort of thing and the genuine, naive mysticism of an Arthur Clarke, struggling to express his own, living symbol of rebirth, is all the difference in the world. 

    Beyond and beneath the great living mythologies of religion and power there is another region into which science fiction enters. I would call it the area of the Submyth: by which I mean those images, figures, and motifs which have no religious or moral resonance and no intellectual or aesthetic value, but which are vigorously alive and powerful, so that they cannot be dismissed as mere stereotypes. They are shared by all of us; they are genuinely collective. Superman is a submyth. His father was Nietzsche and his mother was a funnybook, and he is alive and well in the mind of every ten-year-old – and millions of others. Other science-fictional submyths are the blond heroes of sword and sorcery, with their unusual weapons; insane or self-deifying computers; mad scientists; benevolent dictators; detectives who find out who done it; capitalists who buy and sell galaxies; brave starship captains and/or troopers; evil aliens; good aliens; and every pointy-breasted brainless young woman who was ever rescued from monsters, lectured to, patronized, or, in recent years, raped, by one of the aforementioned heroes.

    It hurts to call these creatures mythological. It is a noble word, and they are so grotty. But they are alive, in books, magazines, pictures, movies, advertising, and our own minds. Their roots are the roots of myth, are in our unconscious – that vast dim region of the psyche and perhaps beyond the psyche, which Jung called "collective" because it is similar in all of us, just as our bodies are basically similar. Their vigor comes from there, and so they cannot be dismissed as unimportant. Not when they can help motivate a world movement such as fascism! —But neither can they furnish materials useful to art. They have the vitality of the collective unconscious, but nothing else, no ethical, aesthetic, or intellectual value. They have no element of the true myth except its emotive, irrational "thereness." The artist who deliberately submits his work to them has forfeited the right to call his work science fiction; he's just a popcultist cashing in.

    True myth may serve for thousands of years as an inexhaustible source of intellectual speculation, religious joy, ethical inquiry, and artistic renewal. The real mystery is not destroyed by reason. The fake one is. You look at it and it vanishes. You look at the Blond Hero – really look – and he turns into a gerbil. But you look at Apollo, and he looks back at you.

    ["Myth and Archetype in Science Fiction," The Language of the Night: Essays on Fantasy and Science Fiction]

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