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Cold War Fears Science Fiction Reflects (Caggia Social Studies)

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Science Fiction Reflects
Cold War Fears
Many writers of science fiction draw on the scientific and
social trends of the present to describe future societies that
might arise if those trends were to continue. Nuclear proliferation, the space race,
early computer technology, and the pervasive fear of known and unknown dangers
during the Cold War were the realities that prompted a boom in science fiction dur-
ing the 1950s and 1960s.
1950–1959
THE BODY SNATCHERS
Published in 1955 at the height of the Great Fear, Jack Finney’s The Body
Snatchers (on which the movie Invasion of the Body Snatchers was based) tells
of giant seed pods from outer space that descend on the inhabitants of a
California town. The pods create perfect physical duplicates of the townspeople
and lack only one thing—human souls.
“Miles, he looks, sounds, acts, and remembers
exactly like Ira. On the outside. But inside he’s different.
His responses”—she stopped, hunting for the word—
“aren’t emotionally right, if I can explain that. He
remembers the past, in detail, and he’ll smile and say
‘You were sure a cute youngster, Willy. Bright one, too,’
just the way Uncle Ira did. But there’s something missing,
and the same thing is true of Aunt Aleda, lately.”
Wilma stopped, staring at nothing again, face intent,
wrapped up in this, then she continued. “Uncle Ira was
a father to me, from infancy, and when he talked about
my childhood, Miles, there was—always—a special
look in his eyes that meant he was remembering the
wonderful quality of those days for him. Miles, that
look, ’way in back of the eyes, is gone. With this—this
Uncle Ira, or whoever or whatever he is, I have the feel-
ing, the absolutely certain knowledge, Miles, that he’s
talking by rote. That the facts of Uncle Ira’s memories are
all in his mind in every last detail, ready to recall. But the
emotions are not. There is no emotion—none—only the
pretense of it. The words, the gestures, the tones of
voice, everything else—but not the feeling.”
Her voice was suddenly firm and commanding:
“Miles, memories or not, appearances or not, possible
or impossible, that is not my Uncle Ira.”
—Jack Finney, The Body Snatchers (1955)
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THE MARTIAN CHRONICLES
In The Martian Chronicles, Ray Bradbury describes how ear thlings who have colo-
nized Mars watch helplessly as their former planet is destroyed by nuclear warfare.
They all came out and looked at the sky that night. They left their suppers or
their washing up or their dressing for the show and they came out upon their
now-not-quite-as-new porches and watched the green star of Earth there. It
was a move without conscious effort; they all did it, to help them understand
the news they had heard on the radio a moment before. There was Earth and
there the coming war, and there hundreds of thousands of mothers or grand-
mothers or fathers or brothers or aunts or uncles or cousins. They stood on
the porches and tried to believe in the existence of Earth, much as they had
once tried to believe in the existence of Mars; it was a problem reversed. To
all intents and purposes, Earth now was dead; they had been away from it
for three or four years. Space was an anesthetic; seventy million miles of
space numbed you, put memory to sleep, depopulated Earth, erased the
past, and allowed these people here to go on with their work. But now,
tonight, the dead were risen, Earth was reinhabited, memory awoke, a mil-
lion names were spoken: What was so-and-so doing tonight on Earth? What about this
one and that one? The people on the porches glanced sidewise at each other’s faces.
At nine o’clock Earth seemed to explode, catch fire, and burn.
The people on the porches put up their hands as if to beat the fire out.
They waited.
—Ray Bradbury, The Martian Chronicles (1950)
A CANTICLE FOR LEIBOWITZ
In A Canticle for Leibowitz, Walter M. Miller, Jr., portrays the centuries after a nuclear holocaust as a new
“Dark Age” for humanity on earth.
He had been wandering for a long time. The search seemed endless, but
there was always the promise of finding what he sought across the next rise
or beyond the bend in the trail. When he had finished fanning himself, he
clapped the hat back on his head and scratched at his bushy beard while
blinking around at the landscape. There was a patch of unburned forest on
the hillside just ahead. It offered welcome shade, but still the wanderer sat
there in the sunlight and watched the curious buzzards. . . .
Pickings were good
for a while in the
region of the Red
River; but then out of
the carnage, a city-
state arose. For rising
city-states, the buz-
zards had no fond-
ness, although they
approved of their eventual fall. They shied away
from Texarkana and ranged far over the plain to the
west. After the manner of all living things, they
replenished the Earth many times with their kind.
Eventually it was the Year of Our Lord 3174.
There were rumors of war.
—Walter M. Miller, Jr., A Canticle for Leibowitz (1959)
Cold War Conflicts 835
THINKING CRITICALLY
THINKING CRITICALLY
IINTERNET ACTIVITY
CLASSZONE.COM
1. Comparing
What themes, or general messages
about life or humanity, do you think these three books
convey? How might readers’ interpretations of these
messages today differ from readers’ interpretations
during the Cold War?
SEE SKILLBUILDER HANDBOOK, PAGE R8.
2.
Visit the links for American Literature to learn more
about Ray Bradbury and The Martian Chronicles.
When was The Martian Chronicles published? How
does it reflect Cold War fears? What does the writing
tell you about Ray Bradbury’s view of American society
at the time?
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