self-deception

The phenomenon where science fiction tries to have it both ways—respecting serious topics while simultaneously exploiting them—resulting in a misleading representation of reality.

4 chapters across 4 books

Microworlds: writings on science fiction and fantasy (1984)Stanislaw Lem

4. This point of view may prompt some fans to ask the question why science-fiction writers should not be allowed to make an intellectual game out of the topic of mankind’s doom, and why the science-fiction field should be forbidden that which is done with complete justification in the field of the crime novel? My answer is: Surely nothing in heaven or on earth prohibits us from doing so; in the same way as there are no “absolute” prohibitions to hinder us from playing with corpses or the genitalia of our fathers or from concentrating our whole love life on the goal of sleeping as fast as possible with as many women as possible in order to establish a record. We could do all these things as a matter of course, but surely nobody praises such programs as something to further social values: neither can we deny that these actions promise certain new liberties only annulling forever taboos that have stayed intact until today. As the English put it: you cannot have it both ways; you cannot respect a life, a topic, a feeling, and prostitute it at the same time. At the utmost you can falsify the real appearance and real meaning of a situation brought about by your own actions deliberately or unconsciously; but hiding one’s head in the sand is fraught with well-known dangers. According to the whole historical tradition of our culture, truth has inherent value, whether pleasant or depressing. If crime novels follow their own schemata to falsify reality, it does not matter, since nobody looks into these novels for the highest revelations and initiations into the abysses of human nature. If science fiction adapts itself to the crime novel, it must stop claiming to be considered as something better than the crime novel. Its peculiar state of continual oscillation between the Upper and the Lower Realms of literature is • symptom of its repetitive attempts to have it both ways. But this is impossible without self-deception.

The chapter critiques the intellectual treatment of mankind's doom in science fiction, arguing that while there are no absolute prohibitions against exploring taboo or dark subjects, such treatment should not be mistaken for advancing social values or deeper truths. Lem contrasts science fiction with crime novels, noting that the latter's falsification of reality is accepted because they are not expected to reveal profound human insights, whereas science fiction's attempt to oscillate between serious and trivial literary realms leads to self-deception. He emphasizes the cultural importance of truth and warns against the simultaneous respect and exploitation of serious topics.

Chapterhouse: Dune (1985)Frank Herbert

Chapter 33

In this chapter, Bellonda confronts the Mentat-ghola Duncan Idaho aboard the no-ship, intending to eliminate him due to his perceived danger. Their interaction reveals complex mutual recognition of each other's strengths and vulnerabilities, with Idaho challenging Bellonda's assumptions and exposing internal conflicts within the Bene Gesserit. The dialogue explores themes of trust, manipulation, and the necessity of cooperation in the face of existential threats, while also highlighting the precarious position of the Bene Gesserit amidst external and internal pressures.

The Fall (1956)Albert Camus

Chapter 6

In this chapter, the narrator reflects on a pivotal moment in his life marked by an enigmatic laugh that triggered a gradual awakening to his own vanity, hypocrisy, and the social dynamics of power and domination. He candidly admits to his self-centeredness and forgetfulness, recognizing how he lived superficially, detached from genuine experiences and relationships. The narrator also critiques societal hypocrisy, particularly regarding slavery and power, and reveals his realization of the performative nature of social interactions and his own duplicity.

The Stochastic Man (1975)Robert Silverberg

Chapter 14

The narrator reflects on his initial reluctance to join Paul Quinn's administration after the mayoral election, only to accept a position driven by an addictive attraction to power. He and the campaign team transition into governing roles, carefully selecting a diverse and competent city government. The narrator reveals his deeper obsession with Quinn's potential presidency, admitting that his true desire is to wield power vicariously through Quinn, whom he sees as an extension of himself.