Author | Addison Peale Russell |
---|---|
Country | United States |
Language | English |
Genre | Speculative fiction Utopian fiction Belles-lettres |
Publisher | Houghton Mifflin |
Publication date | 1893 |
Media type | Print (Hardcover) |
Pages | 267 |
Sub-Coelum: A Sky-Built Human World is an 1893 utopian fiction written by Addison Peale Russell. [1] The book is one volume in the large body of utopian, dystopian, and speculative literature that characterized the later nineteenth and early twentieth centuries. [2] [3]
Scholar of the genre Jean Pfaelzer has described Sub-Coelum as a "conservative utopia," a book written in reaction to the multiple radical implications of the utopian fiction of Edward Bellamy and similar writers. While some skeptics of utopianism responded with dystopian satires and parodies, others, like Russell, answered with speculative fictions of their own that defended more conservative values. (Pfaelzer places John Macnie's The Diothas and John Jacob Astor IV's A Journey in Other Worlds in the same category.) [4] Sub-Coelum has been called "a protest against the materialistic and socialistic tendencies of the times." [5]
Sub-Coelum has been termed a novel, for want of a better classification — though it is that unusual type of novel that has no plot or characters. It might more accurately be called a fantasy or a meditation on society and human affairs. The book is divided into 146 short chapters; most are a page or two in length. The style is sometimes elaborate and eloquently descriptive:
It can also be pithy and aphoristic: "Sarcasm was not often indulged, and only then between close friends." At some points the prose rises to a pitch of ecstasy or delirium:
Some critics complained about the book; a Yale reviewer noted its "vagueness and indefiniteness...." [8] Russell's imagined land has been grouped with "Altruria, Equitania...or even Meccania" [9] (the fantasy countries of William Dean Howells, Walter O. Henry, and Owen Gregory respectively).
Pfaelzer calls Sub-Coelum "an early behaviorist utopia...." [10] There is much "individuality" in Russell's projected social order, but little privacy; the people are close observers of each other. Artists who offend are jailed. Russell places a high value on sexual restraint. "Purity, of all things, was most jealously guarded. The incorrigibly impure were locked up forever. Men and women, as to that, were treated alike by the police and by the courts." [11] To obtain a marriage license, a couple must answer a long series of questions, under oath.
On the positive side, material and mechanical progress continue; the workday is shortened, and extremes of wealth and poverty are leveled out. Even racism is overcome. Surprisingly for the era of Jim Crow and anti-miscegenation laws, Russell appears to endorse inter-racial marriage: "Race prejudices gradually gave way, and bigotries. Fibres intermingled and blood interfused. Distinctions were obliterated by intermarriage." [12]
As with race, so with gender: Russell's moralizing and idealizing tendency produces an unexpected result. "Men, many of them, changed places with women, and became essentially domestic. Household duties, in a great degree, had passed into their hands. They discovered a fondness for them, as to the other sex they became distasteful." "As far as possible woman was emancipated from menial duties." The country's doctors are women. [13]
Russell consistently contrasts the past of Sub-Coelum, when things were less good, with the happier present. In the past, the nation may have had inferior clergy, and corrupt lawyers, and vain and foolish social customs [14] — but moral reformation has brought about improvement. In this way, Russell contrasts actual aspects of American culture in his age, with his vision of how things should be.
In Russell's imaginary country, "The vices, in a great measure, had been eliminated, or had died out." This includes alcohol abuse and tobacco, gambling and prize fighting. "Increase of common sense and practical wisdom was a marked result of the new life." [15] Yet (with the vagueness cited by the Yale critic) Russell never explains how this renovation in human nature comes about.
Russell also loads his fantasia with a fair share of oddities. The people of Sub-Coelum slaughter their chickens humanely, with guillotines. They keep "intelligent monkeys," along with monkey hospitals and monkey temples. They add trees and shrubs to the native forests, "to give greater variety." Squirrels are domesticated. Cemeteries are the most beautiful places in the sky-built land, and birds are lured into nesting on the graves. Snoring, whistling, and bell-ringing have been banished from society. The Sub-Coelumites have exceptionally good teeth; they train their pigs to eat in moderation.
The book is full of animals. In addition to the squirrels and monkeys, Russell includes passages on bees, butterflies, dogs, horses, orangutans, snakes, insects, and microscopic life. A ten-page chapter, the book's longest, extols the amazing qualities of rats.
Feminist science fiction is a subgenre of science fiction focused on theories that include feminist themes including but not limited to gender inequality, sexuality, race, economics, and reproduction. Feminist SF is political because of its tendency to critique the dominant culture. Some of the most notable feminist science fiction works have illustrated these themes using utopias to explore a society in which gender differences or gender power imbalances do not exist, or dystopias to explore worlds in which gender inequalities are intensified, thus asserting a need for feminist work to continue.
Science fiction and fantasy serve as important vehicles for feminist thought, particularly as bridges between theory and practice. No other genres so actively invite representations of the ultimate goals of feminism: worlds free of sexism, worlds in which women's contributions are recognized and valued, worlds that explore the diversity of women's desire and sexuality, and worlds that move beyond gender.
A utopia or eutopia typically describes an imaginary community or society that possesses highly desirable or nearly perfect qualities for its members. It was coined by Sir Thomas More for his 1516 book Utopia, describing a fictional island society in the New World. However, it may also denote an intentional community. In common parlance, the word or its adjectival form may be used synonymously with "impossible", "far-fetched" or "deluded".
Utopian and dystopian fiction are genres of speculative fiction that explore social and political structures. Utopian fiction portrays a setting that agrees with the author's ethos, having various attributes of another reality intended to appeal to readers. Dystopian fiction offers the opposite: the portrayal of a setting that completely disagrees with the author's ethos. Some novels combine both genres, often as a metaphor for the different directions humanity can take depending on its choices, ending up with one of two possible futures. Both utopias and dystopias are commonly found in science fiction and other types of speculative fiction.
Looking Backward: 2000–1887 is a utopian novel by Edward Bellamy, a journalist and writer from Chicopee Falls, Massachusetts; it was first published in 1888.
Mizora is a feminist science fiction utopian novel by Mary E. Bradley Lane, first published in 1880–81, when it was serialized in the Cincinnati Commercial newspaper. It appeared in book form in 1890. Mizora is "the first portrait of an all-female, self-sufficient society," and "the first feminist technological Utopia."
Woman on the Edge of Time is a 1976 novel by Marge Piercy. It is considered a classic of utopian "speculative" science fiction as well as a feminist classic. The novel was originally published by Alfred A. Knopf. Piercy draws on several inspirations to write this novel such as utopian studies, technoscience, socialization, and female fantasies. One of Piercy's main inspirations for her utopian novels is Plato's Republic (Plato). Piercy describes the novel as, "if only...". Piercy even compares Woman on the Edge of Time and another one of her utopian novels He, She, and It when discussing the themes and inspirations behind Woman on the Edge of Time.
A Modern Utopia is a 1905 novel by H. G. Wells.
The Republic of the Future: or, Socialism a Reality is a novella by the American writer Anna Bowman Dodd, first published in 1887. The book is a dystopia written in response to the utopian literature that was a dramatic and noteworthy feature of the second half of the nineteenth century.
Caesar's Column: A Story of the Twentieth Century is a novel by Ignatius Donnelly, famous as the author of Atlantis: The Antediluvian World. Caesar's Column was published pseudonymously in 1890. The book has been variously categorized as science fiction, speculative fiction, dystopian fiction, and/or apocalyptic fiction; one critic has termed it an "Apocalyptic Utopia."
New Amazonia: A Foretaste of the Future is a feminist utopian novel, written by Elizabeth Burgoyne Corbett and first published in 1889. It was one element in the wave of utopian and dystopian literature that marked the later nineteenth and early twentieth centuries.
Unveiling a Parallel: A Romance is a feminist science fiction and utopian novel published in 1893. The first edition of the book attributed authorship to "Two Women of the West." They were Alice Ilgenfritz Jones and Ella Robinson Merchant, writers who lived in Cedar Rapids, Iowa.
Arqtiq: A Story of the Marvels at the North Pole is a feminist utopian adventure novel, published in 1899 by its author, Anna Adolph. The book was one element in the major wave of utopian and dystopian fiction that marked the later nineteenth and early twentieth centuries.
Addison Peale Russell was an American author of the later nineteenth century. He is remembered mainly for his Sub-Coelum — "his best book...a Utopian protest against materialistic socialism."
The Milltillionaire, or Age of Bardization is a work of utopian fiction written by Albert Waldo Howard, and published under the pseudonym "M. Auberré Hovorré." The book was one element in the major wave of utopian and dystopian literature that characterized the final decades of the nineteenth century.
A dystopia is a speculated community or society that is undesirable or frightening. It is often treated as an antonym of utopia, a term that was coined by Sir Thomas More and figures as the title of his best known work, published in 1516, which created a blueprint for an ideal society with minimal crime, violence and poverty. The relationship between utopia and dystopia is in actuality not one simple opposition, as many utopian elements and components are found in dystopias as well, and vice versa.
A Crystal Age is a utopian novel/Dystopia written by W. H. Hudson, first published in 1887. The book has been called a "significant S-F milestone" and has been noted for its anticipation of the "modern ecological mysticism" that would evolve a century later.
Ionia: Land of Wise Men and Fair Women is an 1898 utopian novel written by Alexander Craig. It is one work in the major wave of utopian and dystopian fiction that characterized the final decades of the nineteenth century and the start of the twentieth.
A Prophetic Romance: Mars to Earth is an 1896 utopian novel written by John McCoy, and published pseudonymously as the work of "The Lord Commissioner," the narrator of the tale. The book is one element in the major wave of utopian and dystopian literature that characterized the final decades of the nineteenth century.
Moving the Mountain is a feminist utopian novel written by Charlotte Perkins Gilman. It was published serially in Perkins Gilman's periodical The Forerunner and then in book form, both in 1911. The book was one element in the major wave of utopian and dystopian literature that marked the later nineteenth and early twentieth centuries. The novel was also the first volume in Gilman's utopian trilogy; it was followed by the famous Herland (1915) and its sequel, With Her in Ourland (1916).