Sci-Fi Museum Opens in Seattle

Literary critics usually consider science fiction with all the affection and respect that Cinderella's step-mother gave the future Mrs. Prince Charming. Fortunately, the fans of science fiction are more intelligent and usually can't be bothered with those who lack the passion. What ought to give the critics pause is the immense effect that science fiction has in a technological society -- which Seattle's newly opened Science Fiction Museum and Hall of Fame illustrates.

The most profound example is the wretched cell phone, bane of theatre goers and those who don't want the boss to reach them. The most popular variety these days is the "flip phone," first shown to the world on "Star Trek" as a communicator. Or more elegantly, the communications satellite that makes the 21st century hum -- a small idea from the mind of Arthur Clarke, who wrote 2001 among other things.

The Seattle museum covers a mere 13,000 square feet (The modest Frick in New York is 31,000 square feet in area) and tries to handle the 200 years or so that science fiction has existed (Jules Verne was born in 1825, Mary Shelley published Frankenstein in 1818, and da Vinci's helicopter designs date from 1500 -- one may draw the line anywhere). The museum is more than just a dilettante's exercise; the advisory board includes: Ray Bradbury, David Brin, Octavia Butler, Orson Scott Card, Freeman Dyson, George Lucas, Steven Spielberg and chairman Greg Bear.

Ironically, one of the hardest things about the museum is to keep the artifacts from decaying. The acidity in pulp paper makes the early issues of Amazing Stories or Analog fragile indeed. Foam rubber beasties from "Dr. Who" or "Lost in Space" are long past salvaging in many cases.

However, that may not necessarily be a bad thing. The genre is about speculation, thinking about the future and how the species can change it for the better. The successful artifacts won't be in a museum -- like the cell phone on everyone's hip.


© Copyright 2004 by The Kensington Review, J. Myhre, Editor. No part of this publication may be reproduced without written consent.


Home