The Useful Fiction of Atoms and Selves

3–4 minutes

There is a peculiar anachronism at work in how we think about reality. In physics, we still talk as if atoms were tiny marbles. In everyday life, we talk as if selves were little pilots steering our bodies through time. In both cases, we know better. And in both cases, we can’t seem to stop.

Audio: NotebookLM summary of this podcast

Consider the atom. Every chemistry textbook shows them as colorful spheres, electrons orbiting like planets. We teach children to build molecules with ball-and-stick models. Yet modern physics dismantled this picture a century ago. What we call ‘particles’ are really excitations in quantum fields—mathematical patterns, not things. They’re events masquerading as objects, processes dressed up as nouns.

The language persists because the maths doesn’t care what we call things, and humans need something to picture. ‘Electron’ is easier to say than ‘localised excitation in the electromagnetic field’.

The self enjoys a similar afterlife.

We speak of ‘finding yourself’ or ‘being true to yourself’ as if there were some stable entity to find or betray. We say ‘I’m not the same person I was ten years ago’ while simultaneously assuming enough continuity to take credit – or blame – for what that ‘previous person’ did.

But look closer. Strip away the story we tell about ourselves and what remains? Neural firing patterns. Memory fragments. Social roles shifting with context. The ‘you’ at work is not quite the ‘you’ at home, and neither is the ‘you’ from this morning’s dream. The self isn’t discovered so much as assembled, moment by moment, from available materials.

Like atoms, selves are inferred, not found.

This isn’t just philosophical hand-waving. It has practical teeth. When someone with dementia loses their memories, we wrestle with whether they’re ‘still themselves’. When we punish criminals, we assume the person in prison is meaningfully continuous with the person who committed the crime. Our entire legal and moral framework depends on selves being solid enough to bear responsibility.

And here’s the thing: it works. Mostly.

Just as chemistry functions perfectly well with its cartoon atoms, society functions with its fictional selves. The abstractions do real work. Atoms let us predict reactions without drowning in field equations. Selves let us navigate relationships, assign accountability, and plan futures without collapsing into existential vertigo.

The mistake isn’t using these abstractions. The mistake is forgetting that’s what they are.

Physics didn’t collapse when atoms dissolved into probability clouds. Chemistry students still balance equations; medicines still get synthesised. The practical utility survived the ontological revolution. Similarly, ethics won’t collapse if we admit selves are processes rather than things. We can still make promises, form relationships, and hold each other accountable.

What changes is the confusion.

Once you see both atoms and selves as useful fictions – pragmatic compressions of unmanageable complexity – certain puzzles dissolve. The ship of Theseus stops being paradoxical. Personal identity becomes a matter of degree rather than an all-or-nothing proposition. The hard problem of consciousness softens when you stop looking for the ghost in the machine.

We’re pattern-seeking creatures in a universe of flux. We freeze processes into things because things are easier to think about. We turn verbs into nouns because nouns fit better in our mental hands. This isn’t a bug in human cognition – it’s a feature. The problem comes when we forget we’re doing it.

So we end up in the peculiar position of defending little billiard balls in a field universe, and little inner captains in a processual mind, long after the evidence has moved on. We know atoms aren’t solid. We know selves aren’t fixed. Yet we persist in talking as if they were.

Perhaps that’s okay. Perhaps all language is a kind of useful betrayal of reality – solid enough to stand on, but not so solid we can’t revise it when needed.

The half-life of knowledge keeps ticking. Today’s insights become tomorrow’s anachronisms. But some fictions are too useful to abandon entirely. We just need to remember what they are: tools, not truths. Maps, not territories.

And every once in a while, it helps to check whether we’re still navigating by stars that went out long ago.

Bonus 2025 Post + Books

2025 has been a good year for this blog. I’ve crossed the 1,000-post mark, and this year it has had over 30,000 page views – best year ever. This month was the best month ever, and 1st December was the most popular day ever. That’s a lot of ‘evers’.

I shared the remainder of this post on my Ridley Park fiction blog – same reader, same books, same opinion. Any new content added below is in red.

I genuinely loathe top X lists, so let us indulge in some self-loathing. I finished these books in 2026. As you can see, they cross genres, consist of fiction and non-fiction, and don’t even share temporal space. I admit that I’m a diverse reader and, ostensibly, writer. Instead of just the top 5. I’ll shoot for the top and bottom 5 to capture my anti-recommendations. Within categories are alphabetical.

Fiction

Never Let Me Go by Kazuo Ishiguro – A slow reveal about identity, but worth the wait.

Notes from Underground by Fyodor Dostoevsky – Classic unreliable narrator.

There Is No Antimemetics Division by QNTM (AKA Sam Hughes) – Points for daring to be different and hitting the landing.

Trainspotting by Irvine Welsh – Scottish drugs culture and bonding mates narrative.

We by Yevgeny Zamyatin – In the league of 1984 and Brave New World, but without the acclaim.

Nonfiction

Capitalist Realism by Mark Fisher – Explains why most problems are social, not personal or psychological. Follows Erich Fromm’s Sane Society, which I also read in 2025 and liked, but it fell into the ‘lost the trail’ territory at some point, so it fell off the list.

Moral Politics by George Lakoff

Technofeudalism by Yanis Varoufakis – Explains why Capitalism is already dead on arrival.

NB: Some of the other books had great pieces of content, but failed as books. They may have been better as essays or blog posts. They didn’t have enough material for a full book. The Second Sex had enough for a book, but then Beauvoir poured in enough for two books. She should have quit whilst she was ahead.

ImageBooks I read in 2025 on Goodreads.
Full disclosure: I don’t always record my reading on Goodreads, but I try.

Bottom of the Barrel

Crash by J.G. Ballard – Hard no. I also didn’t like High-rise, but it was marginally better, and I didn’t want to count an author twice.

Neuromancer by William Gibson – I don’t tend to like SciFi. This is a classic. Maybe it read differently back in the day. Didn’t age well.

Nexus by Yuval Harari – Drivel. My mates goaded me into reading this. I liked Sapiens. He’s gone downhill since then. He’s a historian, not a futurist.

Outraged! by Kurt Gray – Very reductionist view of moral harm, following the footsteps of George Lakoff and Jonathan Haidt.

Society of the Spectacle by Guy Debord – A cautionary tale on why writing a book on LSD may not be a recipe for success.

Honourable Mention

Annihilation by Jeff VanderMeer was also good, but my cutoff was at 5. Sorry, Jeff.

When Aliens Speak English: The False Promise of Linguistic Familiarity

5–7 minutes

Why shared language creates the illusion – not the reality – of shared experience

Human beings routinely assume that if another agent speaks our language, we have achieved genuine mutual understanding. Fluency is treated as a proxy for shared concepts, shared perceptual categories, and even shared consciousness. This assumption appears everywhere: in science fiction, in popular philosophy videos, and in everyday cross-cultural interactions. It is a comforting idea, but philosophically indefensible.

Video: Could You Explain Cold to an Alien? – Hank Green

Recent discussions about whether one could ‘explain cold to an alien’ reveal how deeply this assumption is embedded. Participants in such debates often begin from the tacit premise that language maps transparently onto experience, and that if two interlocutors use the same linguistic term, they must be referring to a comparable phenomenon.

A closer analysis shows that this premise fails at every level.

Audio: NotebookLM summary podcast on this topic.

Shared Language Does Not Imply Shared Phenomenology

Even within the human species, thermal experience is markedly variable. Individuals from colder climates often tolerate temperatures that visitors from warmer regions find unbearable. Acclimation, cultural norms, metabolic adaptation, and learned behavioural patterns all shape what ‘cold’ feels like.

If the same linguistic term corresponds to such divergent experiences within a species, the gap across species becomes unbridgeable.

A reptile, for example, regulates temperature not by feeling cold in any mammalian sense, but by adjusting metabolic output. A thermometer measures cold without experiencing anything at all. Both respond to temperature; neither inhabits the human category ‘cold’.

Thus, the human concept is already species-specific, plastic, and contextually learned — not a universal experiential module waiting to be translated.

Measurement, Behaviour, and Experience Are Distinct

Thermometers and reptiles react to temperature shifts, and yet neither possesses cold-qualia. This distinction illuminates the deeper philosophical point:

  • Measurement registers a variable.
  • Behaviour implements a functional response.
  • Experience is a mediated phenomenon arising from a particular biological and cognitive architecture.

Aliens might measure temperature as precisely as any scientific instrument. That alone tells us nothing about whether they experience anything analogous to human ‘cold’, nor whether the concept is even meaningful within their ecology.

The Problem of Conceptual Export: Why Explanation Fails

Attempts to ‘explain cold’ to hypothetical aliens often jump immediately to molecular description – slower vibrational states, reduced kinetic energy, and so forth. This presumes that the aliens share:

  • our physical ontology,
  • our conceptual divisions,
  • our sense-making framework,
  • and our valuation of molecular explanation as intrinsically clarifying.

But these assumptions are ungrounded.

Aliens may organise their world around categories we cannot imagine. They may not recognise molecules as explanatory entities. They may not treat thermal variation as affectively laden or behaviourally salient. They may not even carve reality at scales where ‘temperature’ appears as a discrete variable.

When the conceptual scaffolding differs, explanation cannot transfer. The task is not translation but category creation, and there is no guarantee that the requisite categories exist on both sides.

The MEOW Framework: MEOWa vs MEOWb

The Mediated Encounter Ontology (MEOW) clarifies this breakdown by distinguishing four layers of mediation:

  • T0: biological mediation
  • T1: cognitive mediation
  • T2: linguistic mediation
  • T3: social mediation

Humans run MEOWa, a world structured through mammalian physiology, predictive cognition, metaphor-saturated language, and social-affective narratives.

Aliens (in fiction or speculation) operate MEOWb, a formally parallel mediation stack but with entirely different constituents.

Two systems can speak the same language (T2 alignment) whilst:

  • perceiving different phenomena (T0 divergence),
  • interpreting them through incompatible conceptual schemas (T1 divergence),
  • and embedding them in distinct social-meaning structures (T3 divergence).

Linguistic compatibility does not grant ontological compatibility.
MEOWa and MEOWb allow conversation but not comprehension.

Fiction as Illustration: Why Aliens Speaking English Misleads Us

In Sustenance, the aliens speak flawless Standard Southern English. Their linguistic proficiency invites human characters (and readers) to assume shared meaning. Yet beneath the surface:

  • Their sensory world differs;
  • their affective architecture differs;
  • their concepts do not map onto human categories;
  • and many human experiential terms lack any analogue within their mediation.

The result is not communication but a parallel monologue: the appearance of shared understanding masking profound ontological incommensurability.

The Philosophical Consequence: No Universal Consciousness Template

Underlying all these failures is a deeper speciesist assumption: that consciousness is a universal genus, and that discrete minds differ only in degree. The evidence points elsewhere.

If “cold” varies across humans, fails to apply to reptiles, and becomes meaningless for thermometers, then we have no grounds for projecting it into alien phenomenology. Nor should we assume that other species – biological or artificial – possess the same experiential categories, emotional valences, or conceptual ontologies that humans treat as foundational.

Conclusion

When aliens speak English, we hear familiarity and assume understanding. But a shared phonological surface conceals divergent sensory systems, cognitive architectures, conceptual repertoires, and social worlds.

Linguistic familiarity promises comprehension, but delivers only the appearance of it. The deeper truth is simple: Knowing our words is not the same as knowing our world.

And neither aliens, reptiles, nor thermometers inhabit the experiential space we map with those words.

Afterword

Reflections like these are precisely why my Anti-Enlightenment project exists. Much contemporary philosophical commentary remains quietly speciesist and stubbornly anthropomorphic, mistaking human perceptual idiosyncrasies for universal structures of mind. It’s an oddly provincial stance for a culture that prides itself on rational self-awareness.

To be clear, I have nothing against Alex O’Connor. He’s engaging, articulate, and serves as a gateway for many encountering these topics for the first time. But there is a difference between introducing philosophy and examining one’s own conceptual vantage point. What frustrates me is not the earnestness, but the unexamined presumption that the human experiential frame is the measure of all frames.

Having encountered these thought experiments decades ago, I’m not interested in posturing as a weary elder shaking his stick at the next generation. My disappointment lies elsewhere: in the persistent inability of otherwise intelligent thinkers to notice how narrow their perspective really is. They speak confidently from inside the human mediation stack without recognising it as a location – not a vantage point outside the world, but one local ecology among many possible ones.

Until this recognition becomes basic philosophical hygiene, we’ll continue to confuse linguistic familiarity for shared ontology and to mistake the limits of our own embodiment for the limits of consciousness itself.

Editing Is Hard and Propensity

2–3 minutes

Well, not so much hard as not particularly or inherently enjoyable.

I estimate I’ve got about a day left to complete this manuscript – ‘done’ done. When I open InDesign, it shames me – 3 days ago, I last touched this document. It doesn’t feel like 3 days have passed, but time flies.

On the right is an older version. I began reworking it into this new version over the summer, and here I am come autumn. It’s even worse if I use the Chinese calendar. Evidently, 7th November is the first day of winter. They can’t wait until soltace.

Anyway, just a brief update. This isn’t going to edit itself, and I can’t afford to pay an editor for a passion project. Besides – and let’s be honest – I can’t afford an editor in general – or at least can’t cost-justify it – and all my writing is a passion project.

Of course, editors (and cover artists) insist that one would sell more book if only they were edited or professionally rendered. There is an element of truth to this, but I’ve read some gawdawful books that were professionally edited and published through a traditional publisher, because publishers publish.

Me, I operate on razor-thin margins. Most of my publications haven’t even broken even – even if I ignore opportunity costs, which I can’t because I’m an economist. Accountants get to play that trick.

This said, I do hire reviewers, editors, and artists in small doses – homoeopathic as they might be – and I’ve had mixed results.

I’m rambling

Must really be avoiding the editing process…

Recently, I wanted to redesign the cover of one of my Ridley Park fiction books.

Image Comparison: A Tale of Two Propensities

The cover on the left is the original. It is intentionally a minimal 2-D construction – a representation of the first section of the book, the first 15 chapters.

The cover on the right is the update. It is also minimalist, representing the second section of Propensity. I’m not sure how I would depict the third section. If it comes to me, I may render a third version.

There’s a story to this. I reached out to some cover artists and told them I was unhappy with my original design but had no visual ideas. I’d leave this to the artist. It turns out that some artists don’t want full control over the design process. I can understand the hesitation.

They asked for covers that I might like, so I researched some covers and saved them to a Pinterest board.

As it turned out, after some inspiration, I decided to render this one myself, too. Hey, I tried.

What happened to the rest of the time?

OK, so there’s more. I also created a video book trailer in the evening.

It was fun enough. Give it a watch. It also represents part one of Propensity.

OK, this time for real. Let me know what you think…about anything in particular.

How to Avoid Reading

The Intellectual Origins of Modernity
2–3 minutes

Rather, how to optimise your time commitment to reading.

I came across a digital copy of The Intellectual Origins of Modernity by David Ohana as I was purusing titles on PhilArchive. The title piqued my interest, but I wasn’t sure I wanted to commit to reading it. What’s a bloke to do? Feed it to ChatGPT, of course.

Let’s just say, M. GPT was not amused.

Audio: NotebookLM podcast on this topic.

My first question: Is this at least tangential to my work?

Yes, it wanders. He tends to smuggle in parallel intellectual developments (Kantian autonomy, Cartesian doubt, social contract theory) even when they’re only indirectly related to his main thread. It’s a common sin in “origins of modernity” texts: the net gets cast so wide that causation and correlation start swapping costumes.

If you’re looking for the through-line, it’s probably his effort to show how early modern conceptions of reason metastasised into a moral and political framework, not just an epistemic one. But, yes — tangential is fair.

Is it more of a superficial survey with some connective tissue?

That’s a precise way to put it. Ohanav’s book reads like a well-informed synthesis—competent, even elegant—but not a deep excavation. He’s stitching together recognizable figures (Descartes, Hobbes, Locke, Kant, Hume) into a narrative arc about “modernity” rather than uncovering new terrain. The connective tissue is mostly thematic rather than argumentative: reason → autonomy → secular moral order → political liberalism.

It’s a survey that flatters the reader into thinking they’re tracing the genealogy of modern thought, but it rarely descends into the messy underlayers—say, the theological anxieties, material conditions, or institutional contexts that actually gave those ideas traction. In short: wide lens, thin soil.

Wow. Not a rousing endorsement.

So in a world of publish or perish, he’s publishing something more approachable than academic?

Exactly. It’s the kind of book that keeps tenure committees content and undergrads awake. Respectable citations, accessible prose, and a digestible thesis that flatters modernity while hinting at critique.

He’s not trying to break ground—he’s curating a gallery of the usual suspects and arranging them under good lighting. The prose carries that faint aroma of Routledge house style: serious but safe, just speculative enough to appear bold without alienating reviewers.

In the “publish or perish” economy, it’s survival by synthesis.

So closer to an undergraduate project than a grad school thesis?

Pretty much. It’s polished enough to pass for advanced scholarship if you don’t poke too hard, but structurally it’s more akin to a well-executed upper-level survey paper—ambitious in scope, cautious in depth.

He gestures toward big philosophical debates without really committing to any. The text moves like a docent through a museum: “Here we have Descartes, note his influence on Kant; over here, the Enlightenment’s moral optimism, soon to be critiqued by Nietzsche—moving on…”

You can tell he’s read widely, but the apparatus of argument—archival work, textual analysis, theoretical risk—is minimal. It’s competent, not adventurous.

OK, so dodged that bullet. I may still skim it.

Don’t do this to any of my books. 🧐🫠

Propensity of the Illusion of Light

1–2 minutes

I just received two proof copies in the post this afternoon.

Propensity

I created a “Book Club Edition” of Propensity, a Ridley Park book of fiction primarily for the European market – specifically in the UK – though it’s available elsewhere. I altered the cover art. As an author, I also wanted to compare KDP and IngramSpark as printers and distributors.

I find the cover texture on this version interesting, but I don’t have a word to describe it. I like it. There’s a certain je ne sais quoi about it – the texture. I reworked the art to track the second section of the book. The original cover tracks the first section.

Image: Propensity by Ridley Park; original book cover

At least in this proof version, the black ink is not 100% and is streaky. The KDP version is 100% K and solid black. I mightn’t have noticed except that some section division pages were mostly black, and it is quite evident. I don’t discern a difference in the quality of the text itself.

Illusion of Light

The Illusion of Light is a cloth version of a book also available in paperback. I like the cloth-bound. There is a nostalgic elegance about it. It feels durable – more so than a paperback for sure. I’m not sure about versus the case laminate versions. They come off like textbooks to me – not the vibe I am aiming for.

Baudrillard in Latex: Why The Matrix Was Right About Everything Except Freedom

2–3 minutes

In the late 1990s, the Wachowskis gave us The Matrix – Keanu Reeves as Neo, the Chosen One™, a man so bland he could be anyone, which was the point. Once he realised he was living inside a simulation, he learned to bend its laws, to dodge bullets in slow motion and see the code behind the curtain. Enlightenment, Hollywood-style.

Audio: NotebookLM podcast on this topic.

But here’s the twist, the film itself couldn’t stomach: realising the simulation doesn’t free you from it.

Knowing that race and gender are social constructs doesn’t erase their architecture. Knowing that our economies, legal systems, and so-called democracies are fictions doesn’t get us out of paying taxes or playing our assigned roles. “The social contract” is a collective hallucination we agreed to before birth. That and a dollar still won’t buy you a cup of coffee.

Baudrillard, whose Simulacra and Simulation the film name-dropped like a trophy, argued that simulation doesn’t hide reality – it replaces it. When representation becomes indistinguishable from the thing it represents, truth evaporates, leaving only consensus. We don’t live in a system of power; we live in its performance.

The Matrix got the metaphor half right. It imagined the bars of our cage as a digital dream – glossy, computable, escapable. But our chains are older and subtler. Rousseau called them “social”, Foucault diagnosed them as “biopolitical”, and the rest of us just call them “normal”. Power doesn’t need to plug wires into your skull; it only needs to convince you that the socket is already there.

You can know it’s all a fiction. You can quote Derrida over your morning espresso and tweet about the collapse of epistemic certainty. It won’t change the fact that you still have rent to pay, laws to obey, and identities to perform. Awareness isn’t liberation; it’s just higher-resolution despair with better UX.

Neo woke up to a ruined Earth and thought he’d escaped. He hadn’t. He’d only levelled up to the next simulation – the one called “reality”. The rest of us are still here, dutifully maintaining the system, typing in our passwords, and calling it freedom.

NB: Don’t get me wrong. I loved The Matrix when it came out. I still have fond memories. It redefined action films at the time. I loved the Zen messaging, but better mental acuity doesn’t grant you a pass out of the system.

Temporal Ghosts and Rational Spectres: An Anti-Enlightenment Collection

The Enlightenment still walks among us. Or rather, it lingers like a spectre – insisting it is alive, rational, and universal, while we, its inheritors, know full well it is a ghost. The project I’ve begun – call it my anti-Enlightenment collection – is about tracing these hauntings. Not the friendly ghosts of warm memory, but the structural ones: rationality unmoored, democracy designed to fail, presentism enthroned as law.

Audio: NotebookLM podcast on the essay underlying this post.

This collection began with Rational Ghosts: Why Enlightenment Democracy Was Built to Fail, which anatomised the Enlightenment’s misplaced faith in rational self-governance. The rational individual, Enlightenment’s poster child, turned out to be less a citizen than a figment – a ghost conjured to make democracy look inevitable.

It continues now with Temporal Ghosts: Tyranny of the Present, which dissects the structural bias of presentism – our systemic privileging of the living over the unborn. Hobbes, Locke, Rousseau, Bacon, Smith, Bentham, Montesquieu: each laid bricks in an architecture that secured sovereignty for now while exiling the future into silence. Debts accumulate, climate collapses, nuclear waste seeps forward through time. The unborn never consented, yet institutions treat their silence as assent.

Why a Collection?

Because ghosts travel in packs. One essay exposes Enlightenment’s hollow promises of reason; another its structural bias toward immediacy. The next will follow a different haunting, but always the same theme: Enlightenment’s bright lantern casts a shadow it refuses to see. The collection is less about reconstruction than exorcism – or at least acknowledgment that we live in a haunted house.

Ghost by Ghost

  • Rational Ghosts – Enlightenment democracy promised rational citizens and self-correcting systems. What it delivered instead was structural irrationality: Condorcet’s paradox, Arrow’s impossibility theorem, and a politics rigged to stumble over its own claims of reason.
  • Temporal Ghosts – The unborn are disenfranchised by design. The Enlightenment’s “living contract” fossilised presentism as law, leaving future generations to inherit debts, ecological ruin, and technological lock-in.

There may be more hauntings to come – economic ghosts, epistemic ghosts, technological ghosts. But like all spectres, they may fade when the season changes. The calendar suggests they’ll linger through Día de Muertos and Hallowe’en; after that, who knows whether they’ll still materialise on the page.

Go Back Where You Came From (And Other Spells)

2–3 minutes

There’s a certain kind of rhetorical grenade people like to lob when their sense of ownership feels wobbly. You’ve heard it. You’ve maybe had it lobbed in your general direction.

It’s not an argument, of course. It’s a spell. A warding charm. The linguistic equivalent of hissing at a stray cat in the garden. The phrase carries the weight of assumed belonging: we are naturally here, you are obviously not. The incantation is meant to banish you with a puff of words.

The other day, I watched a black activist absorb this spell and toss it back with deadpan precision:

Cue awkward silence. The symmetry was perfect. Suddenly, the verbal hex had reversed polarity, exposing the hypocrisy built into the original curse. The power of the spell depends entirely on who gets to cast it. When it comes from the wrong mouth, the whole structure of “common sense” collapses into farce.

Another example: a Greek immigrant in my orbit, accent still clinging to every consonant, grumbling about a black family that had moved into his neighbourhood. Why didn’t they “go back to Africa”? This from a man who himself had gone “back” from nowhere, except a homeland he happily abandoned for better wages and better weather. Colonialism is apparently a one-way ticket: Europeans roam the globe and call it destiny, but when others move into their postcode, it’s treated like an invasion.

I confess, I once flirted with the same nonsense. Years ago in Japan, in my more callow phase, I asked – half in jest, wholly in arrogance – why these people didn’t have the decency to speak my language. The difference, such as it is, lay in my awareness that I was being ridiculous. My Greek neighbour, my activist’s heckler—no irony there. They were dead serious.

That’s the grotesque comedy of racism: its logic isn’t logic at all. It’s ritual. A mantra recited to reassure oneself of belonging by denying it to others. It dresses itself in the robes of rationality – “go back where you came from” sounds like geography, after all – but it’s closer to medieval exorcism than reasoned debate.

And when the cursed simply whispers the incantation back? The spell collapses. The supposed “truth” reveals itself for what it always was: a desperate attempt to maintain the fiction that one kind of stranger is native and another will always be alien.

Every empire tells its children they were born at home, and tells everyone else they were born trespassing.

Butler versus Butler (on a bed of Beauvoir)

2–3 minutes

I’ve been reading Octavia Butler’s Dawn and find myself restless. The book is often lauded as a classic of feminist science fiction, but I struggle with it. My problem isn’t with aliens, or even with science fiction tropes; it’s with the form itself, the Modernist project embedded in the genre, which insists on posing questions and then supplying answers, like a catechism for progress. Sci-Fi rarely leaves ambiguity alone; it instructs.

Find the companion piece on my Ridley Park blog.

Audio: NotebookLM podcast summarising this topic.

Beauvoir’s Ground

Simone de Beauvoir understood “woman” as the Other – defined in relation to men, consigned to roles of reproduction, care, and passivity. Her point was not that these roles were natural, but that they were imposed, and that liberation required stripping them away.

Octavia Butler’s Lilith

Lilith Iyapo, the protagonist of Dawn, should be radical. She is the first human awakened after Earth’s destruction, a Black woman given the impossible role of mediating between humans and aliens. Yet she is not allowed to resist her role so much as to embody it. She becomes the dutiful mother, the reluctant carer, the compliant negotiator. Butler’s narration frequently tells us what Lilith thinks and feels, as though to pre-empt the reader’s interpretation. She is less a character than an archetype: the “reasonable woman,” performing the script of liberal Western femininity circa the 1980s.

Judith Butler’s Lens

Judith Butler would have a field day with this. For her, gender is performative: not an essence but a repetition of norms. Agency, in her view, is never sovereign; it emerges, if at all, in the slippages of those repetitions. Read through this lens, Octavia Butler’s Lilith is not destabilising gender; she is repeating it almost too faithfully. The novel makes her into an allegory, a vessel for explaining and reassuring. She performs the role assigned and is praised for her compliance – which is precisely how power inscribes itself.

Why Sci-Fi Leaves Me Cold

This helps me understand why science fiction so often fails to resonate with me. The problem isn’t the speculative element; I like the idea of estrangement, of encountering the alien. The problem is the Modernist scaffolding that underwrites so much of the genre: the drive to solve problems, to instruct the reader, to present archetypes as universal stand-ins. I don’t identify with that project. I prefer literature that unsettles rather than reassures, that leaves questions open rather than connecting the dots.

So, Butler versus Butler on the bedrock of Beauvoir: one Butler scripting a woman into an archetype, another Butler reminding us that archetypes are scripts. And me, somewhere between them, realising that my discomfort with Dawn is not just with the book but with a genre that still carries the DNA of the very Modernism it sometimes claims to resist.