Kim Stanley Robinson discusses his first novels and three decades of imagined futures.
Three California
The result was so bizarre that I was dissatisfied on a number of levels, and I thought if you were going to do a utopia properly, it would need to be global, it would need to be historical. SoPacific Edge. I’ve kept coming back to [realistic utopia] throughout the rest of my career as kind of an unsolvable problem.
Utopias are like blueprints and novels are like soap operas. What kind of art comes out of that? Sometimes I’ve experienced this as intensely stressful. In the domestic realist tradition of the English novel, what you value is,Like Elena Ferrante’s Neapolitan quartet—in theory I would aspire to write a novel like that. Yet here I am trying these utopian efforts time after time. So at a certain point along the way I got over it and just regarded it as a literary problem and an opportunity.
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