Ursula K. Le Guin reviews Margaret Atwood's quasi-sequel to Oryx and Crake, The Year of the Flood, and refuses to let her pretend what she's writing isn't science fiction.

As promised, some Sunday links.

* Jon Stewart had odious liar Betsy McCaughey on his show Thursday night, and you should watch it; video at Crooks & Liars. Kevin Drum says Stewart shouldn't have had her on at all; I think the video made McCaughey look terrible and in that sense was an important public service.

* Atlas Obscura: A Compendium of the World's Wonders, Curiosities, and Esoterica.

* Mandatory pre-Mad-Men reading: Pandagon's defense of Betty Draper.

* Have we reached Peak Crazy? Fox forces Glenn Beck to take a vacation.

* Responding to Krugman, Glenn Greenwald considers whether Obama has lost the trust of progressives. More on the latest polls showing progressives' loss of faith from Steve Benen, while Matt Yglesias ponders the meaning of GOP approval numbers that "appear to be stuck near some kind of theoretical minimum" and TPM reports Sarah Palin winning the all-important Birther primary.

* Margaret Atwood blogs her book tour.

* Cynical-C has the trailer for Michael Moore's next film, Capitalism: A Love Story.

* Lt. William Calley has apologized for the My Lai massacre, though the MetaFilter thread suggests there may be significantly less here than meets the eye.

"In October 2007, Calley agreed to be interviewed by the UK newspaper the Daily Mail to discuss the massacre, saying, "Meet me in the lobby of the nearest bank at opening time tomorrow, and give me a certified cheque for $25,000, then I'll talk to you for precisely one hour." When the journalist "showed up at the appointed hour, armed not with a cheque but a list of pertinent questions", Calley left."

* Also at MetaFilter: SIGG admits to misleading the public about its water bottles and BPA.

* Inglourious Basterds as alternate history.

* Game of the night: Max Damage.

* And the Smart Set looks at The Martian Chronicles in the context of 1960s optimism and the New Frontier. My Writing 20 for the spring ("Writing the Future") begins there as well (though with Star Trek instead of Bradbury) before veering off into The Dispossessed and, later, Dollhouse.

Tuesday!

* Five Amazing Buildings of the Future (And How They'll Kill You).

* Also via Gravity Lens: the death of handwriting!

* David Cronenberg will film DeLillo's Cosmopolis.

* Nicholson Baker says the Kindle 2 isn't all that. I think I'm going to stick to fantasizing about the hilariously expensive Apple tablet coming this winter.

* Also in the New Yorker: an interview with Ursula K. Le Guin about The Left Hand of Darkness.

* And The Daily Show says goodbye to Sarah Palin.

Good morning, world.

* Michael Steele wants you to know that Republicans are done apologizing for the ruinous policies of the last eight years. Love it or lump it, chumps, they've turned the page.

* "Calling Utopia a Utopia," by Ursula K. Le Guin.

To define science fiction as a purely commercial category of fiction, inherently trashy, having nothing to do with literature, is a tall order. It involves both denying that any work of science fiction can have literary merit, and maintaining that any book of literary merit that uses the tropes of science fiction (such as Brave New World, or 1984, or The Handmaid’s Tale, or most of the works of J.G. Ballard) is not science fiction. This definition-by-negation leads to remarkable mental gymnastics. For instance, one must insist that certain works of dubious literary merit that use familiar science-fictional devices such as alternate history, or wellworn science-fiction plots such as Men-Crossing-the-Continent-After-the Holocaust, and are in every way definable as science fiction, are not science fiction — because their authors are known to be literary authors, and literary authors are incapable by definition of committing science fiction.

Now that takes some fancy thinking.

* And Sarah Conner's showrunner says goodbye.

Good shows are cancelled every year; smart shows, worthy shows, shows which move their viewers to write blogs and have viewing parties and create action figures and bury executives’ email accounts under thousands of messages. I miss Deadwood and The Wire and Arrested Development but thank God that I still have Rescue Me and The Office and a recently renewed Party Down written by ex-T:SCC writer John Enbom.

Bad shows are cancelled, too. And certainly there are those who did not like what we did and had their own vision for what a Terminator TV show should be. It’s easy to look at low ratings or cancellation as “failure” and for those who believe we’ve gone about this all wrong I’m sure today’s news will only serve to confirm a world view that I would never try to change. We’ve written the show as best we can, executed it to the best of our abilities, and sent it out in the world knowing that we worked out asses off to do something that wouldn’t be a waste of anybody’s forty-three minutes.

Okay, a few more.

* Carteret Islands evacuated due to the islands' sinking against rising sea level.

* Advantage Canavan: Joe Trippi says there's no truth to the rumors that Edwards staffers had a secret plan to bring down the candidate.

* 90% of Brazil's Atlantic Rainforest has been destroyed.

* My Pitches for Political-Satire Skits Playing on President Obama’s Foibles Keep Getting Shot Down. At McSweeney's.

* Photographs by blind photographers.

* Life as a New Yorker writer, twittered. Read this version for chronological clarity.

* Raised by anthropologists: Profile of Ursula K. Le Guin.

* The fallacy of authorial intent: The director and writer of The Usual Suspects disagree on what happened in the film.

'Is science fiction dying?' So asks New Scientist's SF special. They direct the question to six writers of SF ranging from Margaret Atwood and Ursula K. Le Guin to William Gibson and Kim Stanley Robinson, the last of whom provocatively asserts that "Science fiction is now simply realism, the definition of our time." Via MeFi and Biology in Science Fiction.

Also at Edge of the American West, SEK rings in Ursula K. Le Guin's birthday with a nice-if-slightly-wrong reading of The Lathe of Heaven against the politics of hope.

Guernica interviews Ursula K. Le Guin. Via Enter the Octopus.

Guernica: Do you ever feel that the way your work has been cordoned at times as science fiction is a deflection by the mainstream of the very serious critiques these novels contain of our society?

Ursula K. Le Guin: Yes. I do.

Guernica: Or is it sexism?

Ursula K. Le Guin: Yes. It is.

Guernica: Was there a moment when you realized the shift in the way you were being treated, when you became taken more seriously by the literary establishment, and do you remember it precisely? To an outsider, it appears recent.

Ursula K. Le Guin: Actually, I haven’t felt a major shift. I am still mostly referred to (dismissed) as a “sci fi writer.” When Margaret Atwood writes a serious review of one of my books for the New York Times, it is printed under the title “The Queen of Quinkdom,” to make sure nobody takes it seriously. I am shortlisted for major awards, but the awards go to people like De Lillo and MacCarthy who also write science fiction, using the tropes and loci and metaphors of science fiction, but fastidiously keep their literary skirts from being defiled by the name of genre.

I admire Doris Lessing for calling her science-fiction books science fiction; I only wish I liked the books. Atwood herself has walked a very fine and sometimes wavering line trying to keep her science fiction books out of the genre ghetto without trashing the people who live in the ghetto. I can’t wait for people like Michael Chabon to finish chainsawing that damn thorn hedge and knocking down all the genre walls. Now, there’s a man with courage, Chabon. He just joined the Science Fiction Writers Association. He steps over the walls in both directions.

Most recently, my three books of the Annals of the Western Shore have been ignored by both the science fiction community and the literary critics, because they are published as “young adult.” The label YA actually means nothing except that the protagonists, or some of them, are young. Publishers like it because it is a secure marketing niche. But the cost of security is exclusion from literary consideration. The walls of disdain around any book perceived as being “for children” are much higher than they were when I began publishing the Earthsea books, forty years ago. Oh, Joshua, won’t you blow your horn?

io9's playing with great opening sentences from science fiction. (More at MeFi.) Contrary to the aesthetics of io9's list, it seems to me that the best are those which refuse to immediately announce themselves as science fiction. Here are just a few from favorite s.f. novels that I haven't seen anywhere else (all links go to Amazon):

"We slept in what had once been the gymnasium."
—Margaret Atwood, The Handmaid's Tale

"Mars was empty before we came."
—Kim Stanley Robinson, Red Mars

"On those cloudy days, Robert Neville was never sure when sunset came, and sometimes they were in the streets before he could get back."
—Richard Matheson, I Am Legend

"What's it going to be then, eh?"
—Anthony Burgess, A Clockwork Orange

Though what can match the quiet elegance of Ursula K. Le Guin's The Dispossessed? "There was a wall."

Unless of course it's Octavia Butler in Dawn: "Alive!"

QUICK UPDATE: I realized too late that I'd omitted a book that should be on any list of this sort, Olaf Staledon's Star Maker:

One night when I had tasted bitterness I went out on to the hill.

Ursula K. Le Guin on serious literature. Via Harper's.

Fred over at Occasional Fish has some worthy follow-up to the death of sci-fi post from last week, including a money quote from Ursula K. Le Guin:

But I think Harter could have done well to read Ursula K. Le Guin's introduction to The Left Hand of Darkness:

Science fiction is often described, and even defined, as extrapolative. The science fiction writer is supposed to take a trend or phenomenon of the here-and-now, purify and intensify it for dramatic effect, and extend it into the future. "If this goes on, this is what will happen." A prediction is made....Fortunately, though extrapolation is an element in science fiction, it isn't the name of the game by any means. It is far too rationalist and simplistic to satisfy the imaginative mind, whether the writer's or the reader's. Variables are the spice of life....Science fiction is not predictive; it is descriptive.