The Clockwork Man
By E. V. Odle
This is an odd, sometimes awkward book, with most of that attributable to it being ahead of its time.
It’s being republished now as part of MIT Press’s Radium Age series, which covers a period that general editor Joshua Glenn sees as being a proto-SF stage of experimentation and flux. So perhaps we shouldn’t be too surprised that parts of it don’t come into focus. The Clockwork Man himself, for example, is usually touted as the first cyborg in literature (oddly enough, Karl Čapek’s R.U.R. came out the same year, inventing the robot). But while I think the cyborg label fits, it’s really not clear how the clock mechanism functions, or who the “makers” are and what their purpose was in creating them. Are clockwork people being punished? Has the Clockwork Man escaped, consciously or not, from the multiform world of many dimensions where he is free from the constraints of time and space but is otherwise a slave? Or is his sudden appearance just an accident? These are points I don’t think Odle was much concerned with, but they seem important.
Of course, the book is really about life in England in 1923, and the Clockwork Man is only window-dressing. After opening on the cricket pitch (a game more confusing to me than the Man himself when he appears) we settle into life in Great Wymering, which isn’t quite as cozy as it sounds. Doctor Allingham is all used up at the age of 40, settling into life as a bitter grouch. But then, as the cricket captain Gregg explains, the human organism is showing signs of breaking down everywhere “under the strain of an increasingly complex civilization.” Directed and expedited evolution – that is, having a clock installed – is one way of coping. Unfortunately, even with upgrades we still break down.
The Martian Chronicles
By Ray Bradbury
The Martian Chronicles was published in 1950, the same year as that other great “fix-up” of short stories “pretending to be a novel,” Isaac Asimov’s I, Robot. I don’t think it’s as coherent as Asimov’s book, but that may have just as much to do with how odd a talent Bradbury was.
Is it even science fiction? Bradbury thought the label a “misfit,” but I would say yes, if only for the picturesque “old Mars” setting (inspired by Burroughs) and the presence of rocket ships. But it has many other genre influences, in particular horror (one story has a Martian colonist a little too taken with the works of Poe) and the Western. With regard to the latter, the populating of Mars is an accelerated version of the mythic settling of the West, as the stories describe the displacement of the indigenous Martians by freedom-loving capitalists (one wants to set up a hotdog stand, and all are passionately against government red-tape). Finally, the last immigrants/refugees from an exploded Earth take on the role of the next generation of American Adams, ready to (re)build a classic mid-Western small-town on a hill.
It’s a book still much beloved of young people today, despite having dated quite badly. But even in 1950 I think it was more nostalgic than speculative. One wonders how much of the myth is left. Of course we haven’t been able to believe in this vision of Mars since Mariner 4 took the first close-up pictures of the red planet in 1964. But perhaps more to the point, can we still believe in this vision of America?
By Isaac Asimov
While acknowledging the contributions of Karel Čapek, whose R.U.R. introduced us to the word “robot,” and Earl and Otto (Eando) Binder whose 1939 short story “I, Robot” provided inspiration as well as a title (chosen by Asimov’s publisher, much to Asimov’s chagrin), I, Robot is the seminal work on robotics in science fiction.
A collection of linked short stories (or “fix-up”) first published throughout the 1940s, I, Robot spins a remarkably rich and coherent story of the evolution of robots from speechless domestic pets to world-governing AIs all out of the now famous Three Laws of Robotics. With the recurring characters of robopsychologist Dr. Susan Calvin and the Charters and Caldicott team of troubleshooters Powell and Donovan to provide a human baseline, we can chart the progression of the positronic brain from infancy to adulthood, just as humans regress into self-important helplessness.
The Machines of the final story are best able to understand the various psychohistorical forces (to use the language of Hari Seldon) that shape the rise and fall of civilizations. This isn’t the same as saying they’re in the driver’s seat, but humankind has clearly been surpassed. While early stories play with the notion of individual robots becoming aware of their manifest superiority, it isn’t until the finale that they achieve class consciousness.
I, Robot is one of the four or five most influential works of science fiction ever, and it’s still a great read. But, a bit sadly, it leaves one feeling nostalgia for a time when we could still believe in AI being so benign, and before the window for the Machines saving us had closed.
The Dream of a Ridiculous Man
By Fyodor Dostoevsky (translated by David Magarshack)
Calling this 1877 story science fiction is admittedly a stretch, but its trip to the stars and visit to an alternate Earth taps into a rich and very long tradition of works we can think of as proto-SF. The dream vision wherein a narrator is whisked away by an angelic figure to a new world that gives him some signal insights into his own goes back to Cicero’s Dream of Scipio, and the allegorical strain in such speculative work is still with us in a lot of SF today.
The parable that’s presented is simple enough. The narrator, a man who has given up on life and is contemplating blowing his brains out, is transported to a new Earth and specifically a Greek isle of Eden that he proceeds to corrupt inadvertently through his mere presence. The dwellers in the garden seem happy, but they are unaware yet that one cannot really know love, truth, or beauty without suffering. This is the narrator’s gift to them, and though they make little use of it, throwing their lot in with reason and science, he is determined to bring the same message to us when he wakes from his dream and adopts the mantle of Holy Fool, the ridiculous man.
So proto-SF of a sort, anti-SF as well, and Russian SF in the spiritual and humanistic way that Tarkovsky’s Solaris would set out to answer Kubrick’s 2001. And still relevant, because a century and a half later we’re still not sure to what extent knowledge and truth are opposed values.
By David R. Bunch
This collection of stories, published over a 30-year period and set in the post-apocalyptic, pounded-plastic landscape of Moderan, can be a hard slog to read from cover-to-cover because there’s little through narrative and a lot of repetition. It makes up for this though in stylistic exuberance and the narrator’s enthusiasm for turning the volume up to 11. His percussive shouting and long trails of violent exclamation marks mimic the explosive nature of Moderan life: “WOOOO WOOOO WOW WOW WOW WOWEEE!!!!!!” The upshot is that you keep thinking something important is happening or being said, even when it’s all the same.
Life in Moderan is a paradox. On the one hand, its machine-men – organs replaced by a system of mechanical parts decorated with flesh strips – are eternal. On the other, they are stuck in an endless round of battle that doesn’t progress but only struggles toward annihilation. Existence is solitary, poor, nasty, brutish and long.
Though ostensibly Nietzschean (“power is joy; strength is pleasure”) the real presiding spirit is Hobbes. Stronghold 10 isn’t one of the Übermensch but a Last Man: bunkered down behind eleven steel walls, isolated in his man cave’s hip-snuggie chair, eyes glued to his security monitors, and cowering in a hate-filled fear that has him launching doll bombs, White Witch missiles, man-blammers, and even Grandy Wumps at everyone and everything in range.
A philosophical satire then, on militarism and masculinity and everything mechanical and hard and fast. Progress as a dead end, with man’s final evolution into a state of solipsistic techno-Nirvana. Then waking up to do it all over again. WOWEEE!!!!!!
Flow My Tears, the Policeman Said
By Philip K. Dick
A messy, dog’s breakfast of a novel, but one that gives us Philip K. Dick at perhaps his most mind-bendingly Dickish. There’s the skeleton of a decent pulp-thriller plot, with a groovy ‘70s vibe, given a mystical overlay that finally resolves into a techno-apocalypse revealing man to be, once again, the plaything of fate.
Celebrity crooner Jason Taverner wakes up one day to find his fame, and indeed everything else about his life, has been erased. This is something that’s hard to imagine happening in post-Second Civil War America, where Black citizens are sterilized, university students wage a guerilla war from underground campuses, and police surveillance is everywhere in what has become a paranoid “betrayal state.” But it seems someone — not Jason — has been experimenting with the multiple-space-inclusion drug KR-3, which has the effect of bending reality.
The fact that the book is about Jason but it’s not his trip is what I find to be the most intriguing thing going on. Jason and his Javert, Felix Buckman, are the two main characters, but they don’t drive the plot. Instead they are flotsam caught up in the druggy fantasy of Buckman’s sister/wife Alys.
Flow My Tears is a novel of tricky depths that I keep getting pulled back into. Dick thought it was about the return of Christ, or about love, but neither explanation clicks for me. Both Taverner and Buckman remain dislikeable and unredeemed: the former a sleazy member of a genetic overclass and the latter a corrupt, self-absorbed official arrogant with bureaucratic power. They are two characters in search of an author, while God lies dead from an overdose on the bathroom floor.
Voices from the Radium Age
Ed. by Joshua Glenn
Defining genres and literary periods can be a tricky business. As an example, in this new series from MIT Press Joshua Glenn looks to brand the science fiction written between 1900 and 1935 as the Radium Age, which he sees as an interregnum between the scientific romances of the nineteenth century and the golden age of the American SF pulps that took off in the 1930s.
Whatever you think of the Radium Age as a label, this first volume is a great launch, containing a good mix of stories from some big names (E. M. Forster, Arthur Conan Doyle, Jack London, W. E. B. Du Bois) and a few that should be better known (Rokeya Sakhawat Hossain, William Hope Hodgson and Neil R. Jones). The nature of the Radium Age, and whether these works can or should be read as proto-SF or something else, is a matter fans can debate. But even if you’re just looking for old-school adventure mixed with still trenchant social allegory this is a line-up full of winners. The rest of the series promises to be a just as big a treat, and with cover designs by Guelph artist Seth they’re nice to look at too.
A Clockwork Orange
By Anthony Burgess
Few things date as quickly as teen speech and fashion, but the outrageousness of Anthony Burgess’s dystopian satire of the state of England in 1962 (by most accounts a rather glum place), especially when combined with Stanley Kubrick’s rendering of the same, make A Clockwork Orange nearly as fresh today as it must have been sixty years ago. Where Burgess’s made-up Nadsat still has a fierce intelligence and energy to it, Valspeak, for anyone who still remembers that, just seems stupid.
What has always impressed me the most about the book though is the humble narrator Alex’s presentation as someone who is both glib and charming but also thick as a brick. He fancies himself the leader of his gang of droogs, but even the hulking Dim manages to stay a step ahead of him all the time. Then there’s his surprise at figuring out that those aren’t vitamins he’s being injected with, and that the political do-gooders don’t have his own best interests at heart. Oh, to be so wicked and so naïve. Not a good combination, especially given what I think is the book’s most important political statement: that everyone is authoritarian in an authoritarian state.
The specter of a clockwork humanity was something Burgess thought “too didactic to be artistic,” an assessment that might also be leveled at the novel’s Sixties bunkmate One Flew Over the Cuckoo’s Nest, published the same year. Randle Patrick McMurphy and Alex are birds of a feather, free spirits broken by the system. In America, however, being anti-authority had less of a dark side. The Merry Pranksters weren’t raping and killing people (though Murphy does have statutory rape on his rap sheet). In England young people might have been seen as a more direct threat to the public. Or at least to the sad old codgers who use the biblio as a kind of senior center. Because Alex has a passion for classical music, but reading isn’t his thing. And that’s probably for the best.
The Island of Doctor Moreau
By H. G. Wells
The Island of Doctor Moreau is a novel that set up shop in my head as a kid when I purchased the cheap paperback tie-in to the 1977 film version, and it’s gone on to be the work by Wells that I most often return to. It’s so simple in outline and yet so ambiguous.
The narrator, Edward Prendick, is both an upper-class lightweight and the island’s sole survivor. He’s also a paradoxically spiritual materialist, seeking at the end of the book to transcend through science a humanity that now disgusts him. Dr. Moreau, at least in his own estimation, has more of an “artistic turn of mind,” being a sculptor of living flesh who is seeking “to find out the extreme limit of plasticity in a human shape.” He wants to transcend humanity as well, but not for any utilitarian purpose or “intelligible object” (an “unspeakable aimlessness” which is what upsets Prendick the most about his experiments). No, the cruel doctor carelessly and irresponsibly pursues art for art’s sake, and in ways that go far beyond vivisection. He knows a creature’s “mental structure,” including its psychology and morality, can be shaped as well. A humanist Prospero then? A tyrannical Kurtz, much like Kipling’s Dravot or Nuñez in Wells’ own later story “The Country of the Blind”? Or just a colonial loser, another popular character type of the time?
And finally what is the state of nature that everyone, not just the Beast People, is in danger of reverting to? Because the Ipecacuanha is hardly an ideal state, Montgomery dies a miserable, drunken sot, and Prendick’s going native is foreshadowed from his first night on the island, long before he becomes one with the creatures that both sicken and terrify him. It’s hard to read his signing off “in hope and solitude” as anything other than a failed attempt to cheer himself up. He’s looked into the hellish abyss of the Beast People’s shantytown and seen “the whole balance of human life in miniature.” Not our evolutionary past then, but our future.