Breakfast of Champions by Kurt Vonnegut (1973)

Breakfast of Champions is longer than the average Vonnegut novel at 270 pages in an old Panther paperback edition I have.

It’s experimental in several ways. Each paragraph is introduced with an arrow → making them seem more like disconnected apothegms than part of a consecutive prose text, and sometimes the paragraphs reduce to totally disconnected sentences. More like reading Nietzsche than a novel.

Then there’s the author’s amateurish but quite appealing drawings, at least one every two pages, sometimes two on a page, squeezing the prose out, like in a children’s book. I counted 119 of them. Here’s an example.

Page from Breakfast of Champions

And another one.

Goodbye Blue Monday by Kurt Vonnegut

It took Vonnegut a long four years to grind out Breakfast of Champions and several times he abandoned it. It had poor reviews and in later life he gave it a low rating among his works. But I like it. I think it demonstrates two of his leading characteristics.

1. It is chatty. It is like listening to an interesting guy who’s knocked about the world a bit, telling you funny anecdotes, about pornography, explaining how we’re all actually machines, leaning forward to impress on you that war is wrong, and so on.

2. And it is roomy. Having established this chatty, informal persona, Vonnegut can casually rope just about any subjects he wants into the so-called ‘story’.

For example, out of nowhere in particular comes this paragraph:

The Governor of New York, Nelson Rockefeller, shook Trout’s hand in a Cohoes grocery story one time. Trout had no idea who he was. As a science-fiction writer, he should have been flabbergasted to
come so close to such a man. Rockefeller wasn’t merely Governor. Because of the peculiar laws in that
part of the planet, Rockefeller was allowed to own vast areas of Earth’s surface, and the petroleum and other valuable minerals underneath the surface, as well. He owned or controlled more of the planet than many nations. This had been his destiny since infancy. He had been born into that cockamamie
proprietorship.
‘How’s it going, fella?’ Governor Rockefeller asked him.
‘About the same,’ said Kilgore Trout.

That is the complete ‘section’, that’s all we hear about Governor Rockefeller. On the face of it this is some kind of satire against obscene wealth – the kind of stoned oppositionism which made Vonnegut such a hero of the counterculture and 1970s students. What I like about it though is its irrelevance. Its irreverent irrelevance. Its insouciance. He tells a story. Nothing much happened. It was a thing. OK. So long.

As to ‘plot’, well, the story follows events in the lives of two American men, Kilgore Trout, the failed author of hundreds of science fiction novels who we met a few years back in Slaughterhouse-Five and who appears in about five other Vonnegut novels; and Dwayne Hoover,  a Pontiac car dealer in the fictional town of Midland City, Ohio, who is on the brink of a nervous breakdown. The plot comes to a climax with them both meeting, by accident in a bar, and Trout’s presence being the thing which topples Hoover into his psychotic episode (beating up a bunch of people in the bar, his mistress and a couple of cops before being overpowered and taken to gaol).

Both characters contain elements of self-portraiture: Trout since Vonnegut himself struggled a) in his early, poor days against indifference and bad reviews, then b) when he was famous, against writer’s block; and Hoover since Vonnegut (apparently) suffered lifelong from depression, was on anti-depression medication and tried to commit suicide at least once. It is relevant that Vonnegut’s own mother committed suicide by an overdose of sleeping pills when he was 21 – not least because he tells us as much in chapter 17.

‘This is a very bad book you’re writing,’ I said to myself behind my leaks.
‘I know,’ I said.
‘You’re afraid you’ll kill yourself the way your mother did,’ I said.
‘I know,’ I said.

And he makes Dwayne’s wife, Celia, kill herself by drinking Drāno.

a mixture of sodium hydroxide and aluminum flakes, which was meant to clear drains. Celia became
a small volcano, since she was composed of the same sorts of substances which commonly clogged drains.

For the richest and most powerful country in the world, America sure was, and apparently still is, full of very unhappy people.

The narrative arc is that Trout – based in New York – is invited to an arts festival taking place in (the fictional) Midland City, and has a string of adventures getting there, while Hoover is going mad in Midland City, disconcerting his various staff and employees at the Pontiac salesroom he owns.

But the real point of the novel is, I think, the way Vonnegut just adds all sorts of anecdotes, stories, jokes, pictures and reflections into it.

For example, the notion that Trout is almost supernaturally prolific allows Vonnegut to add in one-page synopses of Trout’s far-out science fiction novels. They come across as too simple to even be worked up into short stories, but they make excellent one-page diversions. There are at least ten of them, which add an extra layer of wackiness to the mix.

The fake naive style

What most distinguishes Breakfast of Champions from Vonnegut’s other books, and from any other book I’ve ever read, is the author’s deployment of a strategy of describing everything, even the most minute and obvious elements of life and society – as if to an alien who has never heard of them before.

Everything he mentions, almost anything, he stops the narrative to explain it as if to someone who has never heard of it before, often adding one of his drawings.

For example, right in the opening pages he sets out to piss off any conservative readers, and whip up his student fanbase, by treating America and its iconography as if it is inexplicably weird.

Trout and Hoover were citizens of the United States of America, a country which was called America for short. This was their national anthem, which was pure balderdash, like so much they were expected to take seriously… (Vonnegut quotes the entire lyric of the American national anthem)

There were one quadrillion nations in the Universe, but the nation Dwayne Hoover and Kilgore Trout belonged to was the only one with a national anthem which was gibberish sprinkled with question marks.

And:

If they studied their paper money for clues as to what their country was all about, they found, among a lot of other baroque trash, a picture of a truncated pyramid with a radiant eye on top of it, like this: (a hand-drawn illustration of the logo on an American dollar) Not even the President of the United States knew what that was all about. It was as though the country were saying to its citizens, ‘In nonsense is strength’.

A lot of the nonsense was the innocent result of playfulness on the part of the founding fathers of the nation of Dwayne Hoover and Kilgore Trout. The founders were aristocrats, and they wished to show off their useless education, which consisted of the study of hocus-pocus from ancient times.

As to American foreign policy:

When Dwayne Hoover and Kilgore Trout met each other, their country was by far the richest and most powerful country on the planet. It had most of the food and minerals and machinery, and it disciplined other countries by threatening to shoot big rockets at them or to drop things on them from airplanes.

All this was written as the Vietnam War reached its bloody climax:

Viet Nam was a country where America was trying to make people stop being communists by dropping things on them from airplanes.

If American authors want to say their country is rubbish, that’s fine by me – although I’d love to read about the backlash there must have been against Vonnegut by any kind of conservative writers, publications or institutions.

What interests me more is the wide-eyed innocence of this narratorial approach – as if he were not only explaining America to aliens, but to alien children.

Thus later on the narrator explains what a beaver is (with a drawing), what a clocktower is (with a drawing) what a gun is (a device for making holes in other people, along with a drawing), what an apple is (with a drawing), what a lamb is:

A lamb was a young animal which was legendary for sleeping well on the planet Earth. It looked like this:

To a large extent whether you like the book or not will be based on whether you can read hundreds of pages written in this faux innocent style, whether you find it liberating, or at least interesting, to see all human activity through these alien child’s point of view. Or whether you find it tiresome and almost demented.

Machines and chemicals

Closely related to the style is the delusion the author attributes to Dwayne Hoover of seeing all other human beings as machines. This is one of the ‘hallucinations’ which tips Hoover over into full-blown madness but we know, from the preface and from comments liberally sprinkled throughout the text, that Vonnegut often feels the same.

As for myself: I had come to the conclusion that there was nothing sacred about myself or about any human being, that we were all machines, doomed to collide and collide and collide. For want of anything better to do, we became fans of collisions. Sometimes I wrote well about collisions, which meant I was a writing machine in good repair. Sometimes I wrote badly, which meant I was a writing machine in bad repair. I no more harbored sacredness than did a Pontiac, a mousetrap, or a South Bend Lathe.

This conceit is used more for humour than bleakness. In fact the idea is most fully expressed in a book by Kilgore Trout which Dwayne reads in the cocktail bar at the climax of the novel and which brings on his fit. In the book, Trout writes:

‘Your parents were fighting machines and self-pitying machines,’ said the book. ‘Your mother was programmed to bawl out your father for being a defective moneymaking machine, and your father was programmed to bawl her out for being a defective housekeeping machine. They were programmed to bawl each other out for being defective loving machines.

‘Then your father was programmed to stomp out of the house and slam the door. This automatically turned your mother into a weeping machine. And your father would go down to a tavern where he would get drunk with some other drinking machines. Then all the drinking machines would go to a whorehouse and rent fucking machines. And then your father would drag himself home to become an apologizing machine. And your mother would become a very slow forgiving machine.’

If read in the right mood, this is pretty funny.

And Vonnegut sees human beings not only as machines, but as bags of chemicals:

I tend to think of human beings as huge, rubbery test tubes, too, with chemical reactions seething inside.

This comes over in the thread running throughout the text whereby the author refers to all kinds of aspects of the characters’ behaviours as being determined, not by free will, but by ‘the chemicals in their brains’.

A lot of people were like Dwayne: they created chemicals in their own bodies which were bad for their
heads.

Vonnegut tells us in the preface that:

My own mother wrecked her brains with chemicals, which were supposed to make her sleep.
When I get depressed, I take a little pill, and I cheer up again.

I know from personal experience what a huge difference medication for mental illness can make to a person. Chemical imbalances in the brain can certainly be life defining, character defining. Vonnegut lays this fact out with the same wide-eyed fake naivety as everything else from the American flag to apples.

Taken together the ideas that people are a) machines b) whose behaviour is largely determined by chemicals in their brains, dominate the book’s worldview.

Race

There’s a lot about race in the book. Of course the 1960s in America saw the rise of the Civil Rights Movement, the assassination of its leaders, and the growth of Black Power. How exactly the historical background seeps into the book, I couldn’t say except that it is very aware of ‘the black problem’ and, as you would expect, Vonnegut is 110% on the liberal side, depicting southern slavery, southern bigotry, black crime rates and black incarceration rates as all aspects of white oppression.

Francine mused about the prison, where the guards were all white and most of the prisoners were black.

Then again, he crosses all kinds of lines we, in 2019, have been taught to avoid. He uses the N word more than any modern writer would dare, mostly setting it down in his standard fake naive way, a way that conveys the outrage and injustice embodied in the word all the more powerfully for being used flat and blank.

Harry knew Dwayne better than did any other man. He had been with Dwayne for twenty years. He came to work for him when the agency was right on the edge of the Nigger part of town. A Nigger was a human being who was black.

There’s a lot more in the same ilk, some of it pretty disturbing. Here is Harry LeSabre, sales manager at Dwayne Hoover’s Pontiac dealership, talking with his wife, Grace.

‘Can the reindeer hear you?’ said Harry. ‘Fuck the reindeer,’ said Grace. Then she added, ‘No, the reindeer cannot hear.’ Reindeer was their code word for the black maid, who was far away in the kitchen at the time. It was their code word for black people in general. It allowed them to speak of the black problem in the city, which was a big one, without giving offense to any black person who might overhear. ‘The reindeer’s asleep – or reading the Black Panther Digest,’ she said.

The reindeer problem was essentially this: Nobody white had much use for black people anymore – except for the gangsters who sold the black people used cars and dope and furniture. Still, the reindeer went on reproducing. There were these useless, big black animals everywhere, and a lot of them had very bad dispositions. They were given small amounts of money every month, so they wouldn’t have to steal. There was talk of giving them very cheap dope, too – to keep them listless and cheerful, and
uninterested in reproduction.

The Midland City Police Department, and the Midland County Sheriffs Department, were composed mainly of white men. They had racks and racks of submachine guns and twelve-gauge automatic shotguns for an open season on reindeer, which was bound to come.

This is bleak whichever way you view it. Is Vonnegut agreeing that there is a big race problem in America? The idea that blacks are given a small dole to stop them stealing is bleak satire. Should Harry and Grace’s attitude be taken as the average white middle class view of the day? And then the mass arming of the police against the coming of a race war even bleaker.

Sometimes Vonnegut combines his fake-naive approach to race with the conceit that humans are machines, to produce really biting dark satire. Thus, emerging from a porn cinema in Times Square, Kilgore Trout is propositioned by two hookers.

These were country girls. They had grown up in the rural south of the nation, where their ancestors had been used as agricultural machinery. The white farmers down there weren’t using machines made out of meat anymore, though, because machines made out of metal were cheaper and more reliable, and required simpler homes.

All America’s social problems are treated in the same way, with huge detachment as if we are all machines in a grotesquely malfunctioning factory.

Sex

Slaughterhouse-Five offended many Americans because of its dwelling on pornography. Not the writing of pornography, just Vonnegut dwelling on it as a symptom of human beings’ madness. Well, men’s. There’s a lot more of it in Breakfast of Champions.

Sex shops It turns out that Kilgore Trout’s numerous science fiction novels are generally bought up by pornographers purely to pad out their wank mags. This means that, before he sets off to the arts festival in Midland City, Trout spends some time cruising the sex shops around Times Square in New York.

Beaver shots Vonnegut goes to town on this, describing how hard core sex magazines advertise that they contain ‘wide open beaver’ shots i.e. photos of women with their legs and labia apart, for men to masturbate to. It’s a classic opportunity to use the false-naive approach to highlight the absurdity of men, women, sex, humanity.

At the time he met Dwayne Hoover, Trout’s most widely-distributed book was Plague on Wheels. The publisher didn’t change the title, but he obliterated most of it and all of Trout’s name with a lurid banner which made this promise:

WIDE-OPEN BEAVERS INSIDE!!!!!

A wide-open beaver was a photograph of a woman not wearing underpants, and with her legs far apart, so that the mouth of her vagina could be seen. The expression was first used by news photographers, who often got to see up women’s skirts at accidents and sporting events and from underneath fire escapes and so on. They needed a code word to yell to other newsmen and friendly policemen and firemen and so on, to let them know what could be seen, in case they wanted to see it. The word was this: “Beaver!”

Pictures of beavers from Breakfast of Champions

Pictures of beavers from Breakfast of Champions

When Dwayne was a boy, when Kilgore Trout was a boy, when I was a boy, and even when we became middle-aged men and older, it was the duty of the police and the courts to keep representations of such ordinary apertures from being examined and discussed by persons not engaged in the practice of medicine. It was somehow decided that wide-open beavers, which were ten thousand times as common as real beavers, should be the most massively defended secret under law.

There you have Vonnegut’s satirical view of the absurdity of sex, pornography and society.

The clitoris Trout has written an entire book about the clitoris (p.144) and how a man should pleasure a woman.

Penis size There is also a longish passage half way through the book, where Vonnegut tells us the precise penis lengths of all the make characters in the book. This feels like Tristram Shandy, the most famous example of learnèd wit, i.e. taking the mickey out of absurd scholarship and learning, updated to the era of the Kinsey reports on sexual behaviour. In case you’re wondering:

Dwayne Hoover, incidentally, had an unusually large penis, and didn’t even know it

while:

Kilgore Trout had a penis seven inches long, but only one and one-quarter inches in diameter

at which point, in his fake-naive style, Vonnegut includes a drawing of an inch so that we know what we’re talking about.

Orgasms And this segues into a discussion of how many orgasms the main characters have per month.

Dwayne’s monthly orgasm rate on the average over the past ten years, which included the last years of his marriage, was two and one quarter. [Grace]’s monthly average over the same period was eighty-seven. Her husband [an assistant in Dwayne’s car dealership]’s average was thirty-six.

Cross dressing I was struck that Harry LeSabre is a transvestite. At weekends he likes to dress up in women’s clothes. His wife, Grace, is fine with this, but Harry is petrified lest it get out among his work colleagues.

Homosexuality And Dwayne is bothered because his son, George, has come out as gay, after having a terrible time at the military academy Dwayne sent him to when he was only a boy –

George Hoover went to Prairie Military Academy for eight years of uninterrupted sports, buggery and Fascism. Buggery consisted of sticking one’s penis in somebody else’s asshole or mouth, or having it done to one by somebody else.

with the result that he now insists on being called Bunny and plays piano in the cocktail lounge of the town’s Holiday Inn.

Role playing Earlier Dwayne took his secretary and lover, Francine Pefko, to the Holiday Inn where they made love but then Dwayne a) got really angry with her, shouting accusations, after which b) he collapsed into self pity and wanted her to be his Mommy.

He begged her to just hold him for a while, which she did.
‘I’m so confused,’ he said.
‘We all are,’ she said.
She cradled his head against her breasts.
‘I’ve got to talk to somebody,’ said Dwayne.
‘You can talk to Mommy, if you want,’ said Francine. She meant that she was Mommy.
‘Tell me what life is all about,’ Dwayne begged her fragrant bosom.

Prison sex A minor character, a black man just out of prison named Wayne Hoobler who’s been hanging round Dwayne’s Pontiac salesroom, reminisces about sex in prison.

He missed the clash of steel doors. He missed the bread and the stew and the pitchers of milk and coffee. He missed fucking other men in the mouth and the asshole, and being fucked in the mouth and the asshole, and jerking off – and fucking cows in the prison dairy, all events in a normal sex life on the planet, as far as he knew.

My point being that if a contemporary novel tackled these ‘issues’ it would be praised for being up to date and contemporary. But here’s Vonnegut writing about them 45 years ago. Nothing changes. Sex deranges everything.

The environment

But amid the satire about humans being machines driven by malfunctioning brain chemistry, about the madness of patriotism and wars, about the crazy attitudes to sex and the brutal racism of American society, there’s another strong theme which is environmentalism.

Right at the start of the novel Vonnegut describes Earth as a damaged planet, a dying planet, a wrecked planet, before we learn Trout’s theory that the atmosphere will soon become unbreathable and goes on:

He told Bill that humanity deserved to die horribly, since it had behaved so cruelly and wastefully on a planet so sweet.

The theme is picked up by the truck driver who Trout hitches a lift east out of New York with. As they drive through the wastelands of New Jersey, the driver laments how dirty and polluted the whole state has become.

‘And when you think of the shit that most of these factories make – wash day products, catfood, pop…’ He had a point. The planet was being destroyed by manufacturing processes, and what was being manufactured was lousy, by and large.

He said he knew that his truck was turning the atmosphere into poison gas, and that the planet was being turned into pavement so his truck could go anywhere.

And the theme is repeated big time when they drive through West Virginia and see how the landscape has been devastated by coal mining and Vonnegut, using the fake-naive approach, laments how crazy it is that people, because they own the minerals and oil and coal deep within the Earth, are allowed by our laws to devastate and pollute the surface of the Earth which we all inhabit.

The truck carrying Kilgore Trout was in West Virginia now. The surface of the State had been demolished by men and machinery and explosives in order to make it yield up its coal. The coal was mostly gone now. It had been turned into heat.

Summary

The experience of reading Breakfast of Champions is funny if disconcerting. The fake naive style, the casual way all kinds of topics are – race, sex, politics, war, environment – are treated with a deadpan straight face and reduced to absurdity by being illustrated with the author’s drawings, all this is often quite amusing.

But as soon as you stop and tabulate the themes, as I’ve done, you can see that just beneath the surface – and quite often on the surface – is world class depression, pessimism and nihilism.

In the last third of the novel Vonnegut himself appears as the author of the book and begins to play a role in it. We learn how he bought a pair of dark glasses on his way to Midland City where he walks into the same cocktail bar where Kilgore Trout is sitting and then watches the entrance of his character, Dwayne Hoover. He then shares with us the process of making up various secondary characters, giving them names and attributes and generally orchestrating the events which follow.

Not only does he tell us how he’s making the story up – in standard post-modern style – but he shares with us his worries about his mental illness (‘leaks’ in this extract is the term Vonnegut has developed to describe glasses and sunglasses).

There in the cocktail lounge, peering out through my leaks at a world of my own invention, I mouthed this word: schizophrenia. The sound and appearance of the word had fascinated me for many years. It sounded and looked to me like a human being sneezing in a blizzard of soapflakes. I did not and do not know for certain that I have that disease. This much I knew and know: I was making myself hideously uncomfortable by not narrowing my attention to details of life which were immediately important, and by refusing to believe what my neighbours believed.

I am better now.
Word of honour: I am better now

Much of these personal anxieties are present in Slaughterhouse-Five but there they are contained and channelled into the vivid description of, and emotional reaction to, Billy Pilgrim’s terrible war experiences. They are justified by the genuine nihilism of war. That’s what makes Slaughterhouse-Five a classic. The subject justifies the deranged treatment. The reader thinks: well, having been through what Vonnegut went through, I’ll give him any amount of leeway in how he presents it.

But Vonnegut is all too aware that this novel completely lacks the historical authenticity and punch of its predecessor. It lacks the excuse of being about a Big Subject.

For sure, he excoriates every aspect of American society and human nature which he can get his hands on, but as a result the book not only lacks focus but lacks a justification. Instead, you keep circling back to find Vonnegut’s face, staring out at the reader in mute despair.


Related links

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1956 The Naked Sun by Isaac Asimov – 3,000 years in the future detective Elijah Baley returns, with his robot sidekick, R. Daneel Olivaw, to solve a murder mystery on the remote planet of Solaria
1956 They Shall Have Stars by James Blish – explains the invention – in the near future – of the anti-death drugs and the spindizzy technology which allow the human race to colonise the galaxy
1959 The Triumph of Time by James Blish – concluding story of Blish’s Okie tetralogy in which Amalfi and his friends are present at the end of the universe

1961 A Fall of Moondust by Arthur C. Clarke a pleasure tourbus on the moon is sucked down into a sink of moondust, sparking a race against time to rescue the trapped crew and passengers
1962 A Life For The Stars by James Blish – third in the Okie series about cities which can fly through space, focusing on the coming of age of kidnapped earther, young Crispin DeFord, aboard New York
1962 The Man in the High Castle by Philip K. Dick In an alternative future America lost the Second World War and has been partitioned between Japan and Nazi Germany. The narrative follows a motley crew of characters including a dealer in antique Americana, a German spy who warns a Japanese official about a looming surprise German attack, and a woman determined to track down the reclusive author of a hit book which describes an alternative future in which America won the Second World War
1968 2001: A Space Odyssey a panoramic narrative which starts with aliens stimulating evolution among the first ape-men and ends with a spaceman being transformed into galactic consciousness
1968 Do Androids Dream of Electric Sheep? by Philip K. Dick In 1992 androids are almost indistinguishable from humans except by trained bounty hunters like Rick Deckard who is paid to track down and ‘retire’ escaped andys
1969 Ubik by Philip K. Dick In 1992 the world is threatened by mutants with psionic powers who are combated by ‘inertials’. The novel focuses on the weird alternative world experienced by a group of inertials after a catastrophe on the moon

1971 Mutant 59: The Plastic Eater by Kit Pedler and Gerry Davis – a genetically engineered bacterium starts eating the world’s plastic
1973 Rendezvous With Rama by Arthur C. Clarke – in 2031 a 50-kilometre long object of alien origin enters the solar system, so the crew of the spaceship Endeavour are sent to explore it
1974 Flow My Tears, The Policeman Said by Philip K. Dick – America after the Second World War is a police state but the story is about popular TV host Jason Taverner who is plunged into an alternative version of this world where he is no longer a rich entertainer but down on the streets among the ‘ordinaries’ and on the run from the police. Why? And how can he get back to his storyline?

1981 The Golden Age of Science Fiction edited by Kingsley Amis – 17 classic sci-fi stories from what Amis considers the Golden Era of the genre, namely the 1950s
1982 2010: Odyssey Two by Arthur C. Clarke – Heywood Floyd joins a Russian spaceship on a two-year journey to Jupiter to a) reclaim the abandoned Discovery and b) investigate the enormous monolith on Japetus
1987 2061: Odyssey Three by Arthur C. Clarke* – Spaceship Galaxy is hijacked and forced to land on Europa, a moon of the former Jupiter, but the thriller aspects are only pretexts for Clarke’s wonderful descriptions of landing on Halley’s Comet and the evolution of wild and unexpected new forms of life on Europa

Slaughterhouse-Five by Kurt Vonnegut (1969)

This was Vonnegut’s sixth novel and his commercial and critical breakthrough, quickly becoming a classic of counter-culture literature, its anti-war message chiming perfectly with the widespread protests across America against the Vietnam War, and then given an extra boost when it was made into a hit movie in 1972.

Both the anti-war message and Vonnegut’s laid-back, sardonic attitude are captured in the book’s jokey author biography:

Kurt Vonnegut Jnr
A fourth-generation German-American
now living in easy circumstances
on Cape Cod
[and smoking too much],
who, as an American infantry scout
hors de combat,
as a prisoner of war,
witnessed the fire-bombing of Dresden, Germany,
‘The Florence of the Elbe,’
a long time ago,
and survived to tell the tale.
This is a novel
somewhat in the telegraphic schizophrenic
manner of tales
of the planet Tralfamadore,
where the flying saucers
come from.
Peace.

That final ‘Peace’ says it all. You can almost smell the dope and patchouli oil.

Vonnegut was an American POW during the Second World War. He was taken to Dresden and set to work along with other POWs – among other things in a syrup factory – and so happened to be there during the notorious Allied bombing raid which flattened this beautiful and historic city on the night of 13 February 1945.

Vonnegut survived because he and other POWs had been billeted in a disused slaughterhouse. This happened to have no fewer than three levels underground of natural cold rooms where meat had been stored. Vonnegut, fellow POWs and their guards took refuge there on the night of the Allied raid and firestorm.

Vonnegut gives this experience and much else of his own life to the novel’s protagonist, Billy Pilgrim, but mixes it – bewilderingly but powerfully – with a science fiction story wherein Billy is captured by aliens from the planet Tralfamadore. And with a third element – which is that during the war Billy came ‘unstuck in time’ and from then on, periodically through the rest of his life, Billy’s consciousness keeps moving between different key moments of his life – one moment a POW captured in the snow in 1944, the next making a speech to fellow Lion’s Club members in 1967, one moment a boy of 12 taken to the Grand Canyon by his parents, the next a middle-aged man at his daughter’s wedding, and so on, for a number of other cardinal scenes in his life.

The text therefore mostly consists of fragments, any lengthy description of a particular scene liable to switch, with no warning, to another.

The odd thing is that despite this staginess, this artifice – it works. In fact it works more effectively than any straightforward account of the facts could have.

Even despite the opening chapter (pp.9-22) which consists mainly of fragments describing Vonnegut’s repeated failure to write this book. In these introductory pages he describes his visits to fellow war veterans and how, after a few drinks, they found they had nothing to say to each other. He candidly admits that, as a middle-aged man, he has gotten into the habit of staying up to late with a bottle of scotch, getting drunk and then ringing up old friends and acquaintances from the past, sometimes maundering on to complete strangers.

In other words, he sounds fucked. But it’s the inclusion of the admission of his failure to make his traumatic memories cohere, and his openness about the obvious emotional toll they’ve taken on him, which make the narrative which follows, deeply fragmented though it is, all the more powerful.

Billy’s biography

Despite all the apparent tricksiness, it is not too difficult to piece together Billy’s biography, in fact Vonnegut summarises most of it right at the start of chapter two, which is where the narrative proper begins.

Listen:
Billy Pilgrim has come unstuck in time. (p23)

Vonnegut likes short declarative sentences. And short paragraphs. He worked on newspapers for a while. Then as a press officer. Which taught him to keep it short. And snappy.

Bill Pilgrim was born in 1922 in Ilium, New York, the only son of a barber. He grew up to be tall and gangly, looking like a Coke bottle. He attended the Ilium school of optometry for one term before being drafted into the army. He was taken prisoner during the German advance of the Battle of the Bulge (December 1944-January 1945). There is an extended sequence describing his miserable march through the snow with two scouts and an aggressive bullying corporal named Roland Weary. The scouts eventually leave them and, a little later, they hear them being shot by a German patrol. So it goes.

He and hundreds of other American POWs were transported by overcrowded trains to a POW camp. The bully who gave him such a time on the march, Roland Weary, dies on the train. The base is really an extermination camp for Russian soldiers who were being starved to death. Within this camp was a small number of British officers who’d been captured at the start of the war and were living very well on Red Cross parcels. After various incidents here (such as witnessing the British stage a production of Cinderella). Billy starts laughing at this, the laugh becomes uncontrollable and turns into a shriek. They give him a shot of morphine. So it goes.

Then he is shipped to Dresden where he is billeted in a disused slaughterhouse and set to various labouring jobs, clearing rubble, and helping out in a syrup factory (where everyone steals as much syrup as they can eat).

One night 600 Allied bombers come and destroy Dresden, sparking a firestorm which incinerates everyone above ground. When Billy and the Germans emerge they discover the entire city reduced to smoking rubble littered with what seem planks of burning wood but are, in fact, smouldering corpses. So it goes.

Billy is liberated by the Russians, repatriated to Allied lines, and then back to the States. He re-enrols in the Ilium School of Optometry and becomes engaged to Valencia, the fat, ugly daughter of the founder of the school, who is addicted to eating candy bars and cries on their wedding night because she thought no-one would ever marry her.

In 1948 Billy suffers a mental breakdown and checks himself into a ward for nonviolent mental patients in a veterans’ hospital near Lake Placid, New York.

Here he meets a character mentioned in previous novels, namely Eliot Rosewater, who introduces him to the works of a prolific science fiction writer, Kilgore Trout (who will be one of the two main figures in Vonnegut’s next novel, Breakfast of Champions). Later on, in 1964, Billy bumps into Trout, as he tyrannises the pack of newspaper boys who he bullies into delivering papers, his only form of income since nobody will publish his numerous novels and, even if they do, Trout never sees any money from them. Rosewater has a big trunk of Trout’s sci-fi novels under his bed and during his stay in the hospital, Billy becomes a big fan.

Then he checks out and resumes his career as an optometrist. Marrying the boss’s fat daughter was a shrewd career move. His father-in-law gifts him a successful optometrist’s practice and Billy goes from strength to strength. He gets rich. He has two children, Barbara and Robert. Barbara marries an optometrist. Robert has a troubled school career (alcoholic at 16, desecrates graveyards) but turns his life round when he joins the Marines and goes to Vietnam.

In 1964 Billy meets Kilgore Trout and invites him to a party of optometrists. Trout chats up the most sensationally sexy woman in the room. When, in his excitement, he coughs on a canape, fragments of wet food land in her cleavage. Trout is that kind of character. Vonnegut is that kind of writer. Billy had planned to give his wife a big jewel as a wedding anniversary present, but is overcome with memories.

In 1967 Billy claims he was kidnapped by Tralfamodorians and taken to their planet in a flying saucer, where he was put in a zoo for the entertainment of Tralfamadorian crowds, and was soon joined by former movie star Montana Wildhack. Billy is laid back about the experience. He’s seen worse. He’s seen nearly the worst that human beings can do to each other. But Montana is hysterical for the first few weeks. Eventually they settle down together in their cage and mate, much to the cheers of the Tralfamadorian crowds.

In 1968 Billy is aboard a planeload of optometrists flying to a convention which crashes into Sugarloaf Mountain, Vermont. Billy is the only survivor. His wife, Valencia, in her worry, drives to the hospital but at one stage hits the central reservation, scraping the exhaust off the car. By the time she gets to the hospital where Billy is she is suffering from a fatal dose of carbon monoxide poisoning, and dies. So it goes.

After getting out of the hospital Billy goes to New York City where he gets airtime on a radio station telling everyone about how he was kidnapped by aliens from outer space and kept in a zoo. His grown-up daughter, Barbara, is furious and insists on coming to look after him (which feels a lot to Billy like nagging, hectoring bullying).

Billy is killed on 13 February 1976. Remember the soldier who died on the train, Roland Weary. Well another soldier, a really unpleasant psychopath named Paul Lazzarro, gives Weary his word of honour that he’ll take care of the dirty rotten fink who Weary blames for his death – the entirely innocent Billy.

And so it is that in 1976 that same Paul Lazzaro assassinates Billy using a laser gun with telescopic sights, while Billy is addressing a big rally about his flying saucer experiences. So it goes.

(It’s worth noting that, in a few throwaway sentences, Vonnegut tells us that by 1976 the USA has been divided into twenty smaller nations ‘so that it will never again be a threat to world peace’. Chicago has been hydrogen-bombed by angry Chinamen, p.96. This is not intended as any kind of prediction, it just continues the vein of pointless absurdity.)

POW

Central to the impact of the book is the powerful account of being taken prisoner, packed into cattle trucks so full people take it in turns to lie down, for days surrounded by the smells of poo and piss, and then arriving at the death camp more dead than alive. The surrealism of the brisk well-fed British officers among the starving Russians (kept in a separate area, behind barbed wire) and then onto the detailed, first hand account of a) labouring in Dresden in the build-up and then b) the night of the firestorm and then c) the aftermath.

These scenes, in their winter misery, reminded me of concentration camp memoirs I’ve read:

They also account in a roundabout way for the comment Vonnegut makes about the nature of his own book (he is prone to stop and comment on the text at random moments.)

There are almost no characters in this story, and almost no dramatic confrontations, because most of the people in it are so sick and so much the listless playthings of enormous forces. One of the main effects of war, after all, is that people are discouraged from being characters. (p.110)

This fictional worldview, or attitude towards fiction, is related to the way Vonnegut repeatedly refers to people as machines. All the inhabitants of Tralfamadore are machines and don’t understand why the inhabitants of planet Earth won’t just accept this simple truth.

Tralfamadore

From the start of his career Vonnegut played the textual/fictional joke of having characters from one novel reappear in others.

Thus the town Billy’s born in, Ilium, is the setting for the first part of the novel Cat’s Cradle as is its General Forge and Foundry Company.

In hospital Billy is put in a bed next to Professor Bertram Copeland Rumfoord of Harvard, official Historian of the United States Air Force. This is a coincidence because the main character and master of destiny in The Sirens of Titan is Winston Niles Rumfoord.

The biggest recurring topic is the planet named Tralfamadore (which appears in five of Vonnegut’s novels). Anyone who’s read The Sirens of Titan knows that, on one level, it is all about a denizen of Tralfamadore marooned on Titan after his spaceship breaks down, and that all of human history (in this version, anyway) has in fact been shaped entirely by his home planet sending messages to him.

In Slaughterhouse-Five we learn that Tramalfadorians are:

two feet high, and green, and shaped like plumber’s friends. Their suction cups were on the ground, and their shafts, which were extremely flexible, usually pointed to the sky. At the top of each shaft was a little hand with a green eye in its palm. The creatures were friendly, and they could see in four dimensions. They pitied Earthlings for being able to see only three. They had many wonderful things to teach Earthlings about time.

So far, so frivolous and silly. But the biggest thing Billy learns from the Tramalfadorians is that:

’The most important thing I learned on Tralfamadore was that when a person dies he only appears to die. He is still very much alive in the past, so it is very silly for people to cry at his funeral. All moments, past, present and future, always have existed, always will exist. The Tralfamadorians can look at all the different moments just that way we can look at a stretch of the Rocky Mountains, for instance. They can see how permanent all the moments are, and they can look at any moment that interests them. It is just an illusion we have here on Earth that one moment follows another one, like beads on a string, and that once a moment is gone it is gone forever.’

Various other aspects and quirks of Tralfamadorian life and thought are made up for our amusement (such as that the Tralfamadorians have five sexes, all of which are required for successful reproduction). But this is the key one. They explain a) how all moments of time exist simultaneously so b) that is why Billy can slip between them so easily and c) that’s why it doesn’t matter. Which brings us to ‘so it goes’.

So it goes

The book popularised Vonnegut’s catch-phrase, ‘so it goes’.

The author writes this every time he describes anyone dying, either in the war or by accident or of old age. It appears several times on each page, and 99 times in the whole (relatively short) book. Once upon a time it was cool but I eventually found it irritating and distracting.

But on the same page as he explains the Tralfamadorian way of thinking about, and seeing, time, he also explains the phrase’s origin:

‘When a Tralfamadorian sees a corpse, all he thinks is that the dead person is in a bad condition in that particular moment, but that the same person is just fine in plenty of other moments. Now, when I myself hear that somebody is dead, I simply shrug and say what the Tralfamadorians say about dead people, which is “so it goes.”’

So this phrase ‘so it goes’ turns out to have more philosophical (or theological) than first appears. It indicates why the Tralfamadorians are relaxed about death – because it is only one stage in a person’s existence, and all the other stages of his or her existence continue unaffected by their death. And so it indicates how the author, too, has adopted this point of view.

That’s the nominal aim. But having read the first chapter in which Vonnegut describes the psychological problems he had writing this book – plus the scenes of Billy Pilgrim in the mental hospital – it’s difficult not to read the entire ‘so it goes’, throwaway kind of levity as in fact a form of psychological defence mechanism.

As he describes atrocities, random deaths, cruel accidents, suicides, immolations, plane crashes and the endless dumb pointlessness of the world, it’s hard not to see the ‘so it goes’ mentality as the coping mechanisms of a very unhappy man.

Folk wisdom

Vonnegut is addicted to sharing his wisdom with us. He is in the line of what Saul Bellow described as ‘reality instructors’, a line which goes back to Thoreau and beyond.

All Vonnegut’s novels are designed to persuade us that there is no meaning to life… and it doesn’t matter.

The same thing is said time and again. Thus a German guard punches an American POW, knocking him to the ground. The American asks: ‘Why me?’ The German guard replies: ‘Vy you? Vy anybody?’

Similarly, when the Tralfamadorians abduct him, Billy asks them: ‘Why me?’ to which they reply that they are all of them just embedded in this moment of time, like a prehistoric ant embalmed in amber.

‘There is no why?’ ‘Why?’ is the wrong question to be asking.

You can see why this Zen-like sidestepping of the anxious questions of Western philosophy appealed to the 60s generation, the spirit that made Zen and the Art of Motorcycle Maintenance such an instant best seller when it was published in 1974.

But pretty often it sounds no different from homespun folk wisdom, with no particular secret or mystique about it. Here’s Billy chatting with a Tramalfadorian:

‘But you do have a peaceful planet here.’
‘Today we do. On other days we have wars as horrible as any you’ve ever seen or read about. There isn’t anything we can do about them, so we simply don’t look at them. We ignore them. We spend eternity looking at pleasant moments – like today at the zoo. Isn’t this a nice moment?’
‘Yes.’
‘That’s one thing Earthlings might learn to do, if they tried hard enough: Ignore the awful times, and concentrate on the good ones.’

‘Ignore the awful times, and concentrate on the good ones.’ Not a dazzling revelation, is it? But then the thing about living wisely – as of eating a healthy diet – is everyone knows what they ought to be doing, it’s just that most people can’t or won’t or don’t do it.

Vivid writing

Notwithstanding that Vonnegut’s baseline style is the crisp brevity of newspaper journalism, he routinely comes up with great lines, descriptions and verbal effects.

There was a still life on Billy’s bedside table-two pills, an ashtray with three lipstick-stained cigarettes in it, one cigarette still burning, and a glass of water. The water was dead. So it goes. Air was trying to get out of that dead water. Bubbles were clinging to the walls of the glass, too weak to climb out.

This description is charged by the fact that Billy is himself lying in a hospital bed, too weak to get out.

Elsewhere Vonnegut nails aspects of his society and times with an accuracy made all the more lethal by the calm simplicity of his phrasing.

Like so many Americans, she was trying to construct a life that made sense from things she found in gift shops.

Set pieces

And like the other Vonnegut novels I’ve read, it is just crammed full of stuff. Characters, events, insights, jokes, wisdom, the author’s own hand-drawn illustrations.

While he is in the prison camp Billy meets an American traitor, Howard W. Campbell Jnr who is trying to raise an American Nazi regiment to fight the Russians on the Eastern Front. Obviously he’s a traitor Fascist, but he is not stupid and Billy reads the lengthy monograph Campbell has written which is a cunning blend of truths and falsehoods about the American character, and which allows Vonnegut to slip in some pretty bitter home truths:

America is the wealthiest nation on Earth, but its people are mainly poor, and poor Americans are urged to hate themselves… It is in fact a crime for an American to be poor, even though America is a nation of poor… Americans, like human beings everywhere, believe many things that are obviously untrue, the monograph went on. Their most destructive untruth is that it is very easy for any American to make money. They will not acknowledge how in fact hard money is to come by, and, therefore, those who have no money blame and blame and blame themselves. This inward blame has been a treasure for the rich and powerful, who have had to do less for their poor, publicly and privately, than any other ruling class since Napoleonic times.

In a different mode, there is an impressive writerly tour de force where Billy has a vision of the bombing of Dresden happening in reverse, with miraculous old buildings rising from a rubble-strewn wasteland, friendly planes flying over hoovering up all those nasty bombs, flying back to England in pretty poor shape but, luckily, fleets of fighter planes meet them and suck out all the bullets and flak so that they finally land back at their airfields in pristine condition, and everyone is happy!

Shell shocked prose

But the most consistent style or tone is shell-shocked numbness. The author tells things in sequence like a zombie. Zombie prose. Then this then this then this.

Billy survived, but he was a dazed wanderer far behind the new German lines. Three other wanderers, not quite so dazed, allowed Billy to tag along. Two of them were scouts, and one was an antitank gunner. They were without food or maps. Avoiding Germans they were delivering themselves into rural silences ever more profound. They ate snow.

Dazed wanderer prose. Sometimes, when applied to actual combat, to soldiers shooting each other or planes dropping bombs, you can see how describing things in this simpleton, child’s eye way, is designed to undermine the army press release, conventional ways of seeing atrocities. To force us to realise that ‘combat’ means one bunch of men trying to send bits of metal at high velocity through other men’s bodies.

But at other moments this numb, dumb, dazed, zombie prose seems to me to convey nothing more than shell shock. Mental disturbance. An inability to function which isn’t glamorous or counter-cultural, but masks deep pain and unhappiness.

As a part of a gun crew, [Weary] had helped to fire one shot in anger-from a 57-millimeter antitank gun. The gun made a ripping sound like the opening of a zipper on the fly of God Almighty. The gun lapped up snow and vegetation with a blowtorch feet long. The flame left a black arrow on the ground, showing the Germans exactly where the gun was hidden. The shot was a miss.

What had been missed was a Tiger tank. It swiveled its 88-millimeter snout around sniffingly, saw the arrow on the ground. It fired. It killed everybody on the gun crew but Weary. So it goes.

Telling what happened with no emotion, affect or intellectual intervention, no defences, no assimilation. The wound still red raw and gaping.

It comes as absolutely no surprise to learn that Vonnegut suffered from chronic depression, and within a few years of Slaughterhouse being published, a difficult break-up with his wife and his son’s mental collapse prompted him to start taking anti-depressants. In 1984 he tried to commit suicide. I think you can hear not only Vonnegut’s war-torn past, but also his troubled future, in the prose of Slaughterhouse-Five.


Related links

Kurt Vonnegut reviews

Other science fiction reviews

1888 Looking Backward 2000-1887 by Edward Bellamy – Julian West wakes up in the year 2000 to discover a peaceful revolution has ushered in a society of state planning, equality and contentment
1890 News from Nowhere by William Morris – waking from a long sleep, William Guest is shown round a London transformed into villages of contented craftsmen

1895 The Time Machine by H.G. Wells – the unnamed inventor and time traveller tells his dinner party guests the story of his adventure among the Eloi and the Morlocks in the year 802,701
1896 The Island of Doctor Moreau by H.G. Wells – Edward Prendick is stranded on a remote island where he discovers the ‘owner’, Dr Gustave Moreau, is experimentally creating human-animal hybrids
1897 The Invisible Man by H.G. Wells – an embittered young scientist, Griffin, makes himself invisible, starting with comic capers in a Sussex village, and ending with demented murders
1898 The War of the Worlds – the Martians invade earth
1899 When The Sleeper Wakes/The Sleeper Wakes by H.G. Wells – Graham awakes in the year 2100 to find himself at the centre of a revolution to overthrow the repressive society of the future
1899 A Story of the Days To Come by H.G. Wells – set in the same future London as The Sleeper Wakes, Denton and Elizabeth defy her wealthy family in order to marry, fall into poverty, and experience life as serfs in the Underground city run by the sinister Labour Corps

1901 The First Men in the Moon by H.G. Wells – Mr Bedford and Mr Cavor use the invention of ‘Cavorite’ to fly to the moon and discover the underground civilisation of the Selenites
1904 The Food of the Gods and How It Came to Earth by H.G. Wells – scientists invent a compound which makes plants, animals and humans grow to giant size, prompting giant humans to rebel against the ‘little people’
1905 With the Night Mail by Rudyard Kipling – it is 2000 and the narrator accompanies a GPO airship across the Atlantic
1906 In the Days of the Comet by H.G. Wells – a comet passes through earth’s atmosphere and brings about ‘the Great Change’, inaugurating an era of wisdom and fairness, as told by narrator Willie Leadford
1908 The War in the Air by H.G. Wells – Bert Smallways, a bicycle-repairman from Kent, gets caught up in the outbreak of the war in the air which brings Western civilisation to an end
1909 The Machine Stops by E.M. Foster – people of the future live in underground cells regulated by ‘the Machine’ until one of them rebels

1912 The Lost World by Sir Arthur Conan Doyle – Professor Challenger leads an expedition to a plateau in the Amazon rainforest where prehistoric animals still exist
1912 As Easy as ABC by Rudyard Kipling – set in 2065 in a world characterised by isolation and privacy, forces from the ABC are sent to suppress an outbreak of ‘crowdism’
1913 The Horror of the Heights by Arthur Conan Doyle – airman Captain Joyce-Armstrong flies higher than anyone before him and discovers the upper atmosphere is inhabited by vast jellyfish-like monsters
1914 The World Set Free by H.G. Wells – A history of the future in which the devastation of an atomic war leads to the creation of a World Government, told via a number of characters who are central to the change
1918 The Land That Time Forgot by Edgar Rice Burroughs – a trilogy of pulp novellas in which all-American heroes battle ape-men and dinosaurs on a lost island in the Antarctic

1921 We by Evgeny Zamyatin – like everyone else in the dystopian future of OneState, D-503 lives life according to the Table of Hours, until I-330 wakens him to the truth
1925 Heart of a Dog by Mikhail Bulgakov – a Moscow scientist transplants the testicles and pituitary gland of a dead tramp into the body of a stray dog, with disastrous consequences
1927 The Maracot Deep by Arthur Conan Doyle – a scientist, engineer and a hero are trying out a new bathysphere when the wire snaps and they hurtle to the bottom of the sea, there to discover…

1930 Last and First Men by Olaf Stapledon – mind-boggling ‘history’ of the future of mankind over the next two billion years
1938 Out of the Silent Planet by C.S. Lewis – baddies Devine and Weston kidnap Ransom and take him in their spherical spaceship to Malacandra aka Mars,

1943 Perelandra (Voyage to Venus) by C.S. Lewis – Ransom is sent to Perelandra aka Venus, to prevent a second temptation by the Devil and the fall of the planet’s new young inhabitants
1945 That Hideous Strength: A Modern Fairy-Tale for Grown-ups by C.S. Lewis– Ransom assembles a motley crew to combat the rise of an evil corporation which is seeking to overthrow mankind
1949 Nineteen Eighty-Four by George Orwell – after a nuclear war, inhabitants of ruined London are divided into the sheep-like ‘proles’ and members of the Party who are kept under unremitting surveillance

1950 I, Robot by Isaac Asimov – nine short stories about ‘positronic’ robots, which chart their rise from dumb playmates to controllers of humanity’s destiny
1950 The Martian Chronicles – 13 short stories with 13 linking passages loosely describing mankind’s colonisation of Mars, featuring strange, dreamlike encounters with Martians
1951 Foundation by Isaac Asimov – the first five stories telling the rise of the Foundation created by psychohistorian Hari Seldon to preserve civilisation during the collapse of the Galactic Empire
1951 The Illustrated Man – eighteen short stories which use the future, Mars and Venus as settings for what are essentially earth-bound tales of fantasy and horror
1952 Foundation and Empire by Isaac Asimov – two long stories which continue the future history of the Foundation set up by psychohistorian Hari Seldon as it faces attack by an Imperial general, and then the menace of the mysterious mutant known only as ‘the Mule’
1953 Second Foundation by Isaac Asimov – concluding part of the ‘trilogy’ describing the attempt to preserve civilisation after the collapse of the Galactic Empire
1953 Earthman, Come Home by James Blish – the adventures of New York City, a self-contained space city which wanders the galaxy 2,000 years hence powered by spindizzy technology
1953 Fahrenheit 451 by Ray Bradbury – a masterpiece, a terrifying anticipation of a future when books are banned and professional firemen are paid to track down stashes of forbidden books and burn them
1953 Childhood’s End by Arthur C. Clarke a thrilling narrative involving the ‘Overlords’ who arrive from space to supervise mankind’s transition to the next stage in its evolution
1954 The Caves of Steel by Isaac Asimov – set 3,000 years in the future when humans have separated into ‘Spacers’ who have colonised 50 other planets, and the overpopulated earth whose inhabitants live in enclosed cities or ‘caves of steel’, and introducing detective Elijah Baley to solve a murder mystery
1956 The Naked Sun by Isaac Asimov – 3,000 years in the future detective Elijah Baley returns, with his robot sidekick, R. Daneel Olivaw, to solve a murder mystery on the remote planet of Solaria
1956 They Shall Have Stars by James Blish – explains the invention – in the near future – of the anti-death drugs and the spindizzy technology which allow the human race to colonise the galaxy
1959 The Triumph of Time by James Blish – concluding story of Blish’s Okie tetralogy in which Amalfi and his friends are present at the end of the universe

1961 A Fall of Moondust by Arthur C. Clarke a pleasure tourbus on the moon is sucked down into a sink of moondust, sparking a race against time to rescue the trapped crew and passengers
1962 A Life For The Stars by James Blish – third in the Okie series about cities which can fly through space, focusing on the coming of age of kidnapped earther, young Crispin DeFord, aboard New York
1962 The Man in the High Castle by Philip K. Dick In an alternative future America lost the Second World War and has been partitioned between Japan and Nazi Germany. The narrative follows a motley crew of characters including a dealer in antique Americana, a German spy who warns a Japanese official about a looming surprise German attack, and a woman determined to track down the reclusive author of a hit book which describes an alternative future in which America won the Second World War
1968 2001: A Space Odyssey a panoramic narrative which starts with aliens stimulating evolution among the first ape-men and ends with a spaceman being transformed into galactic consciousness
1968 Do Androids Dream of Electric Sheep? by Philip K. Dick In 1992 androids are almost indistinguishable from humans except by trained bounty hunters like Rick Deckard who is paid to track down and ‘retire’ escaped andys
1969 Ubik by Philip K. Dick In 1992 the world is threatened by mutants with psionic powers who are combated by ‘inertials’. The novel focuses on the weird alternative world experienced by a group of inertials after a catastrophe on the moon

1971 Mutant 59: The Plastic Eater by Kit Pedler and Gerry Davis – a genetically engineered bacterium starts eating the world’s plastic
1973 Rendezvous With Rama by Arthur C. Clarke – in 2031 a 50-kilometre long object of alien origin enters the solar system, so the crew of the spaceship Endeavour are sent to explore it
1974 Flow My Tears, The Policeman Said by Philip K. Dick – America after the Second World War is a police state but the story is about popular TV host Jason Taverner who is plunged into an alternative version of this world where he is no longer a rich entertainer but down on the streets among the ‘ordinaries’ and on the run from the police. Why? And how can he get back to his storyline?

1981 The Golden Age of Science Fiction edited by Kingsley Amis – 17 classic sci-fi stories from what Amis considers the Golden Era of the genre, namely the 1950s
1982 2010: Odyssey Two by Arthur C. Clarke – Heywood Floyd joins a Russian spaceship on a two-year journey to Jupiter to a) reclaim the abandoned Discovery and b) investigate the enormous monolith on Japetus
1987 2061: Odyssey Three by Arthur C. Clarke* – Spaceship Galaxy is hijacked and forced to land on Europa, a moon of the former Jupiter, but the thriller aspects are only pretexts for Clarke’s wonderful descriptions of landing on Halley’s Comet and the evolution of wild and unexpected new forms of life on Europa

Cat’s Cradle by Kurt Vonnegut (1963)

This is an end-of-the-world apocalypse novel, made all the bleaker by the warm chatty style of everything which precedes the final doom.

The plot – Ice-nine

For 150 or so pages the narrator (named John, but on the first page he suggests we call him Jonah, in line with the usage indicating someone who brings bad luck) pursues an elaborate and good-humoured picaresque as he tracks down the grown-up children of the so-called ‘father of the atom bomb’, Felix Hoenniker.

The narrator is planning to write a book about what people were doing on the day the atom bomb was dropped, although he never really gets much further than talking to the members of Hoenikker’s family and his boss and co-workers.

John corresponds with Newton Hoenikker, and his sister, Angela Hoenikker Conners, then travels to the town of Ilium to meet them, and also Hoenniker’s former employer, Dr. Asa Breed, head of the General Forge and Foundry Company where the late Felix worked.

He explains that the company is really a top secret government agency. Breed explains that Hoenniker was like a child who just liked solving whatever problem was put in front of him. The agency had a request from the U.S. Marines who (in Vonnegut’s cheerfully childish way) are described as being fed up of crawling through mud. Can’t the scientists do anything to clear up all this mud?

And so we are told that Hoenniker came up with the notion that ice may potentially be formed in different ways from usual. He starts by considering that ice is just a solid way for molecules of H2O to exist. It consists of a latticework of molecules in a steady state. But plenty of other chemical substances, ones we think of as crystalline, in fact form crystals in a variety of ways. They are all crystals but she shape of the latticework which makes them solid can be altered in the laboratory by ‘seeding’ the chemical solution, as it approaches solidifying point, with the desired pattern. Then all the other molecules in the chemical crystalise in that pattern.

To cut a long story short, John discovers that Dr Hoenikker had discovered a new way of making water solidify at a higher than usual temperature, roughly room temperature. After experimenting with seven other versions he has called this ice-nine. If crystals of ice-nine touch any other form of water, it will all immediately solidify according to the ice-nine crystal or lattice structure.

Now all this was done to help out the U.S. Marines who were fed up of getting dirty and muddy while they went about their work. (See the absurdity on which all Vonnegut’s stories are based?) But of course, you and I – having read hundreds of end-of-the-world books and watched hundreds of end-of-the-world movies – instantly spot the risk involved. Potentially one little sliver of ice-nine could end the world by converting all the water – all the seas and oceans and rivers and lakes and streams and all the rain and, yes, all human beings (who are, after all, mostly made of water) into solid blocks if ice-nine.

And that, after another 100 pages of very entertaining travelogue, is exactly what happens.

The book is extremely readable (I couldn’t put it down, I read it in one four-hour sitting) because:

  1. it is broken up into dinky little two-page chapters, so it feels like it moves very fast
  2. in almost each chapter we are introduced to new and strikingly drawn characters, often very secondary – like the secretary at the General Forge and Foundry Company, the old black lift boy, Lynton Enders Knowles, a taxi driver, a bartender, a headstone salesman – but all of whom have zippy cameos
  3. it is often very funny – it is certainly much more upbeat than The Sirens of Titan which I found unpleasantly nihilistic – with light humorous touches all over the place

When John stops by at Ilium’s gravestone dealership he discovers the owner is the brother of Ava Breed, head of the General Forge and Foundry Company.

‘It’s a small world,’ I observed.
‘When you put it in a cemetery, it is.’ Marvin breed was a sleek and vulgar, a smart and sentimental man. (p.44)

When he stops off at Jack’s Hobby Shop the page or two describing the shop and its owner and all its hundreds of miniature trains and dioramas is sweet. For a two-page chapter we learn that during his trip to Ilium John lent out his room to a New York poet, Sherman Krebbs, who proceeded to have wild parties and trash it. Someone had written in lipstick over his bed, ‘No, no, no, said Chicken-licken’ (p.53).

Apparently Vonnegut himself claimed that his books ‘are essentially mosaics made up of a whole bunch of tiny little chips…and each chip is a joke.’ That is eminently true of Cat’s Cradle.

The whimsy in Sirens felt utterly contrived. Here it is genuinely charming and helps you whizz through the story. Part two of it is set on the dirt poor Caribbean island of San Lorenzo. This is because both Newton and Angela Hoenikker thought their older brother, Franklin, was dead. (On Hiroshima Day Newton had told John he remembers discovering Franklin under a bush trying to persuade some red ants he’d captured and put in a jam jar to fight some red ants.)

Newton (nickname ‘Newt’ and a midget) and Angela thought Franklin was dead because he got caught up in some car-smuggling racket in Florida and disappeared, assumed wasted by the Mob. But suddenly he turns up as the right-hand man of San Lorenzo’s dictator, ‘Papa’ Monzano.

The second and longest part of the story is set on the island, although it takes a few pages to get there as Vonnegut enjoys describing the wacky characters who share the small charter plane there with John – a hustling bustling businessman, H. Lowe Crosby, who wants to set up a bicycle factory on the island (and his wife Hazel), and the new U.S. ambassador, Horlick Minton, a picture of haughty aloofness (and his wife Claire).

There’s also the figure of Julian Castle, once the multi-millionaire ex-owner of Castle Sugar Cooperation, who gave up business in order to set up a charity in the jungle, the whom John travels to San Lorenzo to interview. He abandoned his business ventures to set up and operate a humanitarian hospital, the House of Hope and Charity, in the jungle. And he has a son, Philip, who has a wonderful dry wit: there are several really funny dialogues between him and the narrator.

To cut a long story short, the dictator ‘Papa’ Monzano is really ill with excruciatingly terminal cancer, and so he hands over power to his military adviser, Franklin Hoenikker. But Franklin doesn’t want the job and hands it over to the narrator. A big fireworks display and flyover by the San Lorenzo air force is planned for inauguration day. Just hours before it, the narrator discovers that Papa has committed suicide (to escape the unbearable pain of his terminal illness) by touching a fragment of ice-nine to his lips. One of the bloody Hoenikker kids must have given him some.

So John and Newt very very carefully use a blow torch to raise the temperature of the ice-nine and scoop up every sliver into a bucket of hot water and generally quarantine it. But all this comes to nothing when one of the six jets flying overhead crashes into the big castle on a cliff where John, Frank, Newt, Angela, the ambassador and Crosby are standing. The particular tower they’re on cracks and crumbles, half of it toppling into the sea.

And then, with all the horror of full knowledge of what is coming, John is forced to watch the bed on which the ice-nined body of Papa Monzano was lying, slowly slide across the slanting floor and into the ocean.

In a flash the entire ocean is solidified, every river, lake and sea in the world is solidified, all rain turns to hail, and almost everyone in the world who is touching the contaminated water dies. The sky immediately turns into a hell of thousands of tornadoes, like an endless sack full of grey wriggling worms.

John and Papa’s beautiful adopted daughter, Mona, who he has lusted after throughout the novel, escape down to a bunker where there is food and safe drink for three or four days. When they go back above ground, nothing has changed. The world has come to an end.

Exploring the island and looking for survivors, they discover a mass grave where all the surviving San Lorenzans had killed themselves with ice-nine, on the facetious advice of Bokonon. Displaying a mix of grief and resigned amusement, Mona kills herself as well.

John later discovers Newt and Franklin survived, as did H. Lowe Crosby and his wife. They eke out a living not touching any of the ice and heating all water before they drink it. It is in the months since the apocalypse that John has written this account, the book we hold in our hands.

The religion – Bokononism

But this summary has so far completely ignored what is arguably the more important aspect of the book which is that John, right at the end of the story, had become a convert to a new religion known as Bokonism, with the result that the book is packed, from start to finish, with explanations of key Bokononist terms and ideas, as well as quotes from the calypso songs in which Bokonon expressed himself collected in the so-called Books of Bokonon.

In essence, Bokononism teaches that life is empty and meaningless and therefore we must comfort ourselves with useless lies.

There’s a lot of fol-de-rol surrounding the religion but the basic idea is that it was dreamed up by two castaways on the island (a merchant seaman from Tobago, Lionel Boyd Johnson, and a deserting U.S. marine, Corporal Earl McCabe) who set out to create a utopian religion from scratch.

They initially ruled San Lorenzo (giving it, in a typical piece of sardonic Vonnegut humour, a national anthem based on the tune ‘Home, Home on the Range’) but quickly realised that a religion needs the ‘glamour’ of being struggled and suffered for. And so they banned their own religion, and Bokonon himself (in fact his name was Johnson but the islanders couldn’t pronounce it) went into hiding. Any followers were liable to be hung up on a giant meathook which was set up in the centre of the capital city.

After which Bokononism really took off. (You see Vonnegut’s sardonic humour / understanding of human nature?)

Throughout the book the author takes particular incidents and demonstrates how they are good examples of Bokononism’s main concepts. Some twenty of these are demonstrated and explained in the text, but about three are important because they will recur in Vonnegut’s later works.

karass – a group of people linked in a cosmically significant manner, even when superficial linkages are not evident.

granfalloon – a false karass i.e. a group of people who imagine they have a connection that does not really exist, for example ‘Hoosiers’ are people from Indiana, and Hoosiers have no true spiritual destiny in common, so really share little more than a name. Another example Vonnegut gives is Americans.

wampeter – the central theme or purpose of a karass. Each karass has two wampeters at any given time, one waxing and one waning

foma – harmless untruths

There’s much more, and the weaving of Bokononism into the plot is very cleverly done (well, ‘clever’ in the sense that it is obvious nonsense invented to demonstrate the power of obvious nonsense over the stupid human mind).

More to the point, it is funny, often very funny – and the combination of the a) fairly normal social comedy of fat bicycle manufacturer, waspish hotel owners and so on with b) the very thoroughly worked-out integration of this imaginary religion into all aspects of the plot all leading up to a c) all-too-believable sci-fi apocalypse make this a compelling and disorientating read.

Anti-war

Here, as in all his books, Vonnegut makes his anti-war sentiments crystal clear. He has the U.S. ambassador, at a commemoration service for San Lorenzans who died in the Second World War, remark:

‘And I propose to you that if we are to pay our sincere respects to the hundred lost children of San Lorenzo, that we might best spend the day despising what killed them; which is to say, the stupidity and viciousness of all mankind.

‘Perhaps, when we remember wars, we should take off our clothes and paint ourselves blue and go on all fours all day long and grunt like pigs. That would surely be more appropriate than noble oratory and shows of flags and well-oiled guns.’

Right on, man.


Related links

Kurt Vonnegut reviews

Other science fiction reviews

1888 Looking Backward 2000-1887 by Edward Bellamy – Julian West wakes up in the year 2000 to discover a peaceful revolution has ushered in a society of state planning, equality and contentment
1890 News from Nowhere by William Morris – waking from a long sleep, William Guest is shown round a London transformed into villages of contented craftsmen

1895 The Time Machine by H.G. Wells – the unnamed inventor and time traveller tells his dinner party guests the story of his adventure among the Eloi and the Morlocks in the year 802,701
1896 The Island of Doctor Moreau by H.G. Wells – Edward Prendick is stranded on a remote island where he discovers the ‘owner’, Dr Gustave Moreau, is experimentally creating human-animal hybrids
1897 The Invisible Man by H.G. Wells – an embittered young scientist, Griffin, makes himself invisible, starting with comic capers in a Sussex village, and ending with demented murders
1898 The War of the Worlds – the Martians invade earth
1899 When The Sleeper Wakes/The Sleeper Wakes by H.G. Wells – Graham awakes in the year 2100 to find himself at the centre of a revolution to overthrow the repressive society of the future
1899 A Story of the Days To Come by H.G. Wells – set in the same future London as The Sleeper Wakes, Denton and Elizabeth defy her wealthy family in order to marry, fall into poverty, and experience life as serfs in the Underground city run by the sinister Labour Corps

1901 The First Men in the Moon by H.G. Wells – Mr Bedford and Mr Cavor use the invention of ‘Cavorite’ to fly to the moon and discover the underground civilisation of the Selenites
1904 The Food of the Gods and How It Came to Earth by H.G. Wells – scientists invent a compound which makes plants, animals and humans grow to giant size, prompting giant humans to rebel against the ‘little people’
1905 With the Night Mail by Rudyard Kipling – it is 2000 and the narrator accompanies a GPO airship across the Atlantic
1906 In the Days of the Comet by H.G. Wells – a comet passes through earth’s atmosphere and brings about ‘the Great Change’, inaugurating an era of wisdom and fairness, as told by narrator Willie Leadford
1908 The War in the Air by H.G. Wells – Bert Smallways, a bicycle-repairman from Kent, gets caught up in the outbreak of the war in the air which brings Western civilisation to an end
1909 The Machine Stops by E.M. Foster – people of the future live in underground cells regulated by ‘the Machine’ until one of them rebels

1912 The Lost World by Sir Arthur Conan Doyle – Professor Challenger leads an expedition to a plateau in the Amazon rainforest where prehistoric animals still exist
1912 As Easy as ABC by Rudyard Kipling – set in 2065 in a world characterised by isolation and privacy, forces from the ABC are sent to suppress an outbreak of ‘crowdism’
1913 The Horror of the Heights by Arthur Conan Doyle – airman Captain Joyce-Armstrong flies higher than anyone before him and discovers the upper atmosphere is inhabited by vast jellyfish-like monsters
1914 The World Set Free by H.G. Wells – A history of the future in which the devastation of an atomic war leads to the creation of a World Government, told via a number of characters who are central to the change
1918 The Land That Time Forgot by Edgar Rice Burroughs – a trilogy of pulp novellas in which all-American heroes battle ape-men and dinosaurs on a lost island in the Antarctic

1921 We by Evgeny Zamyatin – like everyone else in the dystopian future of OneState, D-503 lives life according to the Table of Hours, until I-330 wakens him to the truth
1925 Heart of a Dog by Mikhail Bulgakov – a Moscow scientist transplants the testicles and pituitary gland of a dead tramp into the body of a stray dog, with disastrous consequences
1927 The Maracot Deep by Arthur Conan Doyle – a scientist, engineer and a hero are trying out a new bathysphere when the wire snaps and they hurtle to the bottom of the sea, there to discover…

1930 Last and First Men by Olaf Stapledon – mind-boggling ‘history’ of the future of mankind over the next two billion years
1938 Out of the Silent Planet by C.S. Lewis – baddies Devine and Weston kidnap Ransom and take him in their spherical spaceship to Malacandra aka Mars,

1943 Perelandra (Voyage to Venus) by C.S. Lewis – Ransom is sent to Perelandra aka Venus, to prevent a second temptation by the Devil and the fall of the planet’s new young inhabitants
1945 That Hideous Strength: A Modern Fairy-Tale for Grown-ups by C.S. Lewis– Ransom assembles a motley crew to combat the rise of an evil corporation which is seeking to overthrow mankind
1949 Nineteen Eighty-Four by George Orwell – after a nuclear war, inhabitants of ruined London are divided into the sheep-like ‘proles’ and members of the Party who are kept under unremitting surveillance

1950 I, Robot by Isaac Asimov – nine short stories about ‘positronic’ robots, which chart their rise from dumb playmates to controllers of humanity’s destiny
1950 The Martian Chronicles – 13 short stories with 13 linking passages loosely describing mankind’s colonisation of Mars, featuring strange, dreamlike encounters with Martians
1951 Foundation by Isaac Asimov – the first five stories telling the rise of the Foundation created by psychohistorian Hari Seldon to preserve civilisation during the collapse of the Galactic Empire
1951 The Illustrated Man – eighteen short stories which use the future, Mars and Venus as settings for what are essentially earth-bound tales of fantasy and horror
1952 Foundation and Empire by Isaac Asimov – two long stories which continue the future history of the Foundation set up by psychohistorian Hari Seldon as it faces attack by an Imperial general, and then the menace of the mysterious mutant known only as ‘the Mule’
1953 Second Foundation by Isaac Asimov – concluding part of the ‘trilogy’ describing the attempt to preserve civilisation after the collapse of the Galactic Empire
1953 Earthman, Come Home by James Blish – the adventures of New York City, a self-contained space city which wanders the galaxy 2,000 years hence powered by spindizzy technology
1953 Fahrenheit 451 by Ray Bradbury – a masterpiece, a terrifying anticipation of a future when books are banned and professional firemen are paid to track down stashes of forbidden books and burn them
1953 Childhood’s End by Arthur C. Clarke a thrilling narrative involving the ‘Overlords’ who arrive from space to supervise mankind’s transition to the next stage in its evolution
1954 The Caves of Steel by Isaac Asimov – set 3,000 years in the future when humans have separated into ‘Spacers’ who have colonised 50 other planets, and the overpopulated earth whose inhabitants live in enclosed cities or ‘caves of steel’, and introducing detective Elijah Baley to solve a murder mystery
1956 The Naked Sun by Isaac Asimov – 3,000 years in the future detective Elijah Baley returns, with his robot sidekick, R. Daneel Olivaw, to solve a murder mystery on the remote planet of Solaria
1956 They Shall Have Stars by James Blish – explains the invention – in the near future – of the anti-death drugs and the spindizzy technology which allow the human race to colonise the galaxy
1959 The Triumph of Time by James Blish – concluding story of Blish’s Okie tetralogy in which Amalfi and his friends are present at the end of the universe

1961 A Fall of Moondust by Arthur C. Clarke a pleasure tourbus on the moon is sucked down into a sink of moondust, sparking a race against time to rescue the trapped crew and passengers
1962 A Life For The Stars by James Blish – third in the Okie series about cities which can fly through space, focusing on the coming of age of kidnapped earther, young Crispin DeFord, aboard New York
1962 The Man in the High Castle by Philip K. Dick In an alternative future America lost the Second World War and has been partitioned between Japan and Nazi Germany. The narrative follows a motley crew of characters including a dealer in antique Americana, a German spy who warns a Japanese official about a looming surprise German attack, and a woman determined to track down the reclusive author of a hit book which describes an alternative future in which America won the Second World War
1968 2001: A Space Odyssey a panoramic narrative which starts with aliens stimulating evolution among the first ape-men and ends with a spaceman being transformed into galactic consciousness
1968 Do Androids Dream of Electric Sheep? by Philip K. Dick In 1992 androids are almost indistinguishable from humans except by trained bounty hunters like Rick Deckard who is paid to track down and ‘retire’ escaped andys
1969 Ubik by Philip K. Dick In 1992 the world is threatened by mutants with psionic powers who are combated by ‘inertials’. The novel focuses on the weird alternative world experienced by a group of inertials after a catastrophe on the moon

1971 Mutant 59: The Plastic Eater by Kit Pedler and Gerry Davis – a genetically engineered bacterium starts eating the world’s plastic
1973 Rendezvous With Rama by Arthur C. Clarke – in 2031 a 50-kilometre long object of alien origin enters the solar system, so the crew of the spaceship Endeavour are sent to explore it
1974 Flow My Tears, The Policeman Said by Philip K. Dick – America after the Second World War is a police state but the story is about popular TV host Jason Taverner who is plunged into an alternative version of this world where he is no longer a rich entertainer but down on the streets among the ‘ordinaries’ and on the run from the police. Why? And how can he get back to his storyline?

1981 The Golden Age of Science Fiction edited by Kingsley Amis – 17 classic sci-fi stories from what Amis considers the Golden Era of the genre, namely the 1950s
1982 2010: Odyssey Two by Arthur C. Clarke – Heywood Floyd joins a Russian spaceship on a two-year journey to Jupiter to a) reclaim the abandoned Discovery and b) investigate the enormous monolith on Japetus
1987 2061: Odyssey Three by Arthur C. Clarke – Spaceship Galaxy is hijacked and forced to land on Europa, a moon of the former Jupiter, but the thriller aspects are only pretexts for Clarke’s wonderful descriptions of landing on Halley’s Comet and the evolution of wild and unexpected new forms of life on Europa

Mother Night by Kurt Vonnegut (1962)

‘People should be changed by world wars,’ I said, ‘else, what are world wars for?’ (p.86)

Mother Night purports to be the memoirs of American Howard W. Campbell Jr., born 1912 (p.17) who goes to Germany in 1923, along with his family when his dad gets a job with the Berlin branch of General Electric (p.18) and so grows up fluent in German.

The three-page introduction by Vonnegut uses the hokey old strategy of claiming that the author is merely presenting the authentic papers of a genuine historical figure, which he has edited and corrected in various detail. This is both designed to give hokey plausibility to the narrative’s provenance while drawing attention to its artificiality. Just one of the numerous meta-fictional devices Vonnegut uses here and throughout his career.

Howard W. Campbell Jnr

The main text starts bluntly enough and very much in the tradition of much 19th century fiction

My name is Howard W. Campbell Jnr. I am an American by birth, a Nazi by reputation, and a nationless person by inclination. (p.3)

As he came of age in Nazi Germany (he turns 21 in 1933, the year Hitler comes to power) Campbell set out to make a living as a writer, producing so-so plays and poems throughout the 1930s and marrying a German wife, the actress Helga Noth, daughter of Berlin’s Chief of Police. The glamorous young couple find themselves invited to society parties and so meeting, among others, many of the leaders of the Nazi Party, notably Joseph Goebbels.

The text purports to be a memoir written in 1961 in prison in Israel where Campbell has recently been brought after living quietly in Greenwich Village, New York since the end of the war, because Howard W. Campbell Jr.’s main achievement in life was to become a traitor to his country and a war criminal by broadcasting hard core, anti-Semitic, anti-American Nazi propaganda from Berlin right till the end of the war. Although we are not told till the end of the book how he ended up there, he is now in the custody of the Israeli authorities who are about to put him on trial for war crimes.

The memoir uses Vonnegut’s familiar approach of not giving a chronological approach to Campbell’s life, but ranging far and wide over his former life, to pick out key moments and scenes. Thus, in what is effectively a series of fragments, we learn that:

In Israel

  • Campbell is writing the memoir for Mr Tuvia Friedmann, Director of the Haifa Institute for the Documentation of War Criminals.
  • He describes the characters of the four very different Israeli guards who do the different shifts of guarding him – Andor Gutman who spent two years in Auschwitz, Arpad Kovacs who survived the war by pretending to be a good Aryan and joining the SS.

In Nazi Germany

  • It was Campbell who introduced Goebbels – and through him, Hitler – to Lincoln’s Gettysburg Address.
  • Half way through the war Helga was entertaining the German troops in the Crimea when the Crimea is overrun by the Russians. She was never heard from again, presumed dead.
  • Towards the end of the war Campbell borrowed the beloved motorbike of his best friend Heinz Schildknecht and went to visit his father-in-law, Werner Noth, in his big house on the outskirts of Berlin. Werner was having all the contents loaded on a cart and sent with his wife and other daughter, 10-year-old Resi, to Cologne. Werner asks Campbell to shoot the family dog, which Campbell did. 10-year-old Resi says she loves him (Campbell). Fine. He gets on his motorbike and tries to escape the advancing Russians.
  • In 1945 Campbell was captured by Lieutenant Bernard B. O’Hare of the American Third Army who drives him to the nearby and newly-liberated concentration camp of Ohrdruf, where he is photographed in front of the camp gallows (now full of former camp guards), a photo which makes the front cover of Life magazine and makes Campbell notorious.

In New York

  • Campbell is released by the American authorities and goes to live in New York. His mother and father had gone back to America just before war broke out, but they both die within 24 hours of each other of heart disease before the end of the war, and Howard has inherited their fortune.
  • Campbell’s downstairs neighbour in Greenwich Village is a young doctor named Abraham Epstein; he doesn’t care about the war, but his mother was in Auschwitz and recognises Campbell, who plays dumb.
  • In his loneliness, Campbell gets to know another neighbour, George Kraft, by playing chess with him. Little does he know that Kraft is in fact a Russian spy, real name Colonel Iona Potapov.
  • The beginning of the end comes when Campbell finds his mailbox stuffed with neo-Nazi literature, namely The White Christian Minuteman edited by the reverend Lionel L.D. Jones, D.D.S.
  • There’s also a letter from the American soldier who arrested him 16 years earlier, Bernard B. O’Hare, who threatens to pay him a visit and administer the punishment he so richly deserves.
  • How did they track him down? Kraft, the Russian spy. Over the months Campbell got to trust him and spill parts of his story. It was Kraft who contacted the neo-Nazis and O’Hare. Why? In order to force him to flee, so that he can be kidnapped by Russian security forces (see below).
  • Dr Jones comes to visit along with a couple of other American Nazis and… to Campbell’s amazement, his long-lost wife Helga. He gets rid of the others and he and Helga have riotous sex, just like back in the good times in Berlin. It’s only when he takes Helga shopping for a king-sized double bed like the one they used to have, that she drops the bombshell that she is not Helga – she is the kid sister, Resi, all grown up 🙂

Throughout the memoir Campbell claims he is innocent. He claims he was recruited for American intelligence by a Major Frank Wirtanen, who taught him how to leave pauses, gaps, coughs etc during his radio broadcasts, which conveyed valuable information to the American intelligence.

Trouble is the American government now (1961) refuses to confirm or deny Campbell’s story, and there are no records anywhere of this Major Wirtanen.

The deeper trouble is that Campbell himself is torn by his schizophrenia. Although he may have been an American agent he did, nonetheless, say those things over the radio. In his memoir he damns himself even more by pointing out various anti-Semitic ideas and pictures which he also contributed to the Nazi cause. He has no doubt that he was guilty of doing those things. Although he is also certain he was working for the Americans.

A book of two halves

Mother Night represents a drastic change from the mind-bending science fiction of The Sirens of Titan, coming freighted, as it does, with a lot of historical research, and a feel for the German language and German society (presumably drawing on the fact that Vonnegut himself was of German stock).

When the story is close to the Nazis and wartime Europe it is interesting. When it is more about the eccentric neo-Nazis in modern New York it feels like bubblegum comedy, like an early draft for Mel Brooks’s gross-out comedy, The Producers (‘Springtime for Hitler and Germany’).

The tone changes significantly and, in my opinion, for the worse, after Campbell is confronted and beaten up by an American soldier as he returns to his apartment building from that bed shopping trip with Resi, now that his identity is out. He is beaten to the ground and kicked in the head and loses consciousness.

When he wakes up it is in the house of Dr Jones, in the company of Kraft the Russian spy, along with some other grotesques, Father Keeley, a Catholic priest and Fascist, and the improbable figure of the ‘black Führer of Harlem’.

Somehow the book has turned into something like an episode of the Man from U.N.C.L.E., utterly implausible and unserious. When he was describing Campbell’s brief meeting with Dr Goebbels he was, I think, on his best behaviour. It is slyly satirical (the idea that Hitler would actually admire the Gettysburg Address) but at bottom serious.

Now it feels like an episode of Scooby-Doo with brightly coloured cartoon characters running round abandoned buildings.

Jones and Kraft tell him they’ve got a plan which is to abandon America completely and all fly to Mexico City.

In a farcical scene they invite Campbell to address a cohort of six-foot blonde American boys who have formed ‘the Iron Guard of the White Sons of the American Constitution’.

Campbell is giving a little speech from the stage in the basement of the building when the lights go down and he is disconcerted to hear one of his own wartime broadcasts being played (which gives us, the readers, an opportunity to savour his anti-Semitic Nazi rhetoric in full).

While the lights are down someone slips a message into Campbell’s pocket. Later he sneaks a look and it is a message from the elusive Major Frank Wirtanen to come meet him in a shop opposite.

Campbell makes his excuses for going for a stroll and suspiciously approaches the shutdown shop opposite but Wirtanen is waiting for him, alone and unarmed.

Here Wirtanen informs him the Kraft is a Russian spy and so is Resi. They will all fly to Mexico City where Campbell will immediately be kidnapped and flown to Moscow. Why? So the Soviets can try a high-profile war criminal and show how such criminals are allowed to live freely in the West.

Wirtanen warns Campbell that the safe house they’re all in is about to be raided. Back on the street, Campbell realises he has nowhere else to go and so walks back to the house. Here he confronts Resi and Kraft with their plan which they immediately admit – at which point American FBI agents burst in.

Now, John le Carré’s novel, The Spy Who Came In From The Cold was published just a year after Mother Night and even a moment’s mental comparison shows you that Vonnegut is not really interested in being serious. He is not interested in plot or suspense or dramatic climaxes.

If you call to mind the fiendish elaborateness of Carré’s plot and the depth of psychological duelling which it describes, and behind it all the sense of something really important at stake i.e. the survival of a high level Western spy in the East German security machine – it throws Vonnegut’s bubble gum cartoon into vivid relief.

There is nothing remotely like that here.

The entire idea that Campbell was somehow transmitting secrets in his Nazi broadcasts is nonsense. Via a set of coughs and pauses? Rubbish. Vonnegut makes a half-arsed attempt to clarify it by having Wirtanen say that no fewer than seven women agents died getting him the information, but we never understand how that information reached Campbell or how it was codified into this nonsensical idea of coughs and pauses. He himself never explains how it was done, how he met these ‘agents’, how he turned their messages into code, the difficulty of staging the alleged coughs and pauses. It’s rubbish, a flimsy pretext.

When Campbell tells Resi that he knows she is a Russian spy she makes a rubbish speech about how she really, genuinely loves him and had asked Kraft to change the plan to protect him. But now she sees his love is dead she has no reason to go on living. So she takes a cyanide pill and collapses dead in his arms.

This isn’t serious. It is The Man from U.N.C.L.E.

The novel dissolves into fragments. While the others are arrested and taken away, Campbell, on Wirtanen’s permission is released.

He doesn’t know where to go and only a cop asking him to move along prompts him to drift back to his old apartment building. This has been trashed by various American patriots.

Campbell has a disconnected conversation with another cop, who tells him his own father was killed at Iwo Jima and how he reckons it’s all to do with chemicals in the brain, which affect our moods, can make us feel up or down, and maybe explain the different behaviour of different cultures. It’s call chemicals (a subject to be developed at length in Vonnegut’s later novel, Breakfast of Champions).

Upstairs in the ruins of his apartment (comprehensively trashed by American patriots once news about who he was has spread) Campbell is confronted by Lieutenant Bernard B. O’Hare of the American Third Army. He is drink but has dressed very correctly in uniform as he thinks he is fulfilling the military duty of killing Campbell which he should have performed 15 years earlier.

Vonnegut gives a good little cameo to O’Hare, having him admit how disappointing post-war life has been with his wife producing baby after baby and all his business plans coming to nothing. Vonnegut makes us see how O’Hare hopes to redeem all his failures in life and business by beating up Campbell, maybe killing him. But O’Hare is out of shape and drunk. As he lunges towards Campbell, our man beats down hard with a pair of fire tongs and breaks his arm. After some ineffective dodging and weaving Campbell forces O’Hare out into the hall where the latter copiously throws up, then staggers back down the stairs.

Campbell stands there, his life reduced to ashes. No wife, no lover, no friends, no cause, no help, and the entire country against him.

He has a brainwave and goes and hands himself into his young neighbour Abraham Epstein. Except it’s by now quite late at night and Epstein doesn’t know what he’s talking about and doesn’t care. Campbell insists he wants to hand himself over to the Israeli authorities. Epstein replies, well go along to the embassy tomorrow. But Campbell wants something decisive to happen now.

I suppose this is farcical but it didn’t strike me as very funny. Eventually Epstein’s mother phones three Jewish men friends who turn up and keep ‘guard’ on Campbell till the morning. She understands his need to confess, to come clean and for someone else simply to take over his life.

Suicide

And so the final pages cut to Campbell in the Israeli prison. There is a comic recap of the various witnesses for and against him, plus his lawyer who, like all lawyers, is costing him a fortune. He wakes up and has got three letters, two of them farcical (one from a company called Creative Playthings wanting his financial support).

But the third is from the elusive Major Frank Wirtanen who says he does exist, he did work for the American army, Campbell really worked for him and is an American patriot, and he will say so in court under oath.

Campbell looks up from the letter.

So I am about to be a free man again, to wander where I please.
I find the prospect nauseating.

And so in the remaining seven pages of the book, he decides he will hang himself for crimes against himself. The book’s last words are:

Goodbye cruel world.
Auf wiedersehen?

By this stage I had completely stopped taking Campbell or his fate seriously.

Thoughts

1. Vonnegut’s wisdom

As the 1960s went on Vonnegut gave in more and more to the temptation to lard his books with insights and wisdom and sayings. In this, his third novel, this tendency is mostly reined in, though various morals and meanings and precepts and proverbs about life and the world still slip through:

Oh, God – the lives people try to lead.
Oh, God – what a world they try to lead them in!

In the preface he tells us that ‘the moral of the story’ is:

We are what we pretend to be, so we must be careful about what we pretend to be.

Although it might also be:

When you’re dead you’re dead.

And another one springs to mind:

Make love when you can. It’s good for you.

This tendency to buttonhole us with his folksy wisdom – and not to be able to stop – was to run riot through his books as the 1960s progressed.

2. The Nazis and leading a double life

As to any serious thoughts about the Nazis, or Eichmann, or the nature of evil, or patriotism, and the separate theme of living a double life, epitomised by the figure of ‘the spy’ – Mother Night prompts none. It is a kind of comic fantasia without thoughts or consequences.

There are serious books on these subjects and if you seriously want to understand them, you should read those.

Reviews of anti-Semitism and Holocaust literature

3. Eichmann

The main thing it left me thinking was this: at one stage Campbell says he is being kept in the same prison as Adolf Eichmann, and several times they have brief conversations, in which Eichmann comes over as calm and serene.

Now Eichmann had been kidnapped in Argentina by the Israeli secret service Mossad, and was brought back to Jerusalem to undergo a very high-profile trial, before being found guilty and hanged in 1 June 1962.

The trial was widely followed in the media and was later the subject of several books, including Hannah Arendt’s Eichmann in Jerusalem, in which Arendt coined the phrase “the banality of evil” to describe Eichmann. (Wikipedia)

Serious commentators around the world, politicians and philosophers, were writing long earnest articles about the Eichmann trial. I’d love to know how many of them even noticed this half-comic novel by a little-known American novelist, and what – given the seriousness of the issues being discussed – any of them thought of his rather shallow, comical treatment of them.

My opinion is: Mother Night starts promisingly but then disintegrates into cartoon capers larded with two-penny, ha’penny folk wisdom. In his later novels Vonnegut would find subjects and a form (more fragmented and studiedly meta-fictional, more open-ended and gossipy) which were much better suited to the kind of writer he is obviously, even in this early book, straining to be.

Credit

Mother Night by Kurt Vonnegut Jnr was published in 1962 by Fawcett Publications/Gold Medal Books. All references are to the Vintage paperback edition.


Related links

Kurt Vonnegut reviews

Other science fiction reviews

1888 Looking Backward 2000-1887 by Edward Bellamy – Julian West wakes up in the year 2000 to discover a peaceful revolution has ushered in a society of state planning, equality and contentment
1890 News from Nowhere by William Morris – waking from a long sleep, William Guest is shown round a London transformed into villages of contented craftsmen

1895 The Time Machine by H.G. Wells – the unnamed inventor and time traveller tells his dinner party guests the story of his adventure among the Eloi and the Morlocks in the year 802,701
1896 The Island of Doctor Moreau by H.G. Wells – Edward Prendick is stranded on a remote island where he discovers the ‘owner’, Dr Gustave Moreau, is experimentally creating human-animal hybrids
1897 The Invisible Man by H.G. Wells – an embittered young scientist, Griffin, makes himself invisible, starting with comic capers in a Sussex village, and ending with demented murders
1898 The War of the Worlds – the Martians invade earth
1899 When The Sleeper Wakes/The Sleeper Wakes by H.G. Wells – Graham awakes in the year 2100 to find himself at the centre of a revolution to overthrow the repressive society of the future
1899 A Story of the Days To Come by H.G. Wells – set in the same future London as The Sleeper Wakes, Denton and Elizabeth defy her wealthy family in order to marry, fall into poverty, and experience life as serfs in the Underground city run by the sinister Labour Corps

1901 The First Men in the Moon by H.G. Wells – Mr Bedford and Mr Cavor use the invention of ‘Cavorite’ to fly to the moon and discover the underground civilisation of the Selenites
1904 The Food of the Gods and How It Came to Earth by H.G. Wells – scientists invent a compound which makes plants, animals and humans grow to giant size, prompting giant humans to rebel against the ‘little people’
1905 With the Night Mail by Rudyard Kipling – it is 2000 and the narrator accompanies a GPO airship across the Atlantic
1906 In the Days of the Comet by H.G. Wells – a comet passes through earth’s atmosphere and brings about ‘the Great Change’, inaugurating an era of wisdom and fairness, as told by narrator Willie Leadford
1908 The War in the Air by H.G. Wells – Bert Smallways, a bicycle-repairman from Kent, gets caught up in the outbreak of the war in the air which brings Western civilisation to an end
1909 The Machine Stops by E.M. Foster – people of the future live in underground cells regulated by ‘the Machine’ until one of them rebels

1912 The Lost World by Sir Arthur Conan Doyle – Professor Challenger leads an expedition to a plateau in the Amazon rainforest where prehistoric animals still exist
1912 As Easy as ABC by Rudyard Kipling – set in 2065 in a world characterised by isolation and privacy, forces from the ABC are sent to suppress an outbreak of ‘crowdism’
1913 The Horror of the Heights by Arthur Conan Doyle – airman Captain Joyce-Armstrong flies higher than anyone before him and discovers the upper atmosphere is inhabited by vast jellyfish-like monsters
1914 The World Set Free by H.G. Wells – A history of the future in which the devastation of an atomic war leads to the creation of a World Government, told via a number of characters who are central to the change
1918 The Land That Time Forgot by Edgar Rice Burroughs – a trilogy of pulp novellas in which all-American heroes battle ape-men and dinosaurs on a lost island in the Antarctic

1921 We by Evgeny Zamyatin – like everyone else in the dystopian future of OneState, D-503 lives life according to the Table of Hours, until I-330 wakens him to the truth
1925 Heart of a Dog by Mikhail Bulgakov – a Moscow scientist transplants the testicles and pituitary gland of a dead tramp into the body of a stray dog, with disastrous consequences
1927 The Maracot Deep by Arthur Conan Doyle – a scientist, engineer and a hero are trying out a new bathysphere when the wire snaps and they hurtle to the bottom of the sea, there to discover…

1930 Last and First Men by Olaf Stapledon – mind-boggling ‘history’ of the future of mankind over the next two billion years
1938 Out of the Silent Planet by C.S. Lewis – baddies Devine and Weston kidnap Ransom and take him in their spherical spaceship to Malacandra aka Mars,

1943 Perelandra (Voyage to Venus) by C.S. Lewis – Ransom is sent to Perelandra aka Venus, to prevent a second temptation by the Devil and the fall of the planet’s new young inhabitants
1945 That Hideous Strength: A Modern Fairy-Tale for Grown-ups by C.S. Lewis– Ransom assembles a motley crew to combat the rise of an evil corporation which is seeking to overthrow mankind
1949 Nineteen Eighty-Four by George Orwell – after a nuclear war, inhabitants of ruined London are divided into the sheep-like ‘proles’ and members of the Party who are kept under unremitting surveillance

1950 I, Robot by Isaac Asimov – nine short stories about ‘positronic’ robots, which chart their rise from dumb playmates to controllers of humanity’s destiny
1950 The Martian Chronicles – 13 short stories with 13 linking passages loosely describing mankind’s colonisation of Mars, featuring strange, dreamlike encounters with Martians
1951 Foundation by Isaac Asimov – the first five stories telling the rise of the Foundation created by psychohistorian Hari Seldon to preserve civilisation during the collapse of the Galactic Empire
1951 The Illustrated Man – eighteen short stories which use the future, Mars and Venus as settings for what are essentially earth-bound tales of fantasy and horror
1952 Foundation and Empire by Isaac Asimov – two long stories which continue the future history of the Foundation set up by psychohistorian Hari Seldon as it faces attack by an Imperial general, and then the menace of the mysterious mutant known only as ‘the Mule’
1953 Second Foundation by Isaac Asimov – concluding part of the ‘trilogy’ describing the attempt to preserve civilisation after the collapse of the Galactic Empire
1953 Earthman, Come Home by James Blish – the adventures of New York City, a self-contained space city which wanders the galaxy 2,000 years hence powered by spindizzy technology
1953 Fahrenheit 451 by Ray Bradbury – a masterpiece, a terrifying anticipation of a future when books are banned and professional firemen are paid to track down stashes of forbidden books and burn them
1953 Childhood’s End by Arthur C. Clarke a thrilling narrative involving the ‘Overlords’ who arrive from space to supervise mankind’s transition to the next stage in its evolution
1954 The Caves of Steel by Isaac Asimov – set 3,000 years in the future when humans have separated into ‘Spacers’ who have colonised 50 other planets, and the overpopulated earth whose inhabitants live in enclosed cities or ‘caves of steel’, and introducing detective Elijah Baley to solve a murder mystery
1956 The Naked Sun by Isaac Asimov – 3,000 years in the future detective Elijah Baley returns, with his robot sidekick, R. Daneel Olivaw, to solve a murder mystery on the remote planet of Solaria
1956 They Shall Have Stars by James Blish – explains the invention – in the near future – of the anti-death drugs and the spindizzy technology which allow the human race to colonise the galaxy
1959 The Triumph of Time by James Blish – concluding story of Blish’s Okie tetralogy in which Amalfi and his friends are present at the end of the universe

1961 A Fall of Moondust by Arthur C. Clarke a pleasure tourbus on the moon is sucked down into a sink of moondust, sparking a race against time to rescue the trapped crew and passengers
1962 A Life For The Stars by James Blish – third in the Okie series about cities which can fly through space, focusing on the coming of age of kidnapped earther, young Crispin DeFord, aboard New York
1962 The Man in the High Castle by Philip K. Dick In an alternative future America lost the Second World War and has been partitioned between Japan and Nazi Germany. The narrative follows a motley crew of characters including a dealer in antique Americana, a German spy who warns a Japanese official about a looming surprise German attack, and a woman determined to track down the reclusive author of a hit book which describes an alternative future in which America won the Second World War
1968 2001: A Space Odyssey a panoramic narrative which starts with aliens stimulating evolution among the first ape-men and ends with a spaceman being transformed into galactic consciousness
1968 Do Androids Dream of Electric Sheep? by Philip K. Dick In 1992 androids are almost indistinguishable from humans except by trained bounty hunters like Rick Deckard who is paid to track down and ‘retire’ escaped andys
1969 Ubik by Philip K. Dick In 1992 the world is threatened by mutants with psionic powers who are combated by ‘inertials’. The novel focuses on the weird alternative world experienced by a group of inertials after a catastrophe on the moon

1971 Mutant 59: The Plastic Eater by Kit Pedler and Gerry Davis – a genetically engineered bacterium starts eating the world’s plastic
1973 Rendezvous With Rama by Arthur C. Clarke – in 2031 a 50-kilometre long object of alien origin enters the solar system, so the crew of the spaceship Endeavour are sent to explore it
1974 Flow My Tears, The Policeman Said by Philip K. Dick – America after the Second World War is a police state but the story is about popular TV host Jason Taverner who is plunged into an alternative version of this world where he is no longer a rich entertainer but down on the streets among the ‘ordinaries’ and on the run from the police. Why? And how can he get back to his storyline?

1981 The Golden Age of Science Fiction edited by Kingsley Amis – 17 classic sci-fi stories from what Amis considers the Golden Era of the genre, namely the 1950s
1982 2010: Odyssey Two by Arthur C. Clarke – Heywood Floyd joins a Russian spaceship on a two-year journey to Jupiter to a) reclaim the abandoned Discovery and b) investigate the monolith on Japetus
1987 2061: Odyssey Three by Arthur C. Clarke* – Spaceship Galaxy is hijacked and forced to land on Europa, moon of the former Jupiter, in a ‘thriller’ notable for Clarke’s descriptions of the bizarre landscapes of Halley’s Comet and Europa

The Sirens of Titan by Kurt Vonnegut (1959)

The following is a true story from the Nightmare Ages, falling roughly, give or take a few years, between the Second World War and the Third Great Depression. (p.7)

Kurt realises the world is crazy

Kurt Vonnegut Junior was born in Indianapolis in 1922. He enlisted in the U.S. Army in 1943 and was deployed to Europe where he was captured by Germans during the Battle of the Bulge (December 44-January 45). Interned in Dresden, he witnessed the notorious Allied bombing of the city on 13 February 1945, and survived by taking refuge in a meat locker of the slaughterhouse where he was imprisoned, three stories underground. His mother had committed suicide the year before. As the bombs dropped Vonnegut had an epiphany about the complete meaningless of everything. Dresden had no military industries, no strategic importance, and so had been completely undefended, and had no air raid shelters. The beautiful city was utterly destroyed. Vonnegut realised that the war was crazy, people were crazy, the world was crazy.

Repatriated to the States, Vonnegut worked in the press department of General Electric for six years or so, in his spare time writing short stories, some of which got published in the early 1950s, giving him enough confidence to quit his job and try and survive as a freelance writer.

In fact he struggled for well over a decade, his books getting merely polite reviews, if any, until his breakthrough novel, Slaughterhouse 5, shot him to fame in 1969, mainly because the way it recycled his experience of the bombing of Dresden via a trippy science fiction scenario perfectly suited the anti-Vietnam War spirit of the times refracted through hallucinogenic drugs. From that point onwards Vonnegut became a hero of the counter-culture and a reliable liberal voice, publishing a series of satirical novels and wry essays.

All Vonnegut’s novels are characterised by a devil-may-care attitude to their content and form. Plot isn’t really a major concern. There is no attempt at suspense and little or no logic. People behave childishly, including the narrator, who is prone to repeating simplistic phrases in order to create an impression of simple-mindedness and thus ridiculing the very notion of a wise, all-knowing author. They actively campaign against ‘maturity’ and conventional values. After all, he had seen at first hand where those got you.

If in doubt, aliens are brought in from somewhere, with no concern for scientific plausibility, and who generally turn out to be as childish and aimless as the humans. Vonnegut’s novels are more like anti-novels.

The Sirens of Titan

For the first third or so of The Sirens of Titan we are caught up in the life of Winston Niles Rumfoord. He is one of the richest men in America so he builds a private spaceship (at a cost of $58 million) and sets off with his dog Kazan to explore the solar system.

Unfortunately he encounters a chrono-synclastic infundibula, a phenomenon which bends and stretches out space-time so that Winston and his dog are turned into a stream of wave patterns which stretch from the sun to Betelgeuse.

Every 59 days the earth passes through the infundibula and Mr Winston Niles Rumfoord (it is one of Vonnegut’s tactics to spell out everybody’s names in full, partly to satirise the characters, partly to satirise the very notion of names and ‘identity’, partly to make the narrator sound mentally deficient) reappears on earth, at his mansion in Cape Code, where he dictates instructions to his butler Moncrieff, and terrorises his super-rich, elaborately coiffed wife, Beatrice.

On one of his appearances Mr Winston Niles Rumfoord invites Mr Malachi Constant (31) of Hollywood, California, the richest man in America to visit and watch his apparate. A deal of satire is generated by the media furores which accompany Mr Winston Niles Rumfoord’s apparitions, with crowds outside his mansion jockeying for autographs, TV commentators babbling, and Christian tele-evangelists (the Love Crusaders) inflaming their viewers against such godliness.

Mr Winston Niles Rumfoord informs Mr Malachi Constant that in the future, he will marry his (Mr Winston Niles Rumfoord’s wife) and travel to Mars, Mercury, the earth and then Titan, in that order.

It’s tempting to call all this surreal, but the truly surreal is unexpected and jarring and Vonnegut rarely gives that kind of genuine shock. I think it’s closer to the nonsense verse of Edward Lear. It is simply not trying to make sense, because nothing makes sense, so why not this non-sense as any other?

Mr Malachi Constant returns to Hollywood where he holds a party which lasts for 58 days (and which, interestingly, involves the consumption of marijuana and peyote) and wakes up to discover he has drunkenly signed away all his oil wells to his fifty or more guests. More to the point, he is completely bankrupt following an economic crash.

He flies to the headquarters of his firm, Magnum Opus Inc, where his business manager, Ransom K. Fern (the more nonsensical the names, the better) tells him he is bust and quits. A passage takes us back to explain how Mr Winston Niles Rumfoord’s father made his fortune, namely as a broken-down failure he started investing the last of his savings in companies in companies who initials matched the consecutive pairs of letters found in the opening sentence of the Gideon Bible he found in his hotel room.

In the beginning God created the heaven and the earth

Thus he looked for firms whose initials were I.N. and T.H. and E.B.etc. Miraculously / absurdly / nonsensically, this strategy pays off and every company Noel Constant invests in doubles his money, till he is the richest man in America. When he dies he leaves it all to his son, Malachi.

Need one point out that this is a satire on the silliness of big business, global finance, the stock market, and capitalism?

Mr Malachi Constant is pondering his next move when a couple who had been drinking in the tavern across the road – Mr George M. Helmholtz and Miss Roberta Wiley – enter the room and make him an offer. Would he like to go to Mars?

‘I am here to inform you that the planet Mars is not only populated, but populated by a large and efficient and military and industrial society. It has been recruited from Earth, with the recruits being transferred by flying saucer. We are now prepared to offer you a direct lieutenant-colonelcy in the Army of Mars.’ (p.65)

Foolishly, Mr Malachi Constant agrees to go.

The Army of Mars (p.69)

The book had been silly up to this point but now I think it becomes actively unpleasant. We cut to the fascist drilling of the Army of Mars, tens of thousands of humans who have been gulled into flying to Mars where their memories are removed through brain surgery and they have antenna implanted in their skulls. Any questioning or disobedient thought is punished by the instant administering of extreme pain in the brain.

Among the ranks of soldiers marching, parading, halting, presenting arms etc on Mars, is a retard known only as Unk. He has had to go the hospital seven times to remove all traces of his personality and character. Because of his physical description, we know this poor unfortunate is none other than Mr Malachi Constant.

Maybe there is some moral here about the super-rich high and mighty being brought low. But it is mainly sick sadism. Unk is ordered to strangle to death with his bare hands another soldier tied to a post in front of the whole army, he hesitates a moment and immediately feels searing pain in his head, so carries on. The murdered man, we learn, was his best friend on Mars, Stony Stevenson.

Unk and all the men in his regiment are controlled not by the officers, who are themselves pain-driven zombies, but by commanders scattered among the men. In Unk’s regiment this is Boaz, smooth-talking black guy who enjoys using the device hidden in his trousers, with which he controls the men, all the while posing as one of them.

I suppose this is all ‘satire’ on militarism and the army, but, as the saying goes, it isn’t that clever and it isn’t at all funny.

Unk learns he has a son, Chrono, begotten on Beatrice, the wife of Mr Winston Niles Rumfoord, who had also been abducted by recruiters from Mars and happened to be on the same flying saucer. Fellow abductees taunted Malachi into raping her as she lay half-sedated and helpless in a flying saucer storeroom. Reading this does not make the reader at all well-disposed to this, by now, revolting story.

As the rest of his regiment marches to the flying saucers which they will use to attack the moon base (there is always a moon base) and then go on to invade Earth, Unk goes AWOL to try and find his wife and child. Bee has also had her memory deleted several times and is not interested when he tracks her down to a gym where she is teaching new recruits on Mars how to survive (you swallow oxygen pills, Combat Respiratory Rations, otherwise known as ‘goofballs’, which mean you don’t have to breathe through your mouth or nose.) Then he finds his son, Chrono, now 14 and playing some pointless version of baseball with the handful of other kids on Mars. When Unk claims to be his father, Chrono couldn’t care less.

It all gets worse because it turns out that the entire Army of Mars is the brainchild of none other than Winston Niles Rumfoord. As he dispatches the vast fleet of flying saucers off to invade Earth, Winston Niles Rumfoord appears to Unk and explains what has happened to him.

The Martian assault on Earth is a pitiful failure. In his fake simplistic way, Vonnegut gives that statistics:

Earth casualties: 461 killed, 223 wounded, none captured, 216 missing
Mars casualties: 149,315 killed, 446 wounded, 11 captured, 46,634 missing (p.118)

Again, you could take this as satire on the absurdity with which armies publish super-precise figures about conflicts which in reality involve the evisceration and obliteration of unknown numbers of people. Or you could, as I prefer to, see it more as deliberately nihilistic nonsense.

The point is that, as soon as it realises it is under attack, the superpowers of Earth simply obliterate the approaching flying saucers with batteries of nuclear rockets, send nuclear bombs to blow up all the moon bases, and even send nuclear missiles to Mars, which obliterate the only city on it, Phoebe, leaving it completely uninhabited.

If any of the Martian ‘army’ got through, they landed in such scattered bands, were so weak and badly trained, that they were often rounded up by old ladies with vintage shotguns.

Unk has been captured and reunited with Boaz. Mr Winston Niles Rumfoord explains to them both that the purpose of all this cruelty and suffering was never to win the war, but to let Earth exterminate so many relatively helpless people (including, towards the end, flying saucers which had only old people and children in them) that they will be overcome with shame and remorse. National borders will die out. The lust for war will die. All envy, fear and hate will die and a new religion will arise (p.128). Well, that’s the plan.

On Mercury (p.131)

Meanwhile, he packs Boaz and Unk off in a flying saucer which, unbeknown to them, is not headed for Earth at all, but flies directly to Mercury, where it burrows deep into a subterranean complex of caves. All the way Boaz is fantasising about reaching Earth and what a swell time he’s going to have in those great nightclubs. It comes as a shock to emerge into a cave 130 miles below the surface of Mercury.

They discover that deep in the caves of Mercury live Harmoniums, flat pancake like creatures which look ‘like small and spineless kits’ (p.132), which cling to the walls and oscillate in time with Mercury’s very slow ‘song’ (a note sometimes last a thousand years). Mr Winston Niles Rumfoord torments them by secretly arranging the Harmoniums on the walls to spell out messages, the first one being:

IT’S ALL AN INTELLIGENCE TEST!

Boaz becomes friends with the Harmoniums. He plays music from the spaceship (although very softly and faintly, otherwise the Harmoniums explode with pleasure). Unk meanwhile, roams far and wide in the caves, fondly imagining that the vast crystal pillars they saw as they briefly flew into Mercury, are skyscrapers full of rich people (a garbled memory of his life in the skyscraper of Magnum Opus Inc.) One day Unk reads another message spelled in Harmoniums: Turn the spaceship upside down. Of course! We were told it flew so deep into Mercury’s caves because it was programmed to hide deep below the surface. Turning it upside down will reverse the process.

Boaz and Unk split the supplies from the ship and say goodbye. Absurdly, Boaz has found his perfect place, where he can bring simple pleasure to the Harmoniums without causing harm. He has also refrained from telling Unk (still retarded) that he, Unk, murdered his best friend, Stony Stevenson, back on Mars. Unk thinks Stony is still alive and fantasises about the day when they’ll be reunited.

Back on earth (p.152)

It’s a Tuesday morning in spring back on earth, to be precise in the graveyard of the church of God the Utterly Indifferent in West Barnstaple, Cape Cod, Massachussetts. This is the new religion Mr Winston Niles Rumfoord promised, the one which united all mankind in brotherhood and love after they had massacred the helpless Martian invaders.

Mr Winston Niles Rumfoord has also prepared the way for the return of Unk for hanging up in the church of God the Utterly Indifferent in West Barnstaple, Cape Cod, Massachussetts is a lemon-coloured, zip-up plastic jumpsuit in Unk’s size.

Satire on equality

There follows a passage satirising liberals’ quest for equality, namely that in the new world after the failed Martian invasion, in order to be equal, anyone with any gifts or exceptions from a narrow definition of average subjects themselves to handicaps. Thus the Reverend C. Horner Redwine wears 48 pounds of lead shot arranged in various bags around his body to slow him down. A man with exceptional eyesight wears his wife’s glasses to half blind himself. Any woman suffering the cures of being beautiful wears frumpy clothes and bad make-up in order to equalise themselves.

There were literally billions of self-handicapped people on Earth. And what made them all so happy was that nobody took advantage of anybody any more. (p.158)

The Reverend C. Horner Redwine madly rings the church bells to tell the people that the Space Wanderer has arrived. They’ve been expecting the Space Wanderer for years. Crowds gather and follow the Space Wanderer as he is pressed into the skintight yellow plastic suit (with foot-high orange question marks on the side).

The Reverend C. Horner Redwine warns Unk that whatever he says he must not thank God, that is plain against the doctrines of the church of God the Utterly Indifferent. Instead he must repeat the words of the prophecy:

I WAS A VICTIM OF A SERIES OF ACCIDENTS, AS ARE WE ALL.

Unk recites the words, the crowd goes wild, then he is carried by fire engine to the home of Winston Niles Rumfoord, Cape Cod, Massachussetts, Earth, Solar System.

Here a huge crowd has gathered to witness another materialisation of Winston Niles Rumfoord. This is a great carnival, with huge crowds and fairground stalls. Running one of these stands is Beatrice Rumfoord and her son, Chrono. Their flying saucer from Mars crash landed in the Amazon where the local tribe worshipped them as emissaries of the suns and moon. Now here they are selling voodoo dolls of Mr Malachi Constant. Because a key element of the new religion of the church of God the Utterly Indifferent, is that its great hate figure is Mr Malachi Constant, a man who had everything but never achieved anything or used it for good.

Mr Winston Niles Rumfoord presides as master of ceremonies. He welcomes the Space Wanderer in his bright yellow suit, the crowd gasps, Mr Winston Niles Rumfoord invites the Space Wanderer’s wife and child, Bee and Chrono, up onto the stage to join them. Unk is overwhelmed by all this, but flabbergasted when Mr Winston Niles Rumfoord reveals that he, Unk, is none other than Mr Malachi Constant (the crowd oohs), that he raped Mr Winston Niles Rumfoord’s wife, Beatrice, on a flying saucer to Mars (the crowd aahs), and that he strangled to death his only friend, Stony Stevenson, on Mars (the crowd boos).

Now there’s only one thing for it. Mr Winston Niles Rumfoord (who has retired to the upper boughs of a nearby beech tree) tells Mr Malachi Constant that he must climb up the very long ladder top the only remaining Martian flying saucer, which is perched atop a 98-foot high tower – along with his wife and child (Bee and Chrono reluctantly climb after him) and fulfil his destiny by flying to Titan.

On Titan (p.186)

There are three seas on Titan named Winston, Niles and Rumfoord, and on an island on one of them Mr Winston Niles Rumfoord has taken up permanent habitation in a palace built as a replica of the Taj Mahal (remember: the more nonsensical, the better).

This final section, like all the others, is full of preposterous nonsense facts. The flying saucer carrying Malachi, Bee and Chrono lands on a shore by the lake among the two million life-sized statues which have been made by Salo.

Salo is an inhabitant of the planet Tralfamadore and, like all Tralfamadoreans, he is a machine. He was sent on a top secret mission to the other side of the universe but crash landed on Titan in 203,117 BC. He sent a message back to Tralfamadore (which is 150,000 light years from Earth) asking for the spare part he needed for his spaceship. The Tralfamadoreans replied via Earth, using various structures as encrypted messages. Thus Stonehenge means, in Tralfamadorean: Replacement part being rushed with all possibly speed, and various other structures (the Great Wall of China, the Kremlin) are in fact messages to Salo. He has watched entire Terran civilisations rise whose sole purpose was, unknown to them, to construct buildings which sent a message to a robot stranded on a moon of Titan.

‘Everything that every Earthling has ever done has been warped by creatures on a planet one-hundred-and-fifty-thousand light years away. The name of the planet is Tramalfadore.’ (p.207)

That would appear to be the meaning of all Earth history.

We now learn that Salo gave Mr Winston Niles Rumfoord the idea for the Martian invasion of Earth, helped him copy the design of his flying saucer, recruited the first humans, had the idea of implanting pain-giving antennae in their minds, Salo shared with Mr Winston Niles Rumfoord half of his power source, none other than the Unstoppable Will To Believe, all in the aim of creating a new religion of peace and harmony and equality on Earth.

Cut to the unhappy family made up of Unk – now mostly restored to his memory of being Malachi Constant – Bee and Chrono, picnicking by a Titan sea. They arrive just in time to watch Mr Winston Niles Rumfoord finally expire and disappear. Right up to the end he had begged Salo to open the sealed message which he had been tasked with carrying to the other side of the universe. Only once Mr Winston Niles Rumfoord has died and disappeared, does Salo open the message pouch. the message he has come all this way – and all of Earth history turns out to be merely messages sent to him while he waited repairs to his spaceship – this important message is: Greetings!

Malachi and Bee live to be in their seventies. Chrono goes to live with the birds of Titan. When Bee passes quietly away, Malachi persuades Salo to take him in his space ship back to Earth, specifically to Indianapolis, Indiana, USA, Earth, Solar System, Milky Way. It is deepest winter. Here Malachi, freezing to death in the snow, has a last vision that he is being warmly greeted by the close friend he has sought all these years, Stony Stevenson.

P.S.

The Sirens of Titan are three nubile young women who Mr Winston Niles Rumfoord shows Malachi Constant a photo of, way back at the start of the novel. Only in the final section on Titan do we learn that they are merely three of the two million humanoid statues which Salo made in the hundreds of thousands of years he spent hanging round on Titan waiting for the spare part for his spaceship to arrive from Tramalfadore.

In fact all three ‘sirens’ turn out to be situated at the bottom of Mr Winston Niles Rumfoord’s swimming pool in his fake Taj Mahal and, once he is dead, the pool clogs up with algae and when Malachi tries to drain it, the three beautiful statues end up completely covered in smelly green gunk. So much for… well… something.


Related links

Kurt Vonnegut reviews

  • The Sirens of Titan (1959)
  • Cat’s Cradle (1963)
  • Slaughterhouse-Five (1969)
  • Breakfast of Champions (1973)
  • Slapstick (1976)
  • Jailbird (1979)

Other science fiction reviews

1888 Looking Backward 2000-1887 by Edward Bellamy – Julian West wakes up in the year 2000 to discover a peaceful revolution has ushered in a society of state planning, equality and contentment
1890 News from Nowhere by William Morris – waking from a long sleep, William Guest is shown round a London transformed into villages of contented craftsmen

1895 The Time Machine by H.G. Wells – the unnamed inventor and time traveller tells his dinner party guests the story of his adventure among the Eloi and the Morlocks in the year 802,701
1896 The Island of Doctor Moreau by H.G. Wells – Edward Prendick is stranded on a remote island where he discovers the ‘owner’, Dr Gustave Moreau, is experimentally creating human-animal hybrids
1897 The Invisible Man by H.G. Wells – an embittered young scientist, Griffin, makes himself invisible, starting with comic capers in a Sussex village, and ending with demented murders
1898 The War of the Worlds – the Martians invade earth
1899 When The Sleeper Wakes/The Sleeper Wakes by H.G. Wells – Graham awakes in the year 2100 to find himself at the centre of a revolution to overthrow the repressive society of the future
1899 A Story of the Days To Come by H.G. Wells – set in the same future London as The Sleeper Wakes, Denton and Elizabeth defy her wealthy family in order to marry, fall into poverty, and experience life as serfs in the Underground city run by the sinister Labour Corps

1901 The First Men in the Moon by H.G. Wells – Mr Bedford and Mr Cavor use the invention of ‘Cavorite’ to fly to the moon and discover the underground civilisation of the Selenites
1904 The Food of the Gods and How It Came to Earth by H.G. Wells – scientists invent a compound which makes plants, animals and humans grow to giant size, prompting giant humans to rebel against the ‘little people’
1905 With the Night Mail by Rudyard Kipling – it is 2000 and the narrator accompanies a GPO airship across the Atlantic
1906 In the Days of the Comet by H.G. Wells – a comet passes through earth’s atmosphere and brings about ‘the Great Change’, inaugurating an era of wisdom and fairness, as told by narrator Willie Leadford
1908 The War in the Air by H.G. Wells – Bert Smallways, a bicycle-repairman from Kent, gets caught up in the outbreak of the war in the air which brings Western civilisation to an end
1909 The Machine Stops by E.M. Foster – people of the future live in underground cells regulated by ‘the Machine’ until one of them rebels

1912 The Lost World by Sir Arthur Conan Doyle – Professor Challenger leads an expedition to a plateau in the Amazon rainforest where prehistoric animals still exist
1912 As Easy as ABC by Rudyard Kipling – set in 2065 in a world characterised by isolation and privacy, forces from the ABC are sent to suppress an outbreak of ‘crowdism’
1913 The Horror of the Heights by Arthur Conan Doyle – airman Captain Joyce-Armstrong flies higher than anyone before him and discovers the upper atmosphere is inhabited by vast jellyfish-like monsters
1914 The World Set Free by H.G. Wells – A history of the future in which the devastation of an atomic war leads to the creation of a World Government, told via a number of characters who are central to the change
1918 The Land That Time Forgot by Edgar Rice Burroughs – a trilogy of pulp novellas in which all-American heroes battle ape-men and dinosaurs on a lost island in the Antarctic

1921 We by Evgeny Zamyatin – like everyone else in the dystopian future of OneState, D-503 lives life according to the Table of Hours, until I-330 wakens him to the truth
1925 Heart of a Dog by Mikhail Bulgakov – a Moscow scientist transplants the testicles and pituitary gland of a dead tramp into the body of a stray dog, with disastrous consequences
1927 The Maracot Deep by Arthur Conan Doyle – a scientist, engineer and a hero are trying out a new bathysphere when the wire snaps and they hurtle to the bottom of the sea, there to discover…

1930 Last and First Men by Olaf Stapledon – mind-boggling ‘history’ of the future of mankind over the next two billion years
1938 Out of the Silent Planet by C.S. Lewis – baddies Devine and Weston kidnap Ransom and take him in their spherical spaceship to Malacandra aka Mars,

1943 Perelandra (Voyage to Venus) by C.S. Lewis – Ransom is sent to Perelandra aka Venus, to prevent a second temptation by the Devil and the fall of the planet’s new young inhabitants
1945 That Hideous Strength: A Modern Fairy-Tale for Grown-ups by C.S. Lewis– Ransom assembles a motley crew to combat the rise of an evil corporation which is seeking to overthrow mankind
1949 Nineteen Eighty-Four by George Orwell – after a nuclear war, inhabitants of ruined London are divided into the sheep-like ‘proles’ and members of the Party who are kept under unremitting surveillance

1950 I, Robot by Isaac Asimov – nine short stories about ‘positronic’ robots, which chart their rise from dumb playmates to controllers of humanity’s destiny
1950 The Martian Chronicles – 13 short stories with 13 linking passages loosely describing mankind’s colonisation of Mars, featuring strange, dreamlike encounters with Martians
1951 Foundation by Isaac Asimov – the first five stories telling the rise of the Foundation created by psychohistorian Hari Seldon to preserve civilisation during the collapse of the Galactic Empire
1951 The Illustrated Man – eighteen short stories which use the future, Mars and Venus as settings for what are essentially earth-bound tales of fantasy and horror
1952 Foundation and Empire by Isaac Asimov – two long stories which continue the future history of the Foundation set up by psychohistorian Hari Seldon as it faces attack by an Imperial general, and then the menace of the mysterious mutant known only as ‘the Mule’
1953 Second Foundation by Isaac Asimov – concluding part of the ‘trilogy’ describing the attempt to preserve civilisation after the collapse of the Galactic Empire
1953 Earthman, Come Home by James Blish – the adventures of New York City, a self-contained space city which wanders the galaxy 2,000 years hence powered by spindizzy technology
1953 Fahrenheit 451 by Ray Bradbury – a masterpiece, a terrifying anticipation of a future when books are banned and professional firemen are paid to track down stashes of forbidden books and burn them
1953 Childhood’s End by Arthur C. Clarke a thrilling narrative involving the ‘Overlords’ who arrive from space to supervise mankind’s transition to the next stage in its evolution
1954 The Caves of Steel by Isaac Asimov – set 3,000 years in the future when humans have separated into ‘Spacers’ who have colonised 50 other planets, and the overpopulated earth whose inhabitants live in enclosed cities or ‘caves of steel’, and introducing detective Elijah Baley to solve a murder mystery
1956 The Naked Sun by Isaac Asimov – 3,000 years in the future detective Elijah Baley returns, with his robot sidekick, R. Daneel Olivaw, to solve a murder mystery on the remote planet of Solaria
1956 They Shall Have Stars by James Blish – explains the invention – in the near future – of the anti-death drugs and the spindizzy technology which allow the human race to colonise the galaxy
1959 The Triumph of Time by James Blish – concluding story of Blish’s Okie tetralogy in which Amalfi and his friends are present at the end of the universe

1961 A Fall of Moondust by Arthur C. Clarke a pleasure tourbus on the moon is sucked down into a sink of moondust, sparking a race against time to rescue the trapped crew and passengers
1962 A Life For The Stars by James Blish – third in the Okie series about cities which can fly through space, focusing on the coming of age of kidnapped earther, young Crispin DeFord, aboard New York
1962 The Man in the High Castle by Philip K. Dick In an alternative future America lost the Second World War and has been partitioned between Japan and Nazi Germany. The narrative follows a motley crew of characters including a dealer in antique Americana, a German spy who warns a Japanese official about a looming surprise German attack, and a woman determined to track down the reclusive author of a hit book which describes an alternative future in which America won the Second World War
1968 2001: A Space Odyssey a panoramic narrative which starts with aliens stimulating evolution among the first ape-men and ends with a spaceman being transformed into galactic consciousness
1968 Do Androids Dream of Electric Sheep? by Philip K. Dick In 1992 androids are almost indistinguishable from humans except by trained bounty hunters like Rick Deckard who is paid to track down and ‘retire’ escaped andys
1969 Ubik by Philip K. Dick In 1992 the world is threatened by mutants with psionic powers who are combated by ‘inertials’. The novel focuses on the weird alternative world experienced by a group of inertials after a catastrophe on the moon

1971 Mutant 59: The Plastic Eater by Kit Pedler and Gerry Davis – a genetically engineered bacterium starts eating the world’s plastic
1973 Rendezvous With Rama by Arthur C. Clarke – in 2031 a 50-kilometre long object of alien origin enters the solar system, so the crew of the spaceship Endeavour are sent to explore it
1974 Flow My Tears, The Policeman Said by Philip K. Dick – America after the Second World War is a police state but the story is about popular TV host Jason Taverner who is plunged into an alternative version of this world where he is no longer a rich entertainer but down on the streets among the ‘ordinaries’ and on the run from the police. Why? And how can he get back to his storyline?

1981 The Golden Age of Science Fiction edited by Kingsley Amis – 17 classic sci-fi stories from what Amis considers the Golden Era of the genre, namely the 1950s
1982 2010: Odyssey Two by Arthur C. Clarke – Heywood Floyd joins a Russian spaceship on a two-year journey to Jupiter to a) reclaim the abandoned Discovery and b) investigate the enormous monolith on Japetus
1987 2061: Odyssey Three by Arthur C. Clarke – Spaceship Galaxy is hijacked and forced to land on Europa, a moon of the former Jupiter, but the thriller aspects are only pretexts for Clarke’s wonderful descriptions of landing on Halley’s Comet and the evolution of wild and unexpected new forms of life on Europa

2061: Odyssey Three by Arthur C. Clarke (1987)

Clarke’s famous characters

I was struck by the cosy, clubby, collegiate atmosphere created by this novel. Although it’s meant to be about far-out events at the limits of human understanding, a thriller-cum-disaster story set at the remote end of the solar system – it often feels more like an after-dinner conversation at a gentleman’s club.

Every character is the ‘best in the world’ at their trade. Thus, at the captain’s table aboard the spaceship Universe, sit a typical cross-section of the planet’s great and good: ‘the planet’s best known science communicator’, a leading classical conductor, the first man to land on Mercury, the famous movie star Yva Merlin, and the planet’s best-known popular writer. We learn that the man who paid for Universe to be built is, of course, the richest man in the world, ‘the legendary Sir Lawrence Tsung’ (p.31).

These characters all know each other, share the same kind of rational approach to the world, give each other the same kind of nicknames, cultivate a knowing cliqueyness. Thus the notable passengers on the Universe who I’ve listed above are immediately nicknamed ‘the Famous Five’ by the other civilian passenger, the world famous scientist Dr Heywood Floyd (who appears in 2001: A Space Odyssey and is the key figure in 2010: Odyssey Two).

Even when new characters are introduced, such as the Afrikaaner Rolf van der Berg, who appears in what is at first a standalone strand of the plot, he is quickly bound into the club of the internationally famous by virtue of the fact that his uncle, Dr Paul Kreuger, was eminent enough to nearly be awarded a Nobel prize for particle physics (he was only disqualified because of political concerns about apartheid).

Something very similar happened a few years ago when I read through the adventure novels of Alistair MacLean in chronological order. The early ones are about nobodies who perform amazing feats battling Soviet agents or criminal gangs. But as they go on, they get worse, and MacLeans’s novels really began to go really downhill when they started to feature famous people (not real famous people – fictional famous people, the greatest racing driver, the most famous circus performer, the eminent film star, and so on).

You could call it laziness, or a fatal temptation for authors who have to churn out popular fiction by the yard – but you can see how, in a novel about nobodies, you have to earn the reader’s interest and attention; whereas, by contrast, if you start your story with a cast list which already includes the world’s most famous novelist, the world’s most famous conductor, the world’s most famous nuclear physicist, the world’s most famous space explorer and so on… then you can kind of demand the reader’s attention, as if they were reading the gossip column in Tatler or The Spectator.

It’s a kind of fictional short cut to trying to involve us. It’s like he’s expecting us to give him our respect and attention merely for the high falutin’ company he keeps, before he’s even started the story.

In these pally, clubby circles everyone is eminent enough to have been discussed in the papers and magazines and had their private lives pawed over. Which explains why famous characters aren’t introduced in their own right, but as the famous so-and-so who some critics / papers / colleagues criticise for his x, y, z public behaviour. This allows the author to then enact another cheap fictional strategy, which is – having invented various scandals or misunderstandings which dog the reputation of famous person x, y or z, to then present us as the man on the inside, the one in the know who is going to share the real reasons behind scandal x, y or z. It is the strategy of the gossip columnist, not the novelist.

And also, in these pally, clubby circles, everyone has nicknames for each other. Thus Floyd nicknames his fellow guests ‘the Famous Five’, but four of them quickly nickname the best-selling novelist Margaret M’Bala Maggie M (p.71). Later on, when Heywood comes up with a plan to use water from Halley’s Comet to fuel the Universe, despite some risks, he is quickly nicknamed ‘Suicide’ Floyd by the sceptics (p.176).

And when they’re not nicknaming each other, the characters are quick to come up with jokey nicknames for the space features they’re discovering, chirpy, jokey names which domesticates the bleak and weird features of space and brings even them into the cosy circle, the confident cabal of Clarke’s top men in their field. The habit of nicknaming which I’ve described among the little clique of VIPs aboard the Universe is shared by the crews of every other space ship and by astronomers back on Earth. That’s my point. These are all the same kind of people with the same sense of humour.

  • it looked exactly like a terrestrial geyser and had been promptly christened ‘Old Faithful’ (p.22)
  • the fifteen-hundred-kilometre-long feature that’s been christened the Grand Canal (p.38)
  • a perfectly straight two-kilometre-long feature which looked so artificial that it was christened the Great Wall. (p.136)

There is lots of ‘wry’ humour, ‘rueful’ remarks, ‘wry’ jokes and ‘rueful’ expressions. I’ve never really understood what wry and rueful mean. I can look them up in a dictionary, but I’m not sure I’ve ever seen someone give a ‘wry smile’. It’s the kind of phrase you only read in popular fiction.

  • Maggie M viewed the situation with rueful amusement. (p.200)
  • ‘By the time I abandoned Shaka,’ she wryly admitted, ‘I knew exactly what a modern Germans feels about Hitler.’ (p.209)

Not much of this is actually funny, and it has an undermining effect on the book’s tone. If you’re writing a thriller you need to be very confident of yourself to include lots of supposed humour. The risk is it won’t be funny but will work to undermine the necessary tension and suspense. This is what happened to Alistair MacLean – he got more and more jokey and less and less gripping or believable.

And, as I pointed out in my review of 2010: Odyssey Two, even if you make one of your characters comment on the fact that they appear to be in a cheap pulp melodrama – that doesn’t deflect the allegation, it’s an admission.

It was uncomfortably like one of those cheap ‘mad scientist’ melodramas… (p.146)

Clarke turned 70 as the book neared completion. Later, he would be knighted. So maybe that’s another reason for this rather self-satisfied and clubby atmosphere: maybe it reflects the mind of a man rich in honours and achievements, a genuine pioneer in science thinking as well as fiction, an incredibly effective populariser of all kinds of ideas from satellites to mobile phones to scuba diving, a man who had an amazingly distinguished life and career, who knew everyone, who was garlanded with honours. Maybe this book accurately reflects what that feels like.

Why Clarke’s predictions failed

As the title suggests, the book is set in 2061, sixty years after the alien monolith was discovered on the moon which kick-started this whole series.

Any sci-fi author writing about the future has to throw in some major events to pad out, to add ballast to their supposed future history, the obvious one being a nuclear war.

Clarke is no exception to this rule and predicts that by 2061 there will have been a short nuclear war carried out by two minor powers and only involving two bombs (I wonder if he was thinking about India and Pakistan). In light of this poisonous little conflict, Russia, America and China promptly band together to ban nuclear weapons and so the world is at peace (p.28).

Later on we learn that there has been a Third Cultural Revolution in China (there had already been a second one by the time of the 2010 book). Oh yes, and there has been the Great Californian Earthquake which reduced most of the state to flaming rubble (p.26).

In other words, Clarke’s treatment of history is the same kind of lightweight caricature as his treatment of his ‘famous’ characters – a lamentably simplistic, cartoon view of human affairs, of history, economics, geopolitics and so on, which can all be summarised in a few throwaway brushstrokes.

Like so many of the sci-fi writers of his generation (who all came to eminence in the 1950s), Clarke thinks there’ll be a nuclear war or two which will teach ‘humanity’ the errors of its ways, which will end war and conflict, and so, with the money saved, ‘mankind’ will invent a hyperdrive and set off to colonise the stars.

This simple-minded delusion is so basic to so many of these narratives that you could call it Science Fiction’s foundational myth.

This iteration of it – 2061: Odyssey Three – follows the myth exactly:  the small nuclear war leads to peace, which leads to a ‘peace dividend’, which funds the inevitable development of a new ‘space drive’, and so on to ever-widening space exploration.

Scientifically careful, as always, Clarke attributes the ability to travel at speed through space to a new ‘drive’ based on the development of muonium-hydrogen compounds in the 2040s. As a result – and as so often -the solar system is soon littered with human colonies on all the habitable planets and the moons of the gas giants, as well as various space stations in orbit, and a busy traffic of shuttles and freighters popping between them.

Seeking clues as to why – contrary to the confident predictions of Asimov, Blish, Bradbury, Clarke and so many other sci-fi writers – none of this has happened, I think there are two main reasons:

1. Erroneous comparison with other technologies

Clarke makes a profoundly mistaken comparison between air travel and space.

The Wright brothers made ‘the first controlled, sustained flight of a powered, heavier-than-air aircraft on December 17, 1903, four miles south of Kitty Hawk, North Carolina’. Only 50 years later passengers were sitting in first class while globe-spanning jet airliners flew them to Australia.

I.e it took just fifty years for the technology of manned flight to be transformed out of all recognition and to become commonly available to anyone with the cash.

In my opinion Clarke then makes the very false assumption that space travel will also proceed in the same kind of unstoppable leaps and bounds, from early primitive experiments to widespread commercial availability in a similar timespan – from Sputnik (1957) through the first men on the moon (1969), the first space shuttle in 1982 to the crewing of the International Space Station in 2000 and he then projects that forward onto bases on the moon, then Mars, then manned flights to Venus, then the new space drive and boom!

All so easy when you’re writing novels, essays and brochures for NASA.

2. Failure to understand economics

The analogy doesn’t hold because of simple economics. The space shuttle project cost some $210 billion, and each launch of a space shuttle cost over a billion dollars (until the last launch in 2011).

No commercial company can afford to spend this much. No commercial company will ever be able to make a profit out of space travel, either for tourists or for natural resources.

Only governments can fund this sort of cost, and even then only the governments of major powers, and even then only if there are demonstrable scientific, technological or geopolitical benefits. The Americans only put a man on the moon because they felt they were in a life-or-death struggle against Soviet Russia. The edge of that rivalry was wearing out in the 1980s and collapsed with the end of the Soviet Union in 1990.

There never was a commercial imperative for space travel and now there is next to no geopolitical motive. I predict there will never be a base on the moon. There will certainly never be ‘bases’ on Mars, let alone any of the other planets or moons. It just costs vastly too much, and for little or no payback.

3. Confusing space enthusiasts with ‘all mankind’

A related passage indicates another error in Clarke’s thinking. He was in the middle of explaining how ‘mankind’s thirst for knowledge pushed them on to explore blah blah blah’, when I realised, there’s the problem.

Clarke makes the common error of thinking that the subjects, activities and achievements which he has devoted his life to – are of interest to all mankind. Unfortunately, astronomy, astrophysics, space engineering, astronautics and all the rest of it are, at the end of the day, a very small minority interest. However:

1. Within the fictions, naturally enough, all the characters have dedicated their lives to these matters, and so his books – like those of Asimov or Blish – give the impression that the whole world cares as passionately about the aphelion of Io or the temperature on Callista, as they do.

2. There is a megalomania about science fiction as a genre. Pretty much from the start, from the minute H.G. Wells’s Martians emerged from their spaceships back in 1897, science fiction has dealt with global threats and an absolute central assumption of thousands of its stories is that the world will be saved by a handful of heroes. That the entire world will look up as the alien spaceships are destroyed by Will Smith and Jeff Goldblum in Independence Day.

To make it clearer – on page 83 of this book Clarke writes that really major scientific discoveries, the ones that shatter the entire worldview of a culture, don’t come along very often:

Galileos and Einsteins seldom appear more than once per century, which is just as well for the equanimity of mankind.

Just what does he mean here by ‘mankind’? Galileo published his discoveries in the 1630s, while Europe was being wracked by the Thirty Years War. Was the average European’s view of life turned upside down? No. Most Europeans were illiterate. What about the inhabitants of north or south America, Australia, Africa, or Asia? I don’t think they were too bothered either. So by ‘mankind’, Clarke is clearly referring to a tiny sub-set of Western European intellectuals.

Also, obviously enough, he has chosen two guys – Galileo and Einstein – who made big changes to the way we see the universe, to astronomy and astrophysics.

But Darwin’s theory had arguably the most seismic impact on the West, making Christian faith significantly harder to believe, while Fleming’s discovery of penicillin has had more impact on human life than any other scientific discovery ever, by saving probably billions of lives.

In Clarke’s prophecy when the major powers step in to prevent a nuclear war, it signals the end of all wars which results, of course, in a ‘peace dividend’ and, Clarke cheerfully informs us, ‘humanity’ then decides to devote this enormous amount of money to just the kind of things Clarke thinks are important, like exploring the solar system.

The flaw is when Clarke identifies the ambition and interests of a tiny minority of the earth’s population with ‘humanity’. It is, basically, identifying his own interests with all of ‘humanity’.

But the overwhelming majority of ‘earth’s population’ doesn’t want to spend hundreds of billions of dollars in constructing spaceships which half a dozen like-minded chaps can have adventures in. Sorry.

4. Confusing America with ‘all mankind’

A common error made by high-profile, high-paid American authors is to think the entire world circles round America and American cultural products.

In pulp magazines, in short stories, in novels, and in Hollywood movies, American science fiction writers have complacently assumed that Americans will bear the brunt of any alien invasion, Americans will defeat the bad guys, Americans will develop all the new technology, including the mythical space drive, Americans will lead the way in colonising space.

The cold reality

Taken together, all these wrong assumptions, false analogies and economic illiteracy, combined with the enormous PR campaign surrounding NASA and the Apollo space programme throughout the 1960s and into the 1970s, misled clever men like Clarke and Asimov into thinking that the whole world shared their passion, and that the outward urge was unstoppable.

Now, in 2019, from Syria to Xinjiang, from Burma to Brazil, people are in the same old trouble they always have been i.e. huge numbers of people are crushingly poor, unfree, victimised, exploited by massive corporations or locked up by the military police. People have other, more pressing priorities. Space is too expensive to travel to or to commercially exploit. These sci-fi stories are fantasy in the literal sense of something which never could and never will happen.

They are yesterday’s futures.

(It was only after thinking this all through that I came upon the following article about the end of the Space Age in, of all places, the New Statesman.)

The plot

When I saw the date (2061) I thought well, at least we won’t have to put up with Dr Heywood Floyd, who was a key figure in 2001: A Space Odyssey and the rather irritating central character of 2010: Odyssey Two.

So I burst out laughing when I discovered that Floyd is in 2061, appearing at the ripe old age of one hundred and three.

How come? Well, it turns out Floyd falls off a hotel balcony during a party to celebrate his return from the 2010-15 Jupiter mission, and breaks so many bones that he’s taken up to the space hospital in orbit round the Earth where he heals slowly but, by the time he does, it’s clear he’ll never be able to walk on Earth again.

So he stays up there for the next 45 years, sipping cocktails and chatting to the other occupants of the hotel, all – it goes without saying – eminent in their fields. A kind of All Souls College in space. Very cosy.

As the story opens a Chinese billionaire has funded the construction of several spaceships, leading up to the state-of-the-art spaceship Universe. Universe is scheduled to fly across the solar system to rendezvous with Halley’s Comet.

Although Clarke’s astrophysics is as precise as ever, the fictional part feels laughable. The Universe has gravity and joining Floyd at the captain’s table for fine wine and Michelin star meals are a selection of the planet’s great and good – ‘the planet’s best known science communicator’, a leading conductor, the first man to land on Mercury, and the planet’s best known popular writer, the ‘Famous Five’ I mentioned earlier.

This long sequence about the comet is only included so that Clarke can publish his (fascinating) speculations about what Halley’s Comet really looks like and what it would be like to land on it. This is genuinely interesting and obviously based on research and an intimate knowledge of space physics. I particularly enjoyed the bit where several scientists go a-wandering in their space suits, down into the spooky subterranean caverns of the comet, complete with their eerie stalactites.

But this entire sequence – the building, launch, docking at a space station, Floyd joining it, the journey to Halley’s Comet, docking with Halley’s Comet, exploring Halley’s Comet – all turns out just to be the hors d’oeuvre to what develops into quite a conventional thriller, albeit set in space.

For while the rich passengers on the Universe are frolicking on Halley’s Comet, hundreds of thousands of kilometres away, the spaceship Galaxy (also owned by richest man in the world, the ‘legendary’ Sir Lawrence Tsung) sent to investigate the moons of what was once the planet Jupiter, is hijacked by a woman with a gun – Rosie Miller – clearly an agent of some Earth power (but who or why remains a mystery), who forces the pilot at gunpoint to set the ship down on the surface of Jupiter’s moon, Europa.

Now it just so happens that out of the several billion human inhabitants of the solar system, the second mate on the spaceship Galaxy is none other than the famous Heywood Floyd’s grandson, Chris.

  1. This continues the book’s strong sense that it is a very small world in which only about twenty people count
  2. It means Floyd is thrown into understandable concern for his grandson and so
  3. He supports the ‘audacious’ plan to refuel Galaxy with water from the geysers of Halley’s Comet and then fly the Universe at top speed to Europa to rescue the Galaxy‘s 30-odd crew.

But it also turns out that 4. young Chris Floyd is himself not what he seems – he is working undercover for Astropol (the futuristic version of Interpol) who had suspected something dodgy was going to happen on the Galaxy. Aha! Mystery. Suspense.

The story turns into two parallel narratives. On Europa the crew of the Galaxy have to keep their ship afloat on the bubbling ‘ocean’ while being blown by its ‘winds’ towards a ‘shore’, all the time worrying about food and life support systems etc.

While, in alternating chapters, we eavesdrop on the harried crew and pampered passengers of the Universe as it travels at over four million kilometres per hour out towards Jupiter/Lucifer.

Young Chris Floyd and the geologist Rolf van der Berg persuade the captain of the Galaxy to let them take the ship’s little shuttle and go on an explore. There’s the usual Clarkean accuracy about the physical difficulty of extracting a shuttle out of a spaceship lying on its side beached on an alien moon, but soon enough they’re puttering across the surface.

They stop right at the foot of what astronomers have for some time been calling Mount Zeus, a vast, straight-sided geometrically clean mountain.

This appears to be what the intrigue was about, what the Rosie hijacked and forced the Galaxy to land for, because Mount Zeus is a diamond, the biggest diamond in the solar system, a diamond weighing a million million tonnes.

Van der Berg collects stray chips and fragments while explaining to Chris Floyd that the collapse of Jupiter into a star flung some of its diamond core outwards, at high speed. Most disappeared into space but this enormous mountain-sized chunk embedded in Europa, causing tectonic upheavals which they can still feel in the form of earth tremors.

Van der Berg sends an enigmatic message up to the radio receiver on another of Jupiter’s moons, Ganymede, which will relay it to Earth. The message is in code designed to tip off his friends on Earth to do something on the stock exchange – although whether knowledge that there exists a diamond the size of Mount Everest will collapse the diamond market forever, or prices will rise for rare Europa diamonds isn’t really made clear. This is a simple flaw at the heart of the ‘thriller’ narrative which is – we never understand why the hijacker forced Galaxy to land and we never really understand the consequences of Van der Berg discovering Mount Zeus is the biggest diamond in the solar system. That thread of the story is left completely unresolved.

Lastly, the two young guys fly over the surface to investigate the Europan avatar of the Monolith. Remember the monolith they found on the moon back in 2001, and then Dave Bowman discovered sticking up out of Japetus and which then multiplied in 2010: Odyssey Two to destroy Jupiter and turn it into a new sun?

Well, yet another version of it is lying sideways on the surface of Europe creating a great two-kilometre-long wall. Abutting against it they see round objects a bit like igloos. Can these be the homes of intelligent life? Nothing is moving around as they guide the shuttle down to land in a snow-covered space between igloos. But it is as they descend that Chris Floyd has a perfectly clear and lucid conversation with his grandfather – who is, of course, millions of kilometres away on Universal – which rather worries van der Berg, who thinks his pilot’s gone mad. Only later is there speculation that it was the monolith using a hologram projection of Heywood Floyd in order to communicate with his grandson. And what does the monolith say? That all the intelligent life forms who live in the igloos have fled because the little space shuttle is poisoning their atmosphere.

End

And then the novel is suddenly all over. Universe rescues everyone from Galaxy and takes them to Ganymede. The adventure ends with more heavy comedy as the human colonists are subjected to ha-ha-hilarious lectures from ‘the Famous Five’.

The ‘thriller’ plot, the entire rationale for the hijacking of Galaxy, the storyline in which Chris Floyd is an agent for Astropol, van der Berg’s cryptic messages about diamonds back to Earth – all these are just dropped. I’ve no idea why Rosie Miller hijacked the ship and I doubt whether the mere existence of a diamond mountain millions of miles from Earth would have any effect on the diamond market.

There’s another massive loose end, which is that, at the end of 2010: Odyssey Two Bowman had conveyed to Earth the warning that humans must never approach Europa. It had been set aside by the guardians for new life forms to flourish on. A couple of probes which flew too close were quickly evaporated, presumably by the guardian monolith.

So how how how how how come a) the Galaxy is able to land and b) Floyd and van der Berg are able to go shuttling all over its surface, poisoning the atmosphere, destabilising the diamond mountain and generally interfering, with no consequences whatsoever.

In all these instances – the prohibition on visiting Europa, the ‘thriller’ / Astropol conspiracy / something secret to do with van der Berg and diamonds – the plotline is just dropped. Galaxy is rescued. Then Hal and Dave and Heywood are having a nice chat. Then a thousand years later, Lucifer goes out. It feels oddly amateurish and half-hearted.

Postscript

There is a kind of postscript. We overhear conversation between the spirit of Dave Bowman, of HAL and of Dr Floyd. Somehow the other two have co-opted Floyd’s spirit, though he is still alive (?).

They recap the idea that the monoliths destroyed Jupiter in order to create a sun which would stimulate the evolution of intelligent life on Europa. But, the thing I don’t understand is that – Jupiter was itself teeming with life, strange vast gasbags blown in the impossible storms of Jupiter which had been described at length by Bowman’s spirit as it penetrated and explored Jupiter’s atmosphere in 2010: Odyssey Two.

That the creation of Lucifer resulted in the end of night on earth, I found upsetting enough. But the fact that in destroying Jupiter, the creators of the monolith destroyed all its life forms seemed to me as callous, brutal, clumsy and unthinking as most human activities. It nullified the sense which 2001 gave so powerfully of the intelligences behind the monolith being ineffably superior. Turns out they make just as questionable judgments as clumsy man.

In fact, right at the end of the story we learn that Mount Zeus was always unstable – having been flung at high speed into Europa by the destruction of Jupiter – and that right at the end, this diamond as big as Mount Everest collapses into Europa’s young seas, wiping out many species including some of the ones the monolith destroyed Jupiter in order to encourage.

It seems like futility piled on futility.

In their final exchanges, Hal and Bowman tell the spirit of Floyd that they want him to remain with them as guardian spirits protecting what life forms have survived on Europa.

Really? Even this is incredible. It took billions of years for mammals to evolve on earth, 30 million or so years for proto-apes to evolve into man. Are Bowman and HAL really going to wait that long?

Clarke has a staggering grasp of the laws of physics and astrophysics which govern the solar system in all its complexity. But his fictions seem to ignore the mind-boggling lengths of time involved in the evolution of species.

Post-postscript

But sure enough, it’s ‘only’ 1,000 years later that the population of Earth one day sees Lucifer collapse and the solar system’s second sun go out. To be precise:

Suddenly, almost as swiftly as it had been born, Lucifer began to fade. The night that men had not known for thirty generations flooded back into the sky. The banished stars returned.

And for the second time in four million years, the Monolith awoke. (final words)

That’s where the novel ends, presumably setting the reader up for the fourth and final novel in the 2001 series, which – I would bet – involves a trip to Europa and a meeting with the other intelligent life in the solar system.


Related links

Arthur C. Clarke reviews

  • Childhood’s End (1953) a thrilling narrative involving the ‘Overlords’ who arrive from space to supervise mankind’s transition to the next stage in its evolution
  • A Fall of Moondust (1961) a pleasure tourbus on the moon is sucked down into a sink of moondust, sparking a race against time to rescue the trapped crew and passengers
  • 2001: A Space Odyssey (1968) a panoramic narrative which starts with aliens stimulating evolution among the first ape-men and ends with a spaceman being transformed into galactic consciousness
  • Rendezvous with Rama (1973) a 50-kilometre-long object of alien origin enters the solar system so the crew of the spaceship Endeavour are sent to explore it
  • 2010: Odyssey Two (1982) Heywood Floyd joins a Russian spaceship on a two-year journey to Jupiter to a) reclaim the abandoned Discovery and b) investigate the enormous monolith on Japetus
  • 2061: Odyssey Three (1987) Spaceship Galaxy is hijacked and forced to land on Europa, a moon of the former Jupiter, but the thriller aspects are only pretexts for Clarke’s wonderful descriptions of landing on Halley’s Comet and the evolution of wild and unexpected new forms of life on Europa

Other science fiction reviews

1888 Looking Backward 2000-1887 by Edward Bellamy – Julian West wakes up in the year 2000 to discover a peaceful revolution has ushered in a society of state planning, equality and contentment
1890 News from Nowhere by William Morris – waking from a long sleep, William Guest is shown round a London transformed into villages of contented craftsmen

1895 The Time Machine by H.G. Wells – the unnamed inventor and time traveller tells his dinner party guests the story of his adventure among the Eloi and the Morlocks in the year 802,701
1896 The Island of Doctor Moreau by H.G. Wells – Edward Prendick is stranded on a remote island where he discovers the ‘owner’, Dr Gustave Moreau, is experimentally creating human-animal hybrids
1897 The Invisible Man by H.G. Wells – an embittered young scientist, Griffin, makes himself invisible, starting with comic capers in a Sussex village, and ending with demented murders
1898 The War of the Worlds – the Martians invade earth
1899 When The Sleeper Wakes/The Sleeper Wakes by H.G. Wells – Graham awakes in the year 2100 to find himself at the centre of a revolution to overthrow the repressive society of the future
1899 A Story of the Days To Come by H.G. Wells – set in the same future London as The Sleeper Wakes, Denton and Elizabeth defy her wealthy family in order to marry, fall into poverty, and experience life as serfs in the Underground city run by the sinister Labour Corps

1901 The First Men in the Moon by H.G. Wells – Mr Bedford and Mr Cavor use the invention of ‘Cavorite’ to fly to the moon and discover the underground civilisation of the Selenites
1904 The Food of the Gods and How It Came to Earth by H.G. Wells – scientists invent a compound which makes plants, animals and humans grow to giant size, prompting giant humans to rebel against the ‘little people’
1905 With the Night Mail by Rudyard Kipling – it is 2000 and the narrator accompanies a GPO airship across the Atlantic
1906 In the Days of the Comet by H.G. Wells – a comet passes through earth’s atmosphere and brings about ‘the Great Change’, inaugurating an era of wisdom and fairness, as told by narrator Willie Leadford
1908 The War in the Air by H.G. Wells – Bert Smallways, a bicycle-repairman from Kent, gets caught up in the outbreak of the war in the air which brings Western civilisation to an end
1909 The Machine Stops by E.M. Foster – people of the future live in underground cells regulated by ‘the Machine’ until one of them rebels

1912 The Lost World by Sir Arthur Conan Doyle – Professor Challenger leads an expedition to a plateau in the Amazon rainforest where prehistoric animals still exist
1912 As Easy as ABC by Rudyard Kipling – set in 2065 in a world characterised by isolation and privacy, forces from the ABC are sent to suppress an outbreak of ‘crowdism’
1913 The Horror of the Heights by Arthur Conan Doyle – airman Captain Joyce-Armstrong flies higher than anyone before him and discovers the upper atmosphere is inhabited by vast jellyfish-like monsters
1914 The World Set Free by H.G. Wells – A history of the future in which the devastation of an atomic war leads to the creation of a World Government, told via a number of characters who are central to the change
1918 The Land That Time Forgot by Edgar Rice Burroughs – a trilogy of pulp novellas in which all-American heroes battle ape-men and dinosaurs on a lost island in the Antarctic

1921 We by Evgeny Zamyatin – like everyone else in the dystopian future of OneState, D-503 lives life according to the Table of Hours, until I-330 wakens him to the truth
1925 Heart of a Dog by Mikhail Bulgakov – a Moscow scientist transplants the testicles and pituitary gland of a dead tramp into the body of a stray dog, with disastrous consequences
1927 The Maracot Deep by Arthur Conan Doyle – a scientist, engineer and a hero are trying out a new bathysphere when the wire snaps and they hurtle to the bottom of the sea, there to discover…

1930 Last and First Men by Olaf Stapledon – mind-boggling ‘history’ of the future of mankind over the next two billion years
1938 Out of the Silent Planet by C.S. Lewis – baddies Devine and Weston kidnap Ransom and take him in their spherical spaceship to Malacandra aka Mars,

1943 Perelandra (Voyage to Venus) by C.S. Lewis – Ransom is sent to Perelandra aka Venus, to prevent a second temptation by the Devil and the fall of the planet’s new young inhabitants
1945 That Hideous Strength: A Modern Fairy-Tale for Grown-ups by C.S. Lewis– Ransom assembles a motley crew to combat the rise of an evil corporation which is seeking to overthrow mankind
1949 Nineteen Eighty-Four by George Orwell – after a nuclear war, inhabitants of ruined London are divided into the sheep-like ‘proles’ and members of the Party who are kept under unremitting surveillance

1950 I, Robot by Isaac Asimov – nine short stories about ‘positronic’ robots, which chart their rise from dumb playmates to controllers of humanity’s destiny
1950 The Martian Chronicles – 13 short stories with 13 linking passages loosely describing mankind’s colonisation of Mars, featuring strange, dreamlike encounters with Martians
1951 Foundation by Isaac Asimov – the first five stories telling the rise of the Foundation created by psychohistorian Hari Seldon to preserve civilisation during the collapse of the Galactic Empire
1951 The Illustrated Man – eighteen short stories which use the future, Mars and Venus as settings for what are essentially earth-bound tales of fantasy and horror
1952 Foundation and Empire by Isaac Asimov – two long stories which continue the future history of the Foundation set up by psychohistorian Hari Seldon as it faces attack by an Imperial general, and then the menace of the mysterious mutant known only as ‘the Mule’
1953 Second Foundation by Isaac Asimov – concluding part of the ‘trilogy’ describing the attempt to preserve civilisation after the collapse of the Galactic Empire
1953 Earthman, Come Home by James Blish – the adventures of New York City, a self-contained space city which wanders the galaxy 2,000 years hence powered by spindizzy technology
1953 Fahrenheit 451 by Ray Bradbury – a masterpiece, a terrifying anticipation of a future when books are banned and professional firemen are paid to track down stashes of forbidden books and burn them
1954 The Caves of Steel by Isaac Asimov – set 3,000 years in the future when humans have separated into ‘Spacers’ who have colonised 50 other planets, and the overpopulated earth whose inhabitants live in enclosed cities or ‘caves of steel’, and introducing detective Elijah Baley to solve a murder mystery
1956 The Naked Sun by Isaac Asimov – 3,000 years in the future detective Elijah Baley returns, with his robot sidekick, R. Daneel Olivaw, to solve a murder mystery on the remote planet of Solaria
1956 They Shall Have Stars by James Blish – explains the invention – in the near future – of the anti-death drugs and the spindizzy technology which allow the human race to colonise the galaxy
1959 The Triumph of Time by James Blish – concluding story of Blish’s Okie tetralogy in which Amalfi and his friends are present at the end of the universe

1962 A Life For The Stars by James Blish – third in the Okie series about cities which can fly through space, focusing on the coming of age of kidnapped earther, young Crispin DeFord, aboard New York
1962 The Man in the High Castle by Philip K. Dick In an alternative future America lost the Second World War and has been partitioned between Japan and Nazi Germany. The narrative follows a motley crew of characters including a dealer in antique Americana, a German spy who warns a Japanese official about a looming surprise German attack, and a woman determined to track down the reclusive author of a hit book which describes an alternative future in which America won the Second World War
1968 Do Androids Dream of Electric Sheep? by Philip K. Dick In 1992 androids are almost indistinguishable from humans except by trained bounty hunters like Rick Deckard who is paid to track down and ‘retire’ escaped andys
1969 Ubik by Philip K. Dick In 1992 the world is threatened by mutants with psionic powers who are combated by ‘inertials’. The novel focuses on the weird alternative world experienced by a group of inertials after a catastrophe on the moon

1971 Mutant 59: The Plastic Eater by Kit Pedler and Gerry Davis – a genetically engineered bacterium starts eating the world’s plastic
1973 Rendezvous With Rama by Arthur C. Clarke – in 2031 a 50-kilometre long object of alien origin enters the solar system, so the crew of the spaceship Endeavour are sent to explore it
1974 Flow My Tears, The Policeman Said by Philip K. Dick – America after the Second World War is a police state but the story is about popular TV host Jason Taverner who is plunged into an alternative version of this world where he is no longer a rich entertainer but down on the streets among the ‘ordinaries’ and on the run from the police. Why? And how can he get back to his storyline?

1981 The Golden Age of Science Fiction edited by Kingsley Amis – 17 classic sci-fi stories from what Amis considers the Golden Era of the genre, namely the 1950s

2010: Odyssey Two by Arthur C. Clarke (1982)

This is a direct sequel to 2001: A Space Odyssey and nothing like as good. In the original book the best parts were: the vivid imagining of life among primitive man-apes, the hair-raising mental collapse of the computer HAL 9000 aboard the spaceship, and then the extraordinary vision of Bowman hurtling through the star gate and being transformed into a cosmic consciousness.

The weakest part was the middle which described the mundane, chatty, boring bureaucrats and scientists who held interminable meetings to discuss the mysterious monolith which had been discovered on the moon, and the practical physics of orbits and apogees and escape velocities attached to the journey of spaceship Discovery.

Well, 2010: Odyssey Two, for the first half or so, is an extension of precisely those mundane, boring parts of the first book. It’s nearly 100 pages longer than the original novel, and cast in 55 chapters, themselves divided into seven parts.

1. Leonov

Clarke’s protagonists always have sensible home lives. We met Dr Heywood Floyd, retired space expert, when he flew via a space station to the moon to explore the artifact in 2001.

Now we meet him again. Floyd has remarried a much younger woman, has a two-year-old son, and lives in an idyllic house by the Indian Ocean which appears to have a kind of dock into which swim tame dolphins to ‘talk’ to them.

Floyd is informed that an expedition is being prepared to go rendezvous with the Discovery, the spaceship HAL 900 went mental on, and from which David Bowman undertook his last journey through the alien star gate.

The catch is that this new expedition is being mounted by the Russians. In this version of the future (2010) Russia is still a communist country, but less paranoid than in the 1980s, and Russians and Americans are co-operating, at least in space.

So, in typical Clarke fashion, we learn a lot, an awful lot about the technical spec of the spaceship Cosmonaut Alexei Leonov (including the typically Clarkean fact, given us in the extended preface, that Clarke was a friend of the real Alexei Leonov, an actual Russian cosmonaut. Clarke gives the impression of knowing everyone who was anyone in space exploration of his day).

Characteristically, Clarke gives us some of this information in the form of extended official memos which he ‘quotes’ – typical of his fondness for bureaucracy, meetings and the ways of large organisations which, to be fair, he was himself very familiar with, having run several (e.g. chair of the British Interplanetary Society 1946–47 and 1951–53).

The Leonov has a crew of seven Russians and we get lengthy profiles of all of them, starting with captain Tatiana Orlova (women have figured prominently in the crews of Clarke’s previous novels, though this is the first woman captain), plus a couple of westerners – the big, bear-like Walter Curnow, systems specialist, and the small, slight and intense computer specialist, Dr Sivasubramanian Chandrasegarampillai, known more familiarly as Dr Chandra.

The Leonov will be using the new (fictional) ‘Sakharov Drive’, which uses a pulsed thermonuclear reaction to heat and expel almost any propellant (p.49). All space-based science fiction has to invent new ‘drives’ since, using our current rocket technology, we would never be able to get anywhere in human lifetimes.

Even using the made-up Sakharov Drive, it will take two years to get to Saturn, so Floyd and Curnow and the Sri Lankan will be put into hibernation / a cryogenic state. As you can imagine, this is carefully and realistically described.

2. Tsien

Clarke gives a powerful but factually based account of what it must be like to wake from a cryogenic sleep. This is followed by vivid descriptions of seeing Jupiter from close up (based, as the preface tells us, on the pictures relayed by the 1979 Voyager flybys of Jupiter).

But to the crew’s astonishment they see another spaceship crossing Jupiter’s vast outline and realise that the ‘space station’ they and everyone else knew the Chinese were building in earth’s orbit – was in fact a space ship.

Here it is. It has matched and even beaten their speed. Since the Chinese ship refuses to reply to messages, the scientists aboard Leonov do some calculations and realise it is going to use the gravity of Jupiter to give it the ‘slingshot’ effect (which Clarke fully explained in Rendezvous with Rama and fully explains here) in order to land on Europa, one of Jupiter’s moons!

Our guys speculate that the Tsien (they’ve found out that’s the Chinese ship’s name) will refuel from the ice/water which covers most of Europa’s surface and use that as propellant fuel to travel on towards Europa – water being a perfect propellant for their version of the Sakharov Drive.

Having figured all this out during intense discussions with the rest of the Russian crew, Floyd retired for asleep, but is woken because they’ve received a Mayday from the Tsien.

It is a Dr Chang broadcasting from his spacesuit radio. He is asking for Floyd by name because – of course – they met at some astronomy conference in China a few years ago. And he proceeds to tell an astonishing tale that there is life on Europa.

The Chinese landed and immediately began drilling down into the frozen ice of one of the many ‘canals’ that criss-cross Europa, but arc lights they were using to illuminate their activities awoke some kind of seaweed monsters which rose to the surface, broke through the ice, and slowly crawled various ‘arms’ towards the spaceship, clambered up it and crushed it killing everyone inside

At which point Dr Chang managed to turn off all the floodlights and the thing, already freezing out in the open, began to withdraw back to the canal whence it came. Chang forlornly broadcasts his message (he is broadcasting on his weak personal spacesuit radio and cannot receive a reply from the Leonov) before Europa disappears round the other side of Jupiter and radio contact is cut off.

3. Discovery

Clarke gives an encyclopedia description of the various moons of Jupiter before describing with scientific accuracy how the Leonov itself descends into the outer atmosphere of the planet in order to benefit from the slingshot effect which they will use to slow down their velocity so that they can rendezvous with the floating empty hulk of Discovery and investigate the anomaly which Bowman identified on one of its moon, Japetus.

When they finally arrive in the same orbit as the Discovery they find it is spinning on its axis (as a reaction to the circular motion of the central centrifuge part of the ship). All this, all the problems of getting aboard the empty Discovery, slowing its spin, docking the Leonov to it, clearing out the stale air (and rotten food) and activating all the life support systems, are described with typically Clarkean thoroughness and plausibility.

The focus switches to Dr Chandra who now undertakes the long process of reactivating HAL 9000. Unsurprisingly, HAL has no memory of the antenna unit malfunctioning, which was the pretext for making Frank Poole go for a spacewalk – and then murdering him in the first book. He has no memory of that happening, or of anything that followed, of Dave Bowman managing to re-enter the ship and then disabling the computer’s ‘higher’ mental functions, before taking a pod out on his last, ill-fated mission to explore the two-kilometer-high monolith sticking up from the surface of Japetus

Floyd, the central focus of the narrative, remains deeply suspicious of HAL and watches Dr Chandra’s efforts with a sceptical eye.

(Clarke takes the opportunity to remind us of everything that happened on the first mission, including a second slightly clearer explanation of why the computer had a breakdown: It was caused by the conflict between the priorities its human programmers gave HAL. On the one hand it was ordered to be utterly candid, open and helpful to the astronauts. On the other hand, the higher-ups who commissioned the flight, decided that its real goal, to investigate the anomaly on Japetus, should be kept secret from Poole and Bowman. So HAL knew the real nature of the mission, was told he should be utterly honest with the astronauts, but was also told to lie to them. This led to a slow deterioration in his functioning until he developed the (psychotic) idea that if he removed the humans from the equation, he would be able to proceed with the mission in peace.)

4. Lagrange

With Discovery reclaimed and HAL 9000 now operative, the crew manoeuvre the two ships into an orbit close to Japetus and proceed to investigate the enormous artefact using the full range of scientific methods (which Clarke explains in careful detail).

If I haven’t mentioned it, the mundane, down to earth feel of the text is emphasised by two elements: 1. the jokey camaraderie among the crew, the seven Russians, two Yanks and one Sri Lankan, along with Clarke’s very sensible descriptions of changing relationships and slight frictions among them. None of this is ever mysterious. Even in their relationships and emotions people are always, to Clarke, understandable.

And this is backed up by 2. the periodic taped messages which Floyd makes to his wife, Caroline, and little boy, Chris, back on earth, filling in homely little details about the mission, and longing to be back at their house by the sea. As he had realised when he accepted the mission, going into suspended animation for two years, during which he would only age a few weeks, means that Caroline will catch him up, that their ages will become closer, and he hopes they will, too.

Floyd and one of the Russians, Vasili Orlov, are floating in zero gravity near an observation window from which they can see the artefact, when Orlov notices something come flying out of it at immense speed, and zoom off in the direction of earth.

5. Child of the stars

It is Dave Bowman. Clarke reprises the most mind-blowing part of the first book, which is the way Bowman was transported through the star gate to a remote part of the galaxy, where his mind was stripped down, recorded and his consciousness transferred from his physical body into some form of light-based life which can materialise anywhere in the universe. Now he wants to return to earth and so that was him whizzing past which Orlov saw.

And the book recaps the abrupt worrying conclusion of the first book which is that, just as Bowman arrives, a nuclear war appears to commence, with both sides shooting nuclear missiles at each other – which Bowman has achieved such galactic powers that he simply explodes them all in the air.

In this version of the story there is only one nuclear warhead and he explodes it in passing, as an afterthought, as he fleets through the stratosphere. Earth authorities of course notice this detonation, and various reports of an unidentified flying object which they (and Clarke) treat with the usual scepticism.

There then follow some sequences which are strange because of their… thumping banality. We are taken into an old memory of Bowman’s dating from when he was a boy and he and his brother went diving in a local pond, and his brother drowned. A few years later he started going out with his dead brother’s girlfriend, Betty (like Frank Spenser’s wife, Betty). Now Bowman uses his godlike powers to… infiltrate America’s names and address database, then to appear on Betty’s TV, where the spirit of Bowman easily enough manipulates the cathode ray tube and… I couldn’t believe I read this but… Bowman projects onto his old flame’s TV screen, pornographic images!!!

The divorce between mind and body was still far from complete, and not even the most complaisant of the cable networks would have transmitted the blatantly sexual images that were forming there now. (p.172)

Which Betty watches with enjoyment, some a bit shocked, and then turns away with ‘regret for lost delights’. What? Did I just read that? Did David Bowman, the first man to travel through the star gate and be transformed into a cosmic consciousness, return all the way to earth in order to… show his old girlfriend pornography?? The mind boggles.

Then he zooms all over earth visiting sights like the Grand Canyon, Mecca, ancient temples, till he finds himself in Olduvai Gorge which, it is implied, was the location where the artifact first appeared to man-apes three million years ago (as so vividly described in 2001). He appears to his mother in her care home. He uses his telekinetic powers to comb her hair.

This is all an incredible letdown after the end of 2001, which climaxed with the cosmic spirit of Bowman looking down on planet earth, wondering what to do next. This gave the original book a tremendously pregnant ending because we,the readers, were free to project anything we could imagine on to his next steps.

To learn that what Dave did next turns out to be go sightseeing, show porn to his old girlfriend, and comb his mum’s hair, well the phrase anti-climax isn’t strong enough to convey the sense of crushing disappointment.

Then Dave zooms off back onto the solar system and undertakes a tour of the moons of Jupiter, described in Clarkean detail, although with extra information about the (entirely fictional) forms of life to be found on Europa, including the type we saw destroy the Chinese space craft.

Bowman’s spirit has, by this stage, realised that he is being used as a probe, an investigator, for some vast overmind which he can only vaguely sense. He penetrates to the heart of each of the moons and then – in a bravura display of imagination and description on Clarke’s part – down to the very core of Jupiter and something, somewhere, is monitoring it all.

There is a simple case to be made that these passages – Clarke’s super-vivid imaginings of what Jupiter and its moons are like, the colour, taste, texture, feel and overwhelming sight of them – are by far the most powerful parts of the book.

Then Bowman is told to contact the beings in the spaceship. Having no body he puzzles how to do this – then uses HAL’s circuits. As usual it happens to Dr Floyd, most things happen to Dr Floyd.

Bowman projects text onto HAL’s computer screen. It is a simple message. They must leave Europa’s orbit within the next 15 days or be destroyed.

When Floyd tells Captain Tatiana, she doesn’t believe him, she thinks he must have been tired and hallucinating, or some other reason.

Then the vast anomaly sited on Japetus which they came all this way to observe (and from which they have got such disappointing results) disappears. Just… vanishes! That clinches the discussion. They will leave.

Victor the engineer comes up with a plan. To use the fuel/rockets/engines of Discovery as a sort of booster stage to propel Leonov back to earth.

6. Devourer of worlds

Clarke gives a characteristically detailed account of how they bind the Discovery to the Leonov in order to benefit from its booster rockets and then deliberately descend closer to Jupiter, swing round it to pick up extra momentum, and then fire the booster rockets to break free and set off back to earth. However:

  1. There are worries that HAL might protest. That he might object to them abandoning the mission he is programmed with i.e. investigation of the anomaly. And indeed, right at the critical moment before he is scheduled to fire Discovery’s rockets, HAL questions Dr Chandra about what they’re doing and suggests they abort the detonation. It is a tense moment but, in the event, HAL obeys instructions.– The cumulative effect of reading 2001 and this novel is never to trust ‘intelligent’ computers.
  2. As they swing closer towards Jupiter before firing away, they all notice a black circle on the face of the planet which appears to be growing. Once they re-emerge from the other side of Jupiter, they are astonished to see hundreds, nay thousands of the black monoliths swarming across the surface. Could it be that they are eating Jupiter’s atmosphere and… reproducing? Why?

7. Lucifer Rising

Then, in the last 25 pages, it all happens. Bowman’s spirit enters Discovery, merges with HAL and tells him to send a message to earth.

ALL THESE WORLDS ARE YOURS – EXCEPT EUROPA.
ATTEMPT NO LANDINGS THERE

Then (as usual) it is Dr Floyd who sees the next development. In the observation lounge of Leonov, he watches in awe as Jupiter explodes!

The millions of monoliths have absorbed its hydrogen and somehow created a steadily heavier and heavier core, until the planet explodes and becomes a star.

Clarke gives a couple of pages of explanation of how this could happen in terms of the physics. And then a highly fantastical explanation of why. They – the alien minds behind the whole story – have travelled far and wide across the universe interfering wherever they see signs of possible life. They intervened on earth three million years ago to set humanity on course to intelligent evolution.

Now, using Bowman’s mind as a probe, they have discovered the potentiality for intelligent life on Europa, one of the moons of Jupiter. So they blow Jupiter up, turning it into a sun which orbits ‘our’ sun, but primarily so that it will become a sun for Europa. It will thaw out Europa’s deep icy seas and prompt evolution there, to create intelligent life.

Epilogue

The narrative cuts to a short epilogue dated 20,001, in which we learn that the Europans have indeed been warmed by this new sun which has melted its frozen ice-bound oceans allowing them to evolve into intelligent life, which has developed all kinds of theories about the planet it exists on, the other moons and its ‘sun’.

Standing sentinel over their ‘planet’ is a large version of the monoliths, at the border between the fixed daylight and fixed night-time which Europa experiences, warding off the occasional probes sent from earth, ensuring the inhabitants of Europa become one of the two intelligent life forms in the solar system.

The narrative ends on a gee whizz sci-fi cliff hanger. In the long run, will only one of these intelligent life forms triumph and control the solar system, and which will it be? Tune back in a million years to find out.

Lucifer

Hang on, did Clarke just write that the aliens turn the planet Jupiter into a star orbiting round the sun, in effect a sun to the many moons which circle it? What!

And did he just write that this Jupiter-sun – christened by earthlings ‘Lucifer’ from that word’s original meaning of ‘light-bringer’ – that Lucifer put an end to night on earth!!!!

Because when half the world is facing away from the sun, it is facing outwards towards the new sun out at the edge of the solar system?

Hang on – forget all the trivial details of the plot – did Clarke just write that night on earth has been abolished? There is no more night on earth?

Wow. Isn’t that the stuff of nightmares? Not to mention the extinction of God knows how many nocturnal species? What inconceivable psychological damage that would wreak on the human race.


Clichés

When a write says ‘in the words of the old cliché…’, or ‘to quote the hoary old saying’ or ‘in the well-worn words of tradition’ – the mere fact that they’re flagging up that they’re using clichés and tired old forms of words doesn’t get them off the hook. They are still using them. It is still a tired use of language (and thought).

  • Who had once called the eyes ‘windows on the soul’? (p.216)
  • Floyd could not help smiling at that old Space Age cliché, ‘If all goes well’ (p.216)
  • ‘Well, you know the old saying: Once is an accident; twice is a coincidence; three times is a conspiracy!’ (p.221)

Same with the frequent use of quotes, they tie down and retard the narrative, by pegging it to the already-known, to the mundane.

  • ‘Let me remind you of Haldane’s famous remark: ‘The Universe is not only stranger than we imagine – but stranger than we can imagine.’ (p.219)
  • ‘Sasha has dug up a good phrases: “The Ghost in the Machine”.’ (p.223)
  • ‘What did Einstein call that sort of thing? A “thought experiment”.’ (p.228)

It’s a mark of second rate, genre fiction – thrillers, sci-fi and so on – that the writer uneasily realises they are writing schlock and so, to try to deflect the accusation has one of his own characters mention it. But it doesn’t work. It still draws the reader’s attention to the fact:

  • ‘Baby sitting a psychotic computer!’ muttered Curnow. ‘I feel like I’m in a Grade-B science-fiction videodrama.’ (p.238)

And once I’d noticed this tendency to domesticate even the wildest events by cloaking them in tired cliches and hoary old quotes, I also noticed Clarke’s habit of liking good old, solid old, old-fashioned x, y or z. The phrase epitomises the hearty, bluff, sensible tone which typifies Clarke’s fiction:

  • Well, one could always fall back on a few kilometres of good old-fashioned string. (p.225)
  • ‘Do you know what Zagadka [the name the Russians gave the artefact] really is? A good old Swiss Army knife!’ (p.266)

All these usages take things away from the zone of the marvellous and unknowable and bring them back into the orbit of the totally known, familiar and friendly.

It typifies the dynamic of Clarke’s fiction which is to make everything homely. Thus the characters are always giving weird extra-terrestrial objects homely nicknames to tame and domesticate them. This was particularly noticeable in Rendezvous With Rama where the astronauts exploring this alien ship called the groups of buildings ‘cities’ and then named them London, New York etc.

In this novel they domesticate the enormous two-kilometre-high monolith on Japetus by nicknaming it Big Brother.

There is often a heavy thump to Clarke’s depictions of people, who largely come over as clichés and caricatures. His description of the moons of Jupiter or the astrophysics of perihelion are always rock solid and convincing. His characterisation of big bearish Curnow or small but authoritative Captain Tatiana or reserved and ascetic Indian Dr Chandra – taste like cardboard.


Related links

Arthur C. Clarke reviews

  • Childhood’s End (1953) a thrilling narrative involving the ‘Overlords’ who arrive from space to supervise mankind’s transition to the next stage in its evolution
  • A Fall of Moondust (1961) a pleasure tourbus on the moon is sucked down into a sink of moondust, sparking a race against time to rescue the trapped crew and passengers
  • 2001: A Space Odyssey (1968) a panoramic narrative which starts with aliens stimulating evolution among the first ape-men and ends with a spaceman being transformed into galactic consciousness
  • Rendezvous with Rama (1973) a 50-kilometre-long object of alien origin enters the solar system so the crew of the spaceship Endeavour are sent to explore it
  • 2010: Odyssey Two (1982) Heywood Floyd joins a Russian spaceship on a two-year journey to Jupiter to a) reclaim the abandoned Discovery and b) investigate the enormous monolith on Japetus

Other science fiction reviews

1888 Looking Backward 2000-1887 by Edward Bellamy – Julian West wakes up in the year 2000 to discover a peaceful revolution has ushered in a society of state planning, equality and contentment
1890 News from Nowhere by William Morris – waking from a long sleep, William Guest is shown round a London transformed into villages of contented craftsmen

1895 The Time Machine by H.G. Wells – the unnamed inventor and time traveller tells his dinner party guests the story of his adventure among the Eloi and the Morlocks in the year 802,701
1896 The Island of Doctor Moreau by H.G. Wells – Edward Prendick is stranded on a remote island where he discovers the ‘owner’, Dr Gustave Moreau, is experimentally creating human-animal hybrids
1897 The Invisible Man by H.G. Wells – an embittered young scientist, Griffin, makes himself invisible, starting with comic capers in a Sussex village, and ending with demented murders
1898 The War of the Worlds – the Martians invade earth
1899 When The Sleeper Wakes/The Sleeper Wakes by H.G. Wells – Graham awakes in the year 2100 to find himself at the centre of a revolution to overthrow the repressive society of the future
1899 A Story of the Days To Come by H.G. Wells – set in the same future London as The Sleeper Wakes, Denton and Elizabeth defy her wealthy family in order to marry, fall into poverty, and experience life as serfs in the Underground city run by the sinister Labour Corps

1901 The First Men in the Moon by H.G. Wells – Mr Bedford and Mr Cavor use the invention of ‘Cavorite’ to fly to the moon and discover the underground civilisation of the Selenites
1904 The Food of the Gods and How It Came to Earth by H.G. Wells – scientists invent a compound which makes plants, animals and humans grow to giant size, prompting giant humans to rebel against the ‘little people’
1905 With the Night Mail by Rudyard Kipling – it is 2000 and the narrator accompanies a GPO airship across the Atlantic
1906 In the Days of the Comet by H.G. Wells – a comet passes through earth’s atmosphere and brings about ‘the Great Change’, inaugurating an era of wisdom and fairness, as told by narrator Willie Leadford
1908 The War in the Air by H.G. Wells – Bert Smallways, a bicycle-repairman from Kent, gets caught up in the outbreak of the war in the air which brings Western civilisation to an end
1909 The Machine Stops by E.M. Foster – people of the future live in underground cells regulated by ‘the Machine’ until one of them rebels

1912 The Lost World by Sir Arthur Conan Doyle – Professor Challenger leads an expedition to a plateau in the Amazon rainforest where prehistoric animals still exist
1912 As Easy as ABC by Rudyard Kipling – set in 2065 in a world characterised by isolation and privacy, forces from the ABC are sent to suppress an outbreak of ‘crowdism’
1913 The Horror of the Heights by Arthur Conan Doyle – airman Captain Joyce-Armstrong flies higher than anyone before him and discovers the upper atmosphere is inhabited by vast jellyfish-like monsters
1914 The World Set Free by H.G. Wells – A history of the future in which the devastation of an atomic war leads to the creation of a World Government, told via a number of characters who are central to the change
1918 The Land That Time Forgot by Edgar Rice Burroughs – a trilogy of pulp novellas in which all-American heroes battle ape-men and dinosaurs on a lost island in the Antarctic

1921 We by Evgeny Zamyatin – like everyone else in the dystopian future of OneState, D-503 lives life according to the Table of Hours, until I-330 wakens him to the truth
1925 Heart of a Dog by Mikhail Bulgakov – a Moscow scientist transplants the testicles and pituitary gland of a dead tramp into the body of a stray dog, with disastrous consequences
1927 The Maracot Deep by Arthur Conan Doyle – a scientist, engineer and a hero are trying out a new bathysphere when the wire snaps and they hurtle to the bottom of the sea, there to discover…

1930 Last and First Men by Olaf Stapledon – mind-boggling ‘history’ of the future of mankind over the next two billion years
1938 Out of the Silent Planet by C.S. Lewis – baddies Devine and Weston kidnap Ransom and take him in their spherical spaceship to Malacandra aka Mars,

1943 Perelandra (Voyage to Venus) by C.S. Lewis – Ransom is sent to Perelandra aka Venus, to prevent a second temptation by the Devil and the fall of the planet’s new young inhabitants
1945 That Hideous Strength: A Modern Fairy-Tale for Grown-ups by C.S. Lewis– Ransom assembles a motley crew to combat the rise of an evil corporation which is seeking to overthrow mankind
1949 Nineteen Eighty-Four by George Orwell – after a nuclear war, inhabitants of ruined London are divided into the sheep-like ‘proles’ and members of the Party who are kept under unremitting surveillance

1950 I, Robot by Isaac Asimov – nine short stories about ‘positronic’ robots, which chart their rise from dumb playmates to controllers of humanity’s destiny
1950 The Martian Chronicles – 13 short stories with 13 linking passages loosely describing mankind’s colonisation of Mars, featuring strange, dreamlike encounters with Martians
1951 Foundation by Isaac Asimov – the first five stories telling the rise of the Foundation created by psychohistorian Hari Seldon to preserve civilisation during the collapse of the Galactic Empire
1951 The Illustrated Man – eighteen short stories which use the future, Mars and Venus as settings for what are essentially earth-bound tales of fantasy and horror
1952 Foundation and Empire by Isaac Asimov – two long stories which continue the future history of the Foundation set up by psychohistorian Hari Seldon as it faces attack by an Imperial general, and then the menace of the mysterious mutant known only as ‘the Mule’
1953 Second Foundation by Isaac Asimov – concluding part of the ‘trilogy’ describing the attempt to preserve civilisation after the collapse of the Galactic Empire
1953 Earthman, Come Home by James Blish – the adventures of New York City, a self-contained space city which wanders the galaxy 2,000 years hence powered by spindizzy technology
1953 Fahrenheit 451 by Ray Bradbury – a masterpiece, a terrifying anticipation of a future when books are banned and professional firemen are paid to track down stashes of forbidden books and burn them
1953 Childhood’s End by Arthur C. Clarke – a thrilling tale of the Overlords who arrive from space to supervise mankind’s transition to the next stage in its evolution
1954 The Caves of Steel by Isaac Asimov – set 3,000 years in the future when humans have separated into ‘Spacers’ who have colonised 50 other planets, and the overpopulated earth whose inhabitants live in enclosed cities or ‘caves of steel’, and introducing detective Elijah Baley to solve a murder mystery
1956 The Naked Sun by Isaac Asimov – 3,000 years in the future detective Elijah Baley returns, with his robot sidekick, R. Daneel Olivaw, to solve a murder mystery on the remote planet of Solaria
1956 They Shall Have Stars by James Blish – explains the invention – in the near future – of the anti-death drugs and the spindizzy technology which allow the human race to colonise the galaxy
1959 The Triumph of Time by James Blish – concluding story of Blish’s Okie tetralogy in which Amalfi and his friends are present at the end of the universe

1961 A Fall of Moondust by Arthur C. Clarke – a pleasure tourbus on the moon is sucked down into a sink of quicksand-like moondust, sparking a race against time to rescue the trapped crew and passengers
1962 A Life For The Stars by James Blish – third in the Okie series about cities which can fly through space, focusing on the coming of age of kidnapped earther, young Crispin DeFord, aboard New York
1962 The Man in the High Castle by Philip K. Dick In an alternative future America lost the Second World War and has been partitioned between Japan and Nazi Germany. The narrative follows a motley crew of characters including a dealer in antique Americana, a German spy who warns a Japanese official about a looming surprise German attack, and a woman determined to track down the reclusive author of a hit book which describes an alternative future in which America won the Second World War
1968 2001: A Space Odyssey by Arthur C. Clarke – panoramic narrative which starts with aliens stimulating evolution among the first ape-men and ends with a spaceman transformed into galactic consciousness
1968 Do Androids Dream of Electric Sheep? by Philip K. Dick In 1992 androids are almost indistinguishable from humans except by trained bounty hunters like Rick Deckard who is paid to track down and ‘retire’ escaped andys
1969 Ubik by Philip K. Dick In 1992 the world is threatened by mutants with psionic powers who are combated by ‘inertials’. The novel focuses on the weird alternative world experienced by a group of inertials after a catastrophe on the moon

1971 Mutant 59: The Plastic Eater by Kit Pedler and Gerry Davis – a genetically engineered bacterium starts eating the world’s plastic
1973 Rendezvous With Rama by Arthur C. Clarke – in 2031 a 50-kilometre long object of alien origin enters the solar system, so the crew of the spaceship Endeavour are sent to explore it
1974 Flow My Tears, The Policeman Said by Philip K. Dick – America after the Second World War is a police state but the story is about popular TV host Jason Taverner who is plunged into an alternative version of this world where he is no longer a rich entertainer but down on the streets among the ‘ordinaries’ and on the run from the police. Why? And how can he get back to his storyline?

1981 The Golden Age of Science Fiction edited by Kingsley Amis – 17 classic sci-fi stories from what Amis considers the Golden Era of the genre, namely the 1950s

Flow My Tears, The Policeman Said by Philip K. Dick (1974)

What can I tell him? Jason Taverner asked himself as he sat mutely facing the police general. The total reality as I know it? That is hard to do, he realised, because I really do not comprehend it myself. (p.119)

It is 1988 and Jason Taverner is the host of the immensely successful Jason Taverner Show which attracts 30 million viewers to its regular Tuesday evening slot. On this particular evening he’s featured guest star gorgeous, red-haired Heather Hart with whom he just happens to be having an affair, sharing his jet-set lifestyle, although she is impatient for him to actually marry her so they can settle down, have kids etc.

Part of their success is down to the fact that they are sixes. It is not explained, more hinted at in stray references, that sixes were genetically imprinted with superior genetic qualities, and that his happened at his birth, back in the 1940s (rather implausibly).

Jason and Heather complete another chart-topping show and are on board their Rolls Royce jet rocket (!) shooting up over Los Angeles when he gets a call from an ex, Marilyn Mason, a little flit of a thing who begged for help getting into show business, who he wangled a few auditions, and who he slept with him rather a lot before tiring of her. Heather is furious at the call, but Marilyn screeches down the phone that she’ll kill herself if he doesn’t visit her NOW, so Jason says we better go and check she’s OK.

Jason has barely got down into her flat before Marilyn, furious at having been dumped and ignored for six months, throws a bag at him containing ‘the gelatin-like Callisto cuddle sponge with its fifty feeding tubes’.

There’s no explanation of what this thing is or where it comes from, simply that the feeding tubes swiftly enter the human body and kill if not counter-acted. Jason has the presence of mind to grab a nearby bottle of alcohol and pour it onto the creature which falls off him, onto the floor, dead. But it leaves its feeding tubes inside him, and he passes out. He regains consciousness on a hospital gurney being rushed to an operating theatre with Heather peering over him, weeping, and then he blacks out.

The alternative world

All this happens in just the first chapter. In chapter two Jason wakes up and the world has changed. He awakens in a seedy motel room to discover that nobody knows who he is. In this world there is no Jason Taverner Show on TV, the motel manager has never heard of him, nobody has heard of him. When he phones his agent, then his producer, both say they’ve never heard of him and put the phone down.

He also has no ID cards and now, for the first time, we begin to learn about the world of 1988, namely it is some sort of military dictatorship. All across America identity checkpoints run by the national guard or the police pop up at random to check people’s ID cards. If you don’t have one or have a forged one, you are sent off to a Forced Labour Camp (FLC).

So, while he is still reeling from the fact that nobody recognises him, Jason is all-too-aware that down here, in the world of the ‘ordinary’ people, he needs ID cards fast. Luckily, he’s wearing the same clothes he had on when Marilyn attacked him which, conveniently enough, contained a big wad of cash. Now he bribes the desk clerk, Ed Pricem, to recommend a forger. The clerk (who, in a casual aside, mentions that he is a telepath – putting us in mind of the universe of Do Androids Dream of Electric Sheep?).

Ed the desk clerk takes Jason through darkened streets into Watts which was, when Dick was writing, a slum. In a darkened garage Ed introduces Jason to a very young woman, Kathy Nelson, maybe only 17 or 18 (she eventually tells us she’s 19), who takes him to her workshop and turns out to be a master forger.

Here commences the troubled relationship which last for the next third or so of the book, for Kathy has impressive mental problems. Initially the conversation is fairly rational and, while she’s making him the forged IDs (he needs half a dozen in this police state) they recap a bit of future history, namely how there was some kind of Insurrection led by sixes like Jason, but it was repressed and most of the sixes were rounded up and shot and the government became even more repressive.

(In what I presume is a humorous / paranoid reference to the student unrest of the time the book was written, the early 70s, the narrative informs us that all universities have prison walls round them. Any students or lecturers caught escaping are sent to forced labour camps. Later we are told that up to 10,000! students at Stanford were massacred in one particular police action back during the Insurrection.)

(In another throwaway reference, we learn that Congress passed a bill led by someone called Tidman to solve ‘the race problem’ by restricting black couples to only one child. Over the generations this will or has hugely reduced their numbers. So much so that black people are now endangered and it is a crime to hurt them, p.29.)

But Kathy is odd, very odd. She’s convinced that her husband, Jack, is in a forced labour camp but approves of her sleeping with other men, something they discuss at length. She confesses that she was placed in a mental hospital for eight weeks. She is convinced she met a number of famous celebrities there, and slept with them.

Then she reveals that she is a great forger but embeds electronic tagging devices into her forged documents and tips off the police about the customers. Why? Because the police have promised her that if she helps them catch enough criminals, they’ll release her husband, Jack. (Later, when we meet her police controller, McNulty, he tells Jason that all this is a delusion: Kathy’s husband is in fact dead, died in a car crash, but she hasn’t got over it.)

Kathy insists that Jason – tall, handsome, confident – sleeps with her, which he is initially cheerfully in favour of until he begins to grasp how nuts she is. This is forcibly demonstrated when he takes her to a (terrible) restaurant of her choosing and when she doesn’t get her way, falls off her chair onto the floor screaming at the top of her voice. Till the waiters throw them out.

Walking back to Kathy’s flat, Jason manages to give her the slip. He phones his partner back in ‘the real world’, Heather Hart, on her personal vidphone but of course she’s never heard of him. He pesters her with several calls despite her repeatedly hanging up, and freaks her out with his intimate knowledge of her anatomy (she has a false tooth she calls Andy, p.58) and all her phone numbers. But he has clearly erupted into a parallel universe in which he was never born, never existed. Nobody knows him.

Puzzling this over Jason almost immediately walks into a pop-up police checkpoint. Paranoia and fear while they check the papers Kathy just made him. But they pass. Grudgingly the ‘pols’ let him go. But the checkpoint has given Kathy time to catch up and find him and once again he finds himself, immensely reluctantly, walking back to her flat. Here is horrified to find Kathy’s ‘control’, Inspector McNulty waiting for both of them. McNulty, in the way of scary totalitarian cops in this kind of fiction, now becomes politely but firmly interested in Jason and asks him along to the station.

There he makes him wait while the cops search the (global) database for him. By mistake the machine spits out the details of a ‘Jason Taverner’ born about the same year, but in the mid-West to farmers, a very ugly redneck. Thinking on his feet, Jason claims to be the same guy and makes up a story about him running away from the farm and using his grandfather’s inheritance to get comprehensive plastic surgery.

Yeeeees, McNulty says, staring at him, not really believing it. After several false releases – being let go then called back for ‘a few more questions’, which ratchet up the pressure – Jason finally gets to walk away. He had to hand all of his ID papers over to  McNulty to be triple-checked, but the cops handed him a week-long total pass (a ‘pol-pass’) in exchange. So he has a week to figure out what the hell is going on, which gives the novel a sense of urgency and a clear timeframe.

Recap

So the first hundred pages of Flow My Tears, The Policeman Said are set in an America of the future which has become a police state (what Jason calls ‘a betrayal state, p.58) in which a genetically engineered man has made himself a successful career as a rich and famous TV star. But, after a near-fatal experience, he wakes up in a parallel universe where he appears never to have existed, is thrown down among the plebs, the ‘ordinaries’, stripped of his wealth and fame, and experiences life on the run.

Part two

Part two introduces new characters, namely McNulty’s boss, Police General Felix Buckman. He scares and intimidates McNulty, who tells him about this Tavern guy they just picked up. By this stage McNulty has discovered that the mid-West story is a fake. What puzzles him is that ‘Taverner’ has no records of any kind.

‘Jason Taverner doesn’t exist.’ (p.82)

Buckman is intrigued but has to cope with his no-good, drug addict, bondage addict sister, Alys who has, yet again, got past the guards and into his office where he finds her sleeping off another dose of something.

He wakes he up and gives her a sound telling off for being an addict.We learn that she paid for the removal of the ‘responsibility’ parts of her brain, leaving her just the pleasure centres, which she stimulates by ‘diddling’ (presumably masturbating) all day long.

Jason, with a week to find out what the hell is going on, takes an air taxi to Las Vegas hoping to find a woman whose pad he can crash in, maybe a woman he knew in the other life. Sure enough he has barely settled himself at the bar of ‘the Nellie Melba room of the Drake’s Arms’ in Las Vegas (p.85) than he spies an old flame of his, Ruth Rae. Knowing her sex addiction, he finds it easy enough to chat her up and soon they head back to her place, first for championship sex, and then for a long discussion about love and, unexpectedly, the power of grief.

But then the police burst in, having detected Jason via the microtransmitter the slipped into his clothes.

He is transported in a police ‘quibble’ (Dick’s humorous word for car or transport) back to LA, to the 469th Precinct Police Station, where he is ushered into the rather luxurious room of General Buckman. Buckman is one of only a handful of police generals in the country. Clever, he proceeds to bluff Jason that he is a seven (Jason didn’t even know sevens existed, but Buckman knows enough about the head of the research programme which developed the sixes to bluff him), trying to get him to spill the beans about the plot or conspiracy which he is convinced Jason must be involved in.

Eventually Buckman comes to believe that Jason really doesn’t know what he’s doing in this dimension. He decides to let him go, but to tag and trail him. Next morning Jason walks free into the LA sunlight (and the thick traffic pollution).

Someone calls his name. It is Alys Buckman, six foot, dressed in leathers with a metal chain. Where’s the whip, Jason thinks. Clearly she is visually meant to look like a bondage dominatrix. Alys explains she’s Buckman’s twin sister. She hates him. She tells him he has a microtransmitter and – surreally – a minute nuclear bomb – embedded on his person. She removes both with a kit she has. She flies him in her quibble (these ascend vertically and, apparently, have rotor blades) to the general’s luxury mansion which she shares with him. On the way she says she knows who he is! She is a big fan! She has two of his long playing records in the back of the quibble!

My God! Maybe she knows how to get back to his own world.

But, immensely frustratingly, Alys refuses to answer any of his questions, instead politely offering him some mescaline (‘Harvey’s yellow Number One, imported from Switzerland’, p.134) and, as he begins to trip out, fills the time with what appears to be a series of inconsequential chatter. She shows him her brother’s rare and precious stamps, his collection of snuff boxes.

As Jason’s trip reaches extremes Alys realises he’s too far in and offers to go get some thorazine to counter the mescaline. Jason staggers to the record player and, through his hallucinations, manages to get one of his records out of its sleeve and turn on the record player and drop the needle with a bump onto the play-in groove, but…. there’s just static. There’s nothing on the records. They’re blank! (p.144)

Part three

Jason staggers upstairs, looking for Alys and then, to his horror, opens a bedroom and finds… her leather clothes and stilettoes on the floor and inside them, wearing them, a long, long-dead shrivelled corpse! Horrified, he blunders, half falls down the steps, across the lawn of the mansion and to the guard by the gate. His drugged slurred speech alerts the guard who runs inside – he hears a shout – and the guard comes running back after him, letting off a few shots from his laser gun, obviously thinking Jason murdered his employer, before running back inside.

This gives time for Jason to escape from the grounds and blunder into a young woman just getting into her ‘flipflap’. Yes, flipflap. Like Kurt Vonnegut, you have the strong feeling that Dick, by now, in the early 70s, has taken enough drugs, written enough fantasy sci-fi books, to realise that he can make up anything, say anything, the more ludicrous the better – and people just as stoned as him will lap it up!

So he begs for a lift in this young lady’s flipflap and, although reluctant, she (name: Mary Anne Dominic) lets him fly her downtown (so she can post the ceramic pots she makes for a living) then they go to a coffee shop.

Jason is trying to make sense of Alys’s fate. For a start how come she knew who he was, the only person in this world to do so? But then again, how come the records were blank?

While he’s thinking out loud the young woman he’s sort of kidnapped picks up on the fact that he thinks he’s a famous TV star and singer and says, ‘Shall I go see if they’ve got any of your songs on the jukebox?’

To his amazement they have, and she puts a coin in the machine to play it. What? And the people in the café start to recognise him, applaud when the song ends, and some shy kids come up asking for an autograph. It’s all coming back, the ‘normal’ world he lives in, bit by bit, faster and faster.

Jason says goodbye to Mary Anne (after she has insisted on giving him one of her most beautiful deep blue pots, carefully wrapped) and sets off to see Heather.

On the way he speculates darkly: maybe the reality is that he’s an unknown pauper living in a crappy motel and it’s the drug which Alys gave him which takes him out of that world and into the world of fame. Maybe the world of fame is the drug-induced fantasy, which he needs Alys to regularly supply him the drugs to experience?

Meanwhile we cut back to the cops back at the death scene of Alys. The LA police forensic scientist says Alys died from an experimental new drug. There follows a long pseudo-scientific explanation that the drug suspends the brain’s ability to distinguish between fixed blocs of time and space i.e. the ability to compartmentalise events into before and after, and to compartmentalise space into separate, well, spaces. In a bit of a leap, they claim the drug allows more than one reality to exist at once, and in a further leap, that this leads to multiple universes existing at the same time. Alys’s use of the drug created an alternative universe into which Jason was pulled.

I.e it was all her fault. Jason’s entire experience of being pulled into this alternative universe in which he was never born – is solely the result of Alys’s trip on a new experimental drug.

I admit to being disappointed. I thought it was going to be something to do with toxins release by ‘the Callisto cuddle sponge’. Remember that, back at the start?

Now a newly confident Jason phones up Heather and – she recognises him! Darling where have you been, I’ve been so worried etc. But when he flies to her flat to meet her neither of them refer to the incident with Marilyn Mason. What? Last thing we saw in that universe, he was being rushed into surgery with Heather crying her eyes out? Did it not happen? Or has Dick now got bored of it and not bothered to link it to how his narrative has ended up?

To me the complete lack of follow-up to the Caliisto sponge scene doesn’t say anything about Dick’s clever manipulation of reality, it says everything about how he and his tripped-out readers don’t really care about logic or consequences or coherence,as long as the narrative contains loads of gee whizz references to drugs and the police state.

In a nutshell Alys took an entirely new, made-up drug, and this had the entirely made-up effect of dragging Jason (and Buckminster and everyone else around her) into her fantasy in which Jason had never existed. Until she died – at which point the ‘real’ world started flooding back. I still don’t understand this. Why him, why Jason? What is the meaning of the records which won’t play?

Anyway, now a completely new plotline kicks off. Backat police headquarters Buckman’s Machiavellian adviser points out that Alys’s suicide will make the gutter press snoop around, and that Buckman’s incestuous relationship with her is bound to come out, and that this will give his enemies and rivals among the four or so other Police Generals the opportunity to get him demoted or sacked.

Instead, Buckman had better get his retaliation in first, by concocting a scandalous story which somehow implicates them – the other generals. What they need to do is present Alys’s death as a murder resulting from some great conspiracy into which he can drag his rivals, ideally involving some high level, public figure who will divert attention away from the incest.

And it is at just this moment that the latest file on Jason Taverner is placed on Buckman’s desk. The perfect fall guy! They’ll say Taverner was driven mad with jealousy when he discovered that Alys had been having a lesbian love affair with his own long-term partner, Heather Hart, went round and murdered her. The security cop saw him at the scene. The police coroner can be ordered to change the evidence to do whatever it takes to incriminate Taverner.

They agree this plan and make a public announcement they’re seeking Taverner on a warrant for murder. Taverner has just arrived at Heather’s empty apartment feeling mighty happy to have his old life back when Heather storms in waving the newspaper with its front page headline about her and Alys (they did in fact have a lesbian affair) and the cops wanting to arrest them both. Jason and Heather argue and have tantrums and then realise there’s nothing to be done but hand themselves in.

Passivity

Having read four Dick novels in a row, one of the subtler threads or similarities between them is how passive his protagonists are. Frank Frink just accepts it when he’s arrested. Juliana shrugs when she finds out she’s living in a parallel universe. Rick Deckard undergoes mad experiences including inexplicable hallucinations, but ends up chatting sensibly with his wife. Joe Chin has moments of panic in Ubik but by and large functions efficiently and logically, despite finding out he has died and is being kept in cryogenic storage.

Similarly, at every moment when the cops confront him Jason Taverner… just gives up and goes meekly. There’s something very underpowered about Dick’s protagonists. They passively submit to weird hallucinations, mad revelations and terrifying time travel parallel universes.

Maybe the central protagonist has to remain calm and rational, in order to allow the weirdness to really come out.

Coda

I’ve also noticed that Dick’s books tend to get to what is definitely the end of the story… and then have an extra bit tacked on afterwards.

On paper (and in the movie) Do Androids Dream of Electric Sheep? should end when Deckard ‘retires’ the last of the six androids he has been tasking with killing. Sure enough he goes home to see his wife. But then there is an extra and completely unnecessary chapter where he flies north into the radioactive wilderness and finds himself climbing the hill and somehow changing into Wilbur Mercer. And then a further extra bit, when Deckard finds the live toad and takes it home to his wife.

Same here. Having made the reasonably rational decision to frame Taverner for his sister’s death, Buckman then flies home. Job done, game over, right? But in the event he finds himself crying, torn by an impulse to go back and rescind the arrest warrant for Taverner.

Instead he pull up (i.e. descends to) an automated gas station in the middle of nowhere. One other quibble is there, its owner a smartly dressed black guy, pacing up and down as he waits for his quibble to be topped up with gas. On impulse Buckman takes a piece of police notepaper and draws a heart with an arrow through it and gives it to the black man. The black man looks at it, looks at Buckman, looks at the paper again, then lets it drop and blow away. Buckman gets back into his quibble and flies off.

OK, so far so far out, man. There’s still ten or so pages of text left so you’d expect to return to the plot, right?

But no. Buckman cries more tears, veers his quibble round and goes back to the gas station. Black guy is still there. This time they talk, and the black guy turns out to be remarkably perceptive, realising Buckman is in a weird emotional state, sympathises, gives him his card, says ‘Call me sometime’. Buckman gets back in his quibble and this time does fly back to his fine home.

What was that about? Is Dick playing with the format of the novel by consistently adding these overspill sections (rather as he plays with various conventions in this novel by dropping characters and forgetting loose ends – e.g. ‘the gelatin-like Callisto cuddle sponge with its fifty feeding tubes’)? Is he screwing with our heads, man?

Drugs

The four novels of Dick’s I’ve read all feature drugs as a common-or-garden, accepted element in the societies he describes.

Even in The Man in the High Castle, supposedly set in a parallel 1962, not only do some of the the characters (Frank Frink) smoke marijuana cigarettes, but these are commercially available i.e. not illegal.

In Ubik the owner of the half-life moratorium casually offers Runciter amphetamines when he looks like he needs pepping up, not as some illicit substance but as a perfectly ordinary element of polite society.

In this novel the cops not only smoke weed but offer Jason a joint after they arrest him. McNulty’s boss mentions that he should take some amphetamine.

And then there’s Dick’s prolonged portrayal of a mescaline trip at the police general’s mansion.

At the time (the late 1960s, man) I think this familiarity with drugs, drug paraphernalia and experiences and risks, gained Dick a vast audience among students and dropouts, and a reputation as a prophet of the alternative culture. So cool, man.

45 years later America is hooked on opioids which result in 122,000 deaths in 2015, not to mention the massive worldwide organised crime associated with heroin and cocaine trafficking. Only the relatively young and naive can any more think that any form of drugs is cool.

Sex

Sex doesn’t have the centrality in Dick’s work that it does in many other writers. It comes across as more of a plot device than an end in itself, designed to amplify the more important ideas around it such as fractured identity, altered mental states, parallel universes, and the general unreliability of ‘reality’ – whatever that is.

What’s interesting is the way the sexual element becomes more overt as you track these novels from the early 1960s through to the mid-1970s.

Following the trend, sex plays a bigger role in this story than all previous ones. The fact that he’s had sex with so many different women marks Jason as a product of the Hugh Hefner Playboy era. The introduction of Alys in particular, the leather-clad bondage girl, reminds me of all the leatherclad cartoon women from the 1950s.

But Dick piles on the perversion by having Alys and Buckman (whose name, if you replace the B with an F, would become more counter-cultural and, like, subversive,man) be not only twins but incestuous. really incestuous. So incestuous that they have had a son, Barney, who they’s packed off to boarding school in Florida. Weird enough for you, man?

And it is Alys who introduces Jason to the idea that there is a matrix or ‘grid’ of people who all go online to make mass phone calls at the same time, during which they live out their sexual fantasies. Alys explains that this can quickly become an addiction and that you can tell the people who are addicted to it by the way they look aged and drained. Nowadays, of course, we call this the internet.

Although the story is meant to be about a parallel world brought about by someone’s fantasies, it would not be hard to do an entry-level feminist critique of the narrative to bring out the way it is a picaresque story in which a tall, handsome rich man encounters a whole succession of women who represent different female stereotypes:

  • mature girlfriend Heather who wants to marry and have his babies
  • psychotic 19-year-old Kathy, with her undeveloped body (she laments her lack of bust) and paranoid possessiveness
  • Alys the six-foot, bondage lesbian
  • Mary Anne Domenico, the plain, sensitive, ‘artistic’ virgin

When Jason gets to Heather’s flat at the end, after what we can all agree has been a very trying two days, she’s out and he finds her faithful maid, Susie, at work. So he sidles up, slips his arm around her and grips ‘her firm right boob’ (p.178), behaviour which would see him arrested and sent to prison these days.

Dick fans may see Flow My Tears as a highly artful exploration of themes of identity, reality and mental illness. #metoo activists might not be wrong to see Jason Taverner as a forerunner of Harvey Weinstein.

Swearing

In the same way as sex becomes a more dominant theme, over these four novels I’ve noticed the way Dick’s characters swear more and more.  I’m not sure anyone swears in The Man in the High Castle (1962), whereas only 12 years later pretty much everyone is saying ‘fuck’.

  • ‘Do you think I’m a CF, a celebrity fucker?’ (Kathy, p.55)
  • ‘Don’t use that “I don’t give a fuck” tone with me.’ (Jason, p.58)
  • ‘Fuck off,’ said Ruth Rae (p.101)
  • ‘In what fucking way?’ he said, harshly. (Jason, p.104)
  • Isn’t it possible they’ll fuck up all down the line? (Jason thinking about the cops, p.107)
  • Her face glowed hotly and she said, ‘That motherfucker!’ (Alys, p.135)
  • ‘Nowhere Nuthin’ Fuck-Up’ (Jason’s most recent hit, p.155)
  • ‘We’ll kill you in the end, you miserable murdering motherfucker.’ (General Buckman, p.188)

Not just ‘fuck’, but a lot of the character use the cool groovy slang of the late 60s, early 70s.

  • ‘Can you lay a joint on this brother?’ (a Jesus-freak cop, p. 114)
  • a freak thing (Ruth Rae p.103)
  • ‘If you dig what I mean’ (Ruth Rae p.104)
  • ‘If you split now…’ (Ruth Rae p.106)
  • ‘Can’t you hold your hit, man?’ (Alys, p.140)
  • ‘Please don’t freak, I won’t hurt you.’ (Jason, p.152)
  • ‘You’re really far out,’ Mary Anne said enthusiastically.’ (p.156)
  • ‘Let’s get it on’, he said. (p.178)
  • ‘It’s OK. I can dig it.’ (the unnamed black guy, p.197)

Yeah baby, lay some skin on me, let’s stick it the Man, tell it like it is, right on sister.

It’s tricky to know whether Dick thought he was just updating his prose style and dialogue to reflect the way people were speaking in 1973 – or whether he was satirising the way people were speaking in 1973.

He’s certainly satirising the shallowness of TV and and the mind-boggling inanity of pop music – like the pretty crude joke that Jason’s most recent hit song, the one which Mary Anne puts on in the café as ‘his’ reality starts to flood back, is titled ‘Nowhere Nuthin’ Fuck-Up’. But then, what modern writer doesn’t satirise TV for its inanity? It’s a cliché of 20th century post-war fiction.

Either way, whatever the motivation, it’s another of the attitudes which – along with the glamorising of drugs and the hero’s casual expectation that he can sleep with any woman he wants to – make the novel seem such a period piece.

This sense – that a lot of the plot and comment is dated late-60s, early-70s satire – was hugely confirmed for me when, in a minor scene, the cops go to Ruth Rae’s apartment building to arrest Jason but break into the wrong room. Before they discover this they tiptoe across a wall-to-wall carpet depicting Richard M. Nixon’s ascent into heaven as God’s Second Begotten Son (p.108)

Over-excited satire of Richard Nixon belongs to a specific time and place which most people alive do not now remember or understand (he resigned the presidency in August 1974, presumably a little after this novel was published, and a long, long 45 years ago.) This really gross satire reminds me of Hunter S. Thompson’s obsession with Nixon in Fear and Loathing in Las Vegas (1971) and the way Thompson devoted an entire book to Nixon’s re-election campaign, Fear and Loathing on the Campaign Trail ’72.

This detail made me realise how much Dick was writing for a very specific audience, addressing the pressing social, cultural and political issues of his day which seemed to be caught up in a really seismic crisis – and therefore how, at least on the level of his attitudes to politics, sex and drugs, his books are not prescient and prophetic but rather backward-looking and dated. Can you dig it, man?


Related links

Philip K. Dick reviews

  • The Man in the High Castle (1962) In an alternative future America lost the Second World War and has been partitioned between Japan and Nazi Germany. The narrative follows a motley crew of characters including a dealer in antique Americana, a German spy who warns Japanese officials the Germans are planning a surprise attack, and a woman determined to track down the reclusive author of a hit book which describes an alternative future in which America won the Second World War
  • Do Androids Dream of Electric Sheep? (1968) n 1992 androids are almost indistinguishable from humans except by trained bounty hunters like Rick Deckard who is paid to track down and ‘retire’ escaped andys
  • Ubik (1969) In 1992 the world is threatened by mutants with psionic powers who are combated by ‘inertials’. The novel focuses on the weird alternative world experienced by a group of inertials after a catastrophe on the moon
  • Flow My Tears, The Policeman Said (1974) America after the Second World War is a police state but the story is about popular TV host Jason Taverner who is plunged into an alternative version of this world where he is no longer a rich entertainer but down on the streets among the ‘ordinaries’ and on the run from the police. Why? And how can he get back to his storyline?

Other science fiction reviews

1888 Looking Backward 2000-1887 by Edward Bellamy – Julian West wakes up in the year 2000 to discover a peaceful revolution has ushered in a society of state planning, equality and contentment
1890 News from Nowhere by William Morris – waking from a long sleep, William Guest is shown round a London transformed into villages of contented craftsmen

1895 The Time Machine by H.G. Wells – the unnamed inventor and time traveller tells his dinner party guests the story of his adventure among the Eloi and the Morlocks in the year 802,701
1896 The Island of Doctor Moreau by H.G. Wells – Edward Prendick is stranded on a remote island where he discovers the ‘owner’, Dr Gustave Moreau, is experimentally creating human-animal hybrids
1897 The Invisible Man by H.G. Wells – an embittered young scientist, Griffin, makes himself invisible, starting with comic capers in a Sussex village, and ending with demented murders
1899 When The Sleeper Wakes/The Sleeper Wakes by H.G. Wells – Graham awakes in the year 2100 to find himself at the centre of a revolution to overthrow the repressive society of the future
1899 A Story of the Days To Come by H.G. Wells – set in the same future London as The Sleeper Wakes, Denton and Elizabeth defy her wealthy family in order to marry, fall into poverty, and experience life as serfs in the Underground city run by the sinister Labour Corps

1901 The First Men in the Moon by H.G. Wells – Mr Bedford and Mr Cavor use the invention of ‘Cavorite’ to fly to the moon and discover the underground civilisation of the Selenites
1904 The Food of the Gods and How It Came to Earth by H.G. Wells – scientists invent a compound which makes plants, animals and humans grow to giant size, leading the human giants to rebel against the ‘little people’
1905 With the Night Mail by Rudyard Kipling – it is 2000 and the narrator accompanies a GPO airship across the Atlantic
1906 In the Days of the Comet by H.G. Wells – a comet trailing gasses through earth’s atmosphere brings about ‘the Great Change’, inaugurating an era of wisdom and fairness, as told by narrator Willie Leadford
1908 The War in the Air by H.G. Wells – Bert Smallways, a bicycle-repairman from Kent, gets caught up in the outbreak of the war in the air which brings Western civilisation to an end
1909 The Machine Stops by E.M. Foster – people of the future live in underground cells regulated by ‘the Machine’ until one of them rebels

1912 The Lost World by Sir Arthur Conan Doyle – Professor Challenger leads an expedition to a plateau in the Amazon rainforest where prehistoric animals still exist
1912 As Easy as ABC by Rudyard Kipling – set in 2065 in a world characterised by isolation and privacy, forces from the ABC are sent to suppress an outbreak of ‘crowdism’
1913 The Horror of the Heights by Arthur Conan Doyle – airman Captain Joyce-Armstrong flies higher than anyone before him and discovers the upper atmosphere is inhabited by vast jellyfish-like monsters
1914 The World Set Free by H.G. Wells – A history of the future in which the devastation of an atomic war leads to the creation of a World Government, told via a number of characters who are central to the change
1918 The Land That Time Forgot by Edgar Rice Burroughs – a trilogy of pulp novellas in which all-American heroes battle ape-men and dinosaurs on a lost island in the Antarctic

1921 We by Evgeny Zamyatin – like everyone else in the dystopian future of OneState, D-503 lives life according to the Table of Hours, until I-330 wakens him to the truth
1925 Heart of a Dog by Mikhail Bulgakov – a Moscow scientist transplants the testicles and pituitary gland of a dead tramp into the body of a stray dog, with disastrous consequences
1927 The Maracot Deep by Arthur Conan Doyle – a scientist, engineer and a hero are trying out a new bathysphere when the wire snaps and they hurtle to the bottom of the sea, there to discover…

1930 Last and First Men by Olaf Stapledon – mind-boggling ‘history’ of the future of mankind over the next two billion years
1938 Out of the Silent Planet by C.S. Lewis – baddies Devine and Weston kidnap Ransom and take him in their spherical spaceship to Malacandra aka Mars,

1943 Perelandra (Voyage to Venus) by C.S. Lewis – Ransom is sent to Perelandra aka Venus, to prevent a second temptation by the Devil and the fall of the planet’s new young inhabitants
1945 That Hideous Strength: A Modern Fairy-Tale for Grown-ups by C.S. Lewis– Ransom assembles a motley crew to combat the rise of an evil corporation which is seeking to overthrow mankind
1949 Nineteen Eighty-Four by George Orwell – after a nuclear war, inhabitants of ruined London are divided into the sheep-like ‘proles’ and members of the Party who are kept under unremitting surveillance

1950 I, Robot by Isaac Asimov – nine short stories about ‘positronic’ robots, which chart their rise from dumb playmates to controllers of humanity’s destiny
1950 The Martian Chronicles – 13 short stories with 13 linking passages loosely describing mankind’s colonisation of Mars, featuring strange, dreamlike encounters with Martians
1951 Foundation by Isaac Asimov – the first five stories telling the rise of the Foundation created by psychohistorian Hari Seldon to preserve civilisation during the collapse of the Galactic Empire
1951 The Illustrated Man – eighteen short stories which use the future, Mars and Venus as settings for what are essentially earth-bound tales of fantasy and horror
1952 Foundation and Empire by Isaac Asimov – the Foundation set up by psychohistorian Hari Seldon faces attack by an Imperial general, and then the menace of the mysterious mutant known as ‘the Mule’
1953 Second Foundation by Isaac Asimov – concluding part of the ‘trilogy’ describing the attempt to preserve civilisation after the collapse of the Galactic Empire
1953 Earthman, Come Home by James Blish – the adventures of New York City, a self-contained space city which wanders the galaxy 2,000 years hence powered by spindizzy technology
1953 Fahrenheit 451 by Ray Bradbury – a masterpiece, a terrifying anticipation of a future when books are banned and professional firemen are paid to track down stashes of forbidden books and burn them
1953 Childhood’s End by Arthur C. Clarke – a thrilling tale of the Overlords who arrive from space to supervise mankind’s transition to the next stage in its evolution
1954 The Caves of Steel by Isaac Asimov – set 3,000 years in the future when humans have separated into ‘Spacers’ who have colonised 50 other planets, and the overpopulated earth whose inhabitants live in enclosed cities or ‘caves of steel’, and introducing detective Elijah Baley to solve a murder mystery
1956 The Naked Sun by Isaac Asimov – 3,000 years in the future detective Elijah Baley returns, with his robot sidekick, R. Daneel Olivaw, to solve a murder mystery on the remote planet of Solaria
1956 They Shall Have Stars by James Blish – explains the invention – in the near future – of the anti-death drugs and the spindizzy technology which allow the human race to colonise the galaxy
1959 The Triumph of Time by James Blish – concluding story of Blish’s Okie tetralogy in which Amalfi and his friends are present at the end of the universe

1961 A Fall of Moondust by Arthur C. Clarke – a pleasure tourbus on the moon is sucked down into a sink of quicksand-like moondust, sparking a race against time to rescue the trapped crew and passengers
1962 A Life For The Stars by James Blish – third in the Okie series about cities which can fly through space, focusing on the coming of age of kidnapped earther, young Crispin DeFord, aboard New York
1968 2001: A Space Odyssey by Arthur C. Clarke – panoramic narrative which starts with aliens stimulating evolution among the first ape-men and ends with a spaceman transformed into a galactic consciousness

1971 Mutant 59: The Plastic Eater by Kit Pedler and Gerry Davis – a genetically engineered bacterium starts eating the world’s plastic
1973 Rendezvous With Rama by Arthur C. Clarke – in 2031 a 50-kilometre long object of alien origin enters the solar system, so the crew of the spaceship Endeavour are sent to explore it

1981 The Golden Age of Science Fiction edited by Kingsley Amis – 17 classic sci-fi stories from what Amis considers the Golden Era of the genre, namely the 1950s

Ubik by Philip K. Dick (1969)

His revulsion became, all at once, a weird nebulous panic. (p.88)

Ubik is set in the same year as Do Androids Dream of Electric Sheep?, 1992, although it is a different 1992 (itself making a point about ramifying realities and fissiparous futures). Instead of androids, this future is plagued by telepaths, telepaths who can read your mind and some which can predict the future.

The telepaths – known collectively as psis – have become such a menace that companies have grown up which offer the services of anti-telepaths, human mutants who also have psionic mind powers, but of a purely negative kind, to counteract them. The businesses are known as anti-psi prudence organisations; the anti-telepaths are known as ‘inertials’.

Types of telepaths include: teeps, kineticists, precogs, resurrectors and animists (p.22).

One of these prudence organisations is Runciter Associates, run by ageing Glen Runciter. His people irritate him by ringing him early one morning to tell him they’ve lost track of ‘the top telepath in the Sol system’, S. Dole Melipone. He is the only known telepath who can generate ‘68.2 blr units of telepathic aura’. Melipone is employed by Ray Hollis, who runs an organisation for psis and is by way of being the book’s baddy.

Runciter immediately flies to Zürich to consult his dead wife, Ella, who is kept in a state of suspended animation – in ‘cold-pac’ – at the Beloved Brethren Moratorium run by Herbert Schoenheit von Vogelsang. Family members who have passed away can be kept in cryogenic storage and you can ‘wake’ them and communicate with their brain patterns via special headphones, the ‘electronic communing equipment’ (p.223).

In the event, Ella’s thoughts are hijacked by a dead person being kept in a casket next to hers, Jory Miller. Because he’s younger, Jory’s cerebronic patterns are stronger than hers. Runciter is outraged and demands his wife be moved to a secure unit.

These half-deads are, the reader reflects, yet another kind of altered consciousness, Dick’s main theme – as are, of course, the florid range of telepaths and inertials we meet throughout the book. Other kinds of minds.

Runciter Associates had sent one of their own telepaths, G.G. Ashwood to the hotel where Melipone was last seen. Now Ashwood turns up at the flat of the chronically impoverished Runciter Associates employee, Joe Chip.

Ashwood has brought a new find, a girl of about 17 who has a spectacular new power. She seems to be able to rearrange the past in order to suit the needs of the present. I.e. if she sees something she or someone else wants to change she has the power, not to travel in person, but to send her mind back into the past to alter the course of events in order to change the present to suit. She proves this by showing Joe the initial evaluation of her which he carried out and which was very unfavourable. In the narrative we just read she had slowly stripped off to get ready for a shower, which swayed Joe towards giving her a more favourable valuation. This – the stripping version – is version two of events. She went back and changed everything that happened from the moment she came into his apartment.

Joe doesn’t believe it. To prove it Pat gets out of her blouse the valuation he wrote for her in the first course of events. It’s his writing, alright. It appears to be true that she can go back in time and alter the course of events. Wow.

Commentary

All this has happens in the first 40 or so pages of this 230-page-long novel. As usual Dick has plunged us not only into a story, but into a densely imagined world of wonders where weird elements are not just everyday but so taken for granted that they’re given typically American nicknames.

The futureness of it all is created and reinforced by a raft of gadgets and gizmos in the brave new world of 1992.

  • Runciter obviously travels to Switzerland and back super-fast, maybe via rocket. The existence of rockets is confirmed when Runciter takes his team of inertials to Luna (the moon) by the company rocket, Pratfall II.
  • Runciter’s hovertaxi drops him on the roof of his company building, from where he takes a ‘descent chute’ down to the fifth floor.
  • People don’t have newspapers, they have ‘pape machines on whose screen they scan through today’s headlines and, if an article takes their fancy, ask the ‘pape machine to print it off so it can be read. (Reading this in 2019 you wonder why Dick didn’t make the logical connection and just have people read the whole article off the screen? Why bother with cumbersome printing? I guess the culture-wide tradition of reading from paper was too all-encompassing for even Dick to see beyond.)
  • People talk via vidphone (as they also do in Android).
  • Money has stopped being in dollars and is now counted in poscreds.
  • For weaponry people carry laser tubes (as they do in Android).

The plot

The main plot concerns a client, Stanton Mick, a billionaire who is developing a new hyperspace drive on the moon. He suspects his operation has been infiltrated by psis from Hollis’s organisation. The fear is that they will carry out industrial espionage, getting into his scientists’ minds, stealing all the secrets, possibly sabotaging the project.

So he sends a secretary, Miss Wirt, to ask Runciter Associates to send up a team of their best inertials to counter the psis.

It all has a broadly comic tone. The inertials Runciter assembles are a strikingly random ill-matched bunch of freaks wearing deliberately kooky outfits – the red triangular glasses, the fashionable elastic bands which push a woman’s breasts together – who even their employer, Runciter, finds it hard to take seriously.

They fly to the moon (in one hour) and are ushered by Stanton Mick’s people into the underground rooms of the lunar base. The bizarre figure of Micks, with waist-length white hair, appears, but they’ve barely begun discussing arrangements before Mick inexplicably floats up to the ceiling and explodes.

Many of the inertials are injured, Runciter fatally. Joe takes charge and carries Runciter’s body with another anti-psi, along with the rest of them they escape in a lift up to the surface, make it to the spaceship, and blast off, leaving Joe wondering: if the entire ‘job’ was a set-up by Hollis, why did he let them get away?

Comedy

The novel is surprisingly funny. Or obviously funny at unexpected moments. One humorous element is Dick’s fondness for improbable-verging-on-grotesque businesses. I noted it in the Van Ness Animal repair shop in Androids and here it surfaces in the Beloved Brethren Moratorium and its unctuous Teutonic owner.

The rundown of the eleven inertials who go to the moon is a parade of grotesques in outlandish costumes, done for broadly comic effect.

There’s another thread of broad comedy running through the text in that, in the future, many basic household functions and implements – such as a door, a shower, a bath – require cash payments up front before functioning. You have to slip a nickel or a dime or twenty cents into the slot before they’ll work. This need dogs Joe Chip wherever he goes because Joe, a shambles of a man, is permanently hard-up, with the result that doors won’t open for him, coffee dispensers won’t serve him, showers don’t operate, and so on, so that he is continually begging everyone around him for spare nickels and dimes, which becomes a kind of catchphrase or repeated failing.

Entropy

The plot so far led me to expect that there would be all kinds of cat and mouse, psi-chasing shenanigans between inertials and psis on the moon base. But this turns out tobe a complete red herring. From this point onwards the novel is about something completely different.

Immediately after the fake Stanton Mick bomb explodes, Runciter’s team all hurry back to the rocket and blast off back for earth.

And begin to notice what turns out to be The Big Theme of the second half of the book. Everything starts ageing and retrogressing. The cigarettes crumble in their hands. Coins seem out of date. The ship’s computer rejects information from the yellow pages when they try and phone the moratorium number.

They fly direct to the Beloved Brethren Moratorium in order to get Runciter’s body into a cold-pac as soon as possible, to preserve whatever is left of his consciousness and there is fuss and comic business with the funereal Herbert Schoenheit von Vogelsang, who insists on playing heavy classical music (Beethoven, Verdi) till they yell at him to turn it off.

But things are retrogressing. Joe stays the night at the moratorium hotel and in the morning is horrified to discover one his fellow inertials, Wendy Wright, turned into a dried-out mummy. She had obviously come to see him in the night but maybe be stricken by some sort of physical degeneration and crawled to the closet where she curled up and atrophied.

Joe flies back to New York where he finds a meeting of the inertials being led by Al Hammond. They have all noticed that their cigarettes are always too old to smoke. They get their money out and lay it on the table only to discover that Runciter’s head has replaced Washington on all the coins and notes. One of the inertials has a box of matches they bought weeks ago which carries an advertisement featuring Runciter’s face and telling them he is selling a product from a corporate HQ in Des Moines.

Joe takes Al from the meeting to his office where the remains of Wendy are in a plastic bag. They confer feverishly about the situation then decide to pick a city at random. Baltimore. They fly to Baltimore and visit a store at random. The woman in front of them at the checkout complains that everything she’s bought from the store is either dying or dead. Al and Joe check out the packs of cigarettes; all of them crumble in their fingers. Something is ageing the world. Something that aged Wendy to death.

They pick a carton totally at random from a huge pile of cigarette cartons and, when they open it, there’s a message from Runciter inside, telling them the situation is critical, he must get in touch with them, apologising about Wendy. What the hell is going on? There seem to be two forces, one in which everything is ageing, another in which Runciter is taking over the world, or revealing aspects of it (money, vidphone, products).

Joe takes a punt and buys a brand new tape recorder from the store. They fly back to New York. By the time they hand the tape recorder over to Runciter Associates’ chief technician the recorder has morphed into an old tape-driven version, at least 40 years old. Al looks at the instruction booklet and it claims the machine was ‘Made by Runciter of Zürich’ which has a North American office in Des Moines, Iowa. It’s as if lots of bits of Runciterness are leaking into this world. How? Why?

They take a lift back to the meeting room where they left the others, but on the way Al has visions of the lift itself reverting to a 1910s metal frame elevator complete with elevator guy. He is phasing back and forth between the present and a degenerated past. As they walk the corridor towards the meeting room Al fades. He asks to go into the men’s room where they find a graffito:

JUMP IN THE URINAL AND STAND ON YOUR HEAD
I’M THE ONE THAT’S ALIVE. YOU’RE ALL DEAD

The lights go out. Joe hears Al’s voice fading. He’s going the way of Wendy and begs Joe to leave. There is a terrifying page which takes us inside Al’s head to experience the sense of the entire present world turning to a barren desert of rocks and ice.

The conference room is empty. The other inertials have split. The big TV screen broadcasts a news announcement of the death of Runciter and a big funeral to be held at the Simple Shepherd Mortuary in his home town of des Moines. This cuts to a message for a product named Ubik, followed by a message from Runciter himself, saying that he knew he was going to be assassinated on the moon, thanks to some company preconfigs. He knew this deterioration would set in (though he doesn’t explain why) and says he posted an aerosol of Ubik which Joe can use to spray around him and stave off the decay.

Joe, the reader notices, is taking all this very calmly. Dick’s characters generally do. When they have nervous breakdowns it’s not because of the weird stuff that happens in the stories. Anyway, Joe ponders: the graffiti in the men’s room implied that Runciter is alive and that somehow all the other inertials are dead. Maybe the bomb on the moon killed all of them save Runciter and he somehow managed to get them all into cold-pacs. Maybe this is what being half-dead feels like, like the world carries on but rots and regresses until eventually it’s just the bleak desert which Al saw.

But that theory is contradicted by this TV newscast which, along with the text of the matchbox ads, appears to show that Runciter genuinely is dead. Only answer is to get to des Moines for this supposed funeral.

Joe takes a hovertaxi back to his apartment building. Here there is an extended passage where Joe discovers that every single element in his apartment has regressed – the fridge, phone, TV, everything have ceased to be their shiny plastic 1992 editions and gone back to the 50s, 40s and 30s.

When he exits the apartment (held up, as usual by the front door demanding its nickel) he is scared of taking the lift in case the same thing happens to him as happened to Al, so he walks down the stairs. By the time he gets to the front door it has an old fashioned electric buzzer. There’s a package in his post cubby hole but it doesn’t contain the Ubik spray Runciter promised, but Ubik Liver and Kidney Balm, some old-fashioned snake oil.

The substance designed to reverse the regressive change process has itself regressed. (p.145)

His car has reverted back into a petrol and combustion engine car. He’s never driven one before. A key ring is in his pocket with the ignition key in it so he starts it up and hesitantly drives towards the nearest airport.

By the time Joe gets to the airfield it is lined with old hangars and all the planes have propellers. In the time it takes to be directed towards some flyers who might be prepared to take him to Des Moines these have degenerated further to biplanes. the quaintly dressed pilots a) look at his outlandish (futuristic) clothes b) reject his unknown (to them) money and c) agree to fly him in exchange for his 1939 LaSalle motor. But when Joe takes them to see it it has regressed further to a black 1920 Model-A Ford (p.149).

The pilot isn’t interested in the car but notices the bottle of Ubik on the passenger seat. It has regressed since Joe left it to an apparently rare ointment – Elixir of Ubik – in a vintage bottle. Looking at it closely Joe sees the label has changed and there’s another message from Runciter:

Don’t do it Joe. There’s another way.
Keep trying. You’ll find it. Lots of luck.

The pilot says he’ll fly Joe to Des Moines in exchange. Weird though all this regressing has been, it has in a sense been easy enough to grasp – the world is moving backwards in time relative to one privileged character who remains the same and observes it rationally.

Next day he arrives at Des Moines airfield more or less in one piece, struggles (as always; it is his signature schtick) to find a nickel to use in the payphone, rings the Simple Shepherd Mortuary to be told that the service for Runciter has started, to be followed by a lying in state.

Joe finds all the other inertials who had been to the moon and were involved in the blast attending the funeral. They all crowd round him and it’s immediately obvious that they too have experienced the regression. They all see the same ‘reality’ as him, namely – from a newspaper he saw – that it is 13 September 1939 i.e. the Second World War has just broken out.

They confer and agree that they need to keep together. But one of them, Edie, had returned to her hotel in town feeling ‘tired’. they jump into the two available cars to get to the hotel and help her. On the way Joe is pulled over by a motorbike cop who writes out a citation. When he reads it, Joe sees it is in Runciter’s handwriting, warning him that Pat is… and then stops. At the bottom is an ad for a druggist, Archer’s Drug Store.

Joe enters the nearest shop and asks where the druggist is. The owner points across the road. Joe realises the building is pulsing in and out of time. For moments he can see it as an automated shop from 1992. Then it reverts to an era even before 1939. In one of its old moments he enters and asks the shop assistant for a jar of Ubik. On the label is yet another message from Runciter, warning that Pat is lying, Pat the time changer may be behind all of this.

Joe goes onto the hotel foyer and confronts Pat with the part of the message on the traffic violation at which moment his world explodes. It is dark, darkness which slowly resolves to grey streaks, and he can hear voices concerned for him. Basically he is dying and disintegrating just like Wendy and Al did. Pat accompanies him as he slowly, agonisingly makes his way up the stairs to the room he’s been allotted, taunting him all the way. Joe realises she is really evil. She was sent by Hollis to infiltrate Runciter Associates and kill them all, but this is a horrible way to do it.

The chapter describing this is really horrible, with an acute description of what feels like a heart attack only much worse – the sheer agony of trying to lift his feet and move one step further is nightmarish to read – and made ten times worse by Pat’s cold, heartless, taunting of him at, literally, every effortful gasping step of the way.

But when he finally, just about makes it into the room, and collapses to the floor, prepared to shrivel into a bag of dusty bones… Runciter is there and sprays him with wonder-working Ubik, at which he is almost immediately restored to normal life and function!

Runciter explains his view of the situation. Ashwood, Melipone, Mick and Hollis have been conspiring for months, maybe longer to lure them to Luna and blow them up. Now they are using Pat to transport them back in time. Why stop at 1939? Because that’s as far back as Pat’s powers extend.

Joe doesn’t believe him. In a complex dialogue Joe forces Runciter to admit that all the inertials were killed in the bomb explosion. They were quickly stored in cold-pacs. Pat herself was mortally wounded and is in a cold-pac. Runciter admits that he is sitting in the lobby of the Beloved Brethren Moratorium while Joe is in a cold-pac. Reluctantly, Runciter admits that the sense of atrophy and decline, things ageing and falling to pieces – they’re all common features of what all ‘half-lives’ experience, a mournful sense of decay.

And the regression in time? Initially Runciter tells him that is the work of Pat’s half-life mind taking them as far back as she can go. But, Joe asks, who is sometimes killing them, sometimes making it worse? Joe doesn’t believe it’s Hollis and his gang. It’s too arbitrary, too malicious for that. An almost childish delight in breaking and fixing, like a kids pulling wings off a fly. He nags Runciter into admitting that he, Runciter, doesn’t know what’s going on. He’s left all these useful messages and yet… he can’t actually save or improve the situation.

Runciter breaks off contact and the text cuts to him sitting in the lobby taking off the apparatus which lets you talk to the half-lives. And back to Joe in the fake 1939. There’s a knock at the door and one of the gang of inertias, Don Denny is there with an old-time doctor. Joe tells the doc he doesn’t need his help, but the doc inspects him anyway, while Joe tells Denny what he’s learned and what Runciter told him.

Denny tells him they’re all going to die. Even Pat. He just came from Pat expiring on the stairs. She seemed surprised. Yes, says Joe, she thinks she’s doing this, but she isn’t. She’s in the cold-pacs like all of them. Joe persuades Denny to use up what’s left of the Ubik spray, might do him some good. Denny sprays himself and when the nimbus of aerosol disappears, it isn’t Denny at all. there stands some gawky, misshapen teenage kids. He tells them his name is Jory, Jory Miller.

He is the gawky crude teenager who was in the cold-pac next to Runciter’s wife who invaded her thought patterns near the start of the book. Now he’s doing it to all of them.

There now follows an elaborate game as Jory gets rid of the doctor and explains that everything, everything he sees about him, was created by he, Jory. He eats the other half-lives, he consumes them, he has eaten all Joe’s colleagues. Joe attacks Jory but Jory sinks his teeth into his hand and tells him he is invulnerable. Joe turns and tries to escape out the hotel room, down the stairs, hails a cab in the street. Asks the cab to cruise around town and then out of town.

Joe knows that creating this world and keeping it stable costs Jory a lot of effort. He wants to make it hard. Cruising round they come across a pretty young woman. Joe kerb crawls her and says he’d like to take her to dinner. He is beginning to feel tired again, and cold, signs that the Ubik is wearing off. The young lady is kind and courteous and compassionate whenhe begins to fade and look rough. And then she announces that she is Ella Runciter, Ralph’s wife. She has been fighting a long war against Jory ever since he arrived in the moratorium.

She gives him a certificate for a lifetime supply of Ubik which he can get at any of two pharmacies in town. She says she is soon to be reborn (reborn? there’s a whole new angle) and wants him, Joe, to take over as Ralph’s sleeping partner, the person he comes to consult. They stop the cab. She gets out and bids adieu.

Hugely relieved, Joe gets the cab to drive to the first pharmacist. But almost as soon as he’s inside he realises the pharmacist is a version of Jory, who quietly gloats that he has ‘reverted’ all the Ubik in the store back to its 1930s version, pure snake oil, useless for healing. He hands him a jar of the useless stuff. Joe bends all his heart and soul and spirit on trying to force the thing to regenerate back to 1992, to be the proper Ubik, bending every nerve to make it so.

He fails. He gives up. He walks out the store. He is now feeling weak again. Oh no he’s going to have to go through the appalling weakness and cold he experienced back in the hotel when Pat was taunting him. He lies down on the bench at a bus shelter.

And a pretty woman bends over him and offers him a can of up to date, effective Ubik. She sprays it on him and she comes back to life. She is a representative of the manufacturer. She gives him a plausible sounding explanation of how it is a biochemical agent which retards the inevitable fading effects of being in a cold-pac on half life. ‘Hey, you want to go to dinner?’ he asks her. ‘Next time,’ she promises and fades away.

Ubik

Throughout the book every chapter has started with a spoof little advert text selling Ubik as a wonder product, a brand of beer or coffee, a type of brassiere which pushes up and shapes those boobs, Ubik hair conditioner, Ubik sleeping pills.

On one level these read to me like the kind of satirical spoof ads you get in late 1960s comedy movies, Woody Allen films and suchlike, the knockabout spirit of the original M*A*S*H movie (1970), taking the mickey out of grotesque American consumer culture.

But quite obviously, on another level, Ubik is portrayed as some kind of magic force all the way through the novel. The entirely biochemical explanation the young lady gives at the end is not quite enough to explain the imaginative force it has had in the text. So it comes as no surprise when the epigraph to the short final chapter reads.

I am Ubik. Before the universe was, I am. I made the suns. I made the worlds. I created the lives and the places they inhabit; I move them here, I put them there. They go as I say, they do as I tell them. I am the word and my name is never spoken, the name which no one knows. I am called Ubik, but that is not my name. I am. I shall always be. (p.223)

So is Ubik just a chemical compound created by Ella Runciter within the world of the cold-pacs (and it’s pretty hard to see how that would be physically possible seeing as their bodies are completely static)? Or is it meant to be some shape-shifting force which stands – within the half-life world – for God?

To be honest, by this stage of the novel, on the penultimate page, I was too exhausted by the continually shifting realities of the previous 221 pages to care. That kind of point blank interpretation seems to me to be dead and stultifying.

What makes the novel live is the extraordinary and apparently endless succession of surprises it pulls on you. It is the narrative dynamic which appeals and works. Stopping to think about the logic of the plot or the symbolism for very long tends, in my experience, to make the whole house of cards collapse.

Futures and pasts

Both Do Androids Dream of Electric Sheep? and Ubik are set in 1992, a giddy 24 years from when they were written. Dick predicted that by then we’d have hovercars, colonies on the moon and Mars, lasertubes, androids and telepaths.

In the real world 1992 was notable for the UK General Election which was won by John Major who went on to govern Britain for five years and is most remembered for setting up a traffic cones hotline.

Thus the difference between the dazzling techno-worlds of science fiction – and between Philip K. Dick’s deliriously proliferating alternative worlds – and the big grey underpants of reality.


Related links

Philip K. Dick reviews

  • The Man in the High Castle (1962) (1962) In an alternative future America lost the Second World War and has been partitioned between Japan and Nazi Germany. The narrative follows a motley crew of characters including a dealer in antique Americana, a German spy who warns a Japanese official about a looming surprise German attack, and a woman determined to track down the reclusive author of a hit book which describes an alternative future in which America won the Second World War
  • Do Androids Dream of Electric Sheep? (1968) In 1992 androids are almost indistinguishable from humans except by trained bounty hunters like Rick Deckard who is paid to track down and ‘retire’ escaped andys
  • Ubik (1969) In 1992 the world is threatened by mutants with psionic powers who are combated by ‘inertials’ but the novel focuses on the weird alternative world experienced by a group of inertials after a catastrophe on the moon
  • Flow My Tears, The Policeman Said (1974)

Other science fiction reviews

1888 Looking Backward 2000-1887 by Edward Bellamy – Julian West wakes up in the year 2000 to discover a peaceful revolution has ushered in a society of state planning, equality and contentment
1890 News from Nowhere by William Morris – waking from a long sleep, William Guest is shown round a London transformed into villages of contented craftsmen

1895 The Time Machine by H.G. Wells – the unnamed inventor and time traveller tells his dinner party guests the story of his adventure among the Eloi and the Morlocks in the year 802,701
1896 The Island of Doctor Moreau by H.G. Wells – Edward Prendick is stranded on a remote island where he discovers the ‘owner’, Dr Gustave Moreau, is experimentally creating human-animal hybrids
1897 The Invisible Man by H.G. Wells – an embittered young scientist, Griffin, makes himself invisible, starting with comic capers in a Sussex village, and ending with demented murders
1898 The War of the Worlds – the Martians invade earth
1899 When The Sleeper Wakes/The Sleeper Wakes by H.G. Wells – Graham awakes in the year 2100 to find himself at the centre of a revolution to overthrow the repressive society of the future
1899 A Story of the Days To Come by H.G. Wells – set in the same future London as The Sleeper Wakes, Denton and Elizabeth defy her wealthy family in order to marry, fall into poverty, and experience life as serfs in the Underground city run by the sinister Labour Corps

1901 The First Men in the Moon by H.G. Wells – Mr Bedford and Mr Cavor use the invention of ‘Cavorite’ to fly to the moon and discover the underground civilisation of the Selenites
1904 The Food of the Gods and How It Came to Earth by H.G. Wells – scientists invent a compound which makes plants, animals and humans grow to giant size, leading the human giants to rebel against the ‘little people’
1905 With the Night Mail by Rudyard Kipling – it is 2000 and the narrator accompanies a GPO airship across the Atlantic
1906 In the Days of the Comet by H.G. Wells – a comet trails gasses through earth’s atmosphere which bring about ‘the Great Change’, inaugurating an era of wisdom and fairness, as told by narrator Willie Leadford
1908 The War in the Air by H.G. Wells – Bert Smallways, a bicycle-repairman from Kent, gets caught up in the outbreak of the war in the air which brings Western civilisation to an end
1909 The Machine Stops by E.M. Foster – people of the future live in underground cells regulated by ‘the Machine’ until one of them rebels

1912 The Lost World by Sir Arthur Conan Doyle – Professor Challenger leads an expedition to a plateau in the Amazon rainforest where prehistoric animals still exist
1912 As Easy as ABC by Rudyard Kipling – set in 2065 in a world characterised by isolation and privacy, forces from the ABC are sent to suppress an outbreak of ‘crowdism’
1913 The Horror of the Heights by Arthur Conan Doyle – airman Captain Joyce-Armstrong flies higher than anyone before him and discovers the upper atmosphere is inhabited by vast jellyfish-like monsters
1914 The World Set Free by H.G. Wells – A history of the future in which the devastation of an atomic war leads to the creation of a World Government, told via a number of characters who are central to the change
1918 The Land That Time Forgot by Edgar Rice Burroughs – a trilogy of pulp novellas in which all-American heroes battle ape-men and dinosaurs on a lost island in the Antarctic

1921 We by Evgeny Zamyatin – like everyone else in the dystopian future of OneState, D-503 lives life according to the Table of Hours, until I-330 wakens him to the truth
1925 Heart of a Dog by Mikhail Bulgakov – a Moscow scientist transplants the testicles and pituitary gland of a dead tramp into the body of a stray dog, with disastrous consequences
1927 The Maracot Deep by Arthur Conan Doyle – a scientist, engineer and a hero are trying out a new bathysphere when the wire snaps and they hurtle to the bottom of the sea, there to discover…

1930 Last and First Men by Olaf Stapledon – mind-boggling ‘history’ of the future of mankind over the next two billion years
1938 Out of the Silent Planet by C.S. Lewis – baddies Devine and Weston kidnap Ransom and take him in their spherical spaceship to Malacandra aka Mars,

1943 Perelandra (Voyage to Venus) by C.S. Lewis – Ransom is sent to Perelandra aka Venus, to prevent a second temptation by the Devil and the fall of the planet’s new young inhabitants
1945 That Hideous Strength: A Modern Fairy-Tale for Grown-ups by C.S. Lewis– Ransom assembles a motley crew to combat the rise of an evil corporation which is seeking to overthrow mankind
1949 Nineteen Eighty-Four by George Orwell – after a nuclear war, inhabitants of ruined London are divided into the sheep-like ‘proles’ and members of the Party who are kept under unremitting surveillance

1950 I, Robot by Isaac Asimov – nine short stories about ‘positronic’ robots, which chart their rise from dumb playmates to controllers of humanity’s destiny
1950 The Martian Chronicles – 13 short stories with 13 linking passages loosely describing mankind’s colonisation of Mars, featuring strange, dreamlike encounters with Martians
1951 Foundation by Isaac Asimov – the first five stories telling the rise of the Foundation created by psychohistorian Hari Seldon to preserve civilisation during the collapse of the Galactic Empire
1951 The Illustrated Man – eighteen short stories which use the future, Mars and Venus as settings for what are essentially earth-bound tales of fantasy and horror
1952 Foundation and Empire by Isaac Asimov – two long stories which continue the future history of the Foundation set up by psychohistorian Hari Seldon as it faces attack by an Imperial general, and then the menace of the mysterious mutant known only as ‘the Mule’
1953 Second Foundation by Isaac Asimov – concluding part of the ‘trilogy’ describing the attempt to preserve civilisation after the collapse of the Galactic Empire
1953 Earthman, Come Home by James Blish – the adventures of New York City, a self-contained space city which wanders the galaxy 2,000 years hence powered by spindizzy technology
1953 Fahrenheit 451 by Ray Bradbury – a masterpiece, a terrifying anticipation of a future when books are banned and professional firemen are paid to track down stashes of forbidden books and burn them
1953 Childhood’s End by Arthur C. Clarke – a thrilling tale of the Overlords who arrive from space to supervise mankind’s transition to the next stage in its evolution
1954 The Caves of Steel by Isaac Asimov – set 3,000 years in the future when humans have separated into ‘Spacers’ who have colonised 50 other planets, and the overpopulated earth whose inhabitants live in enclosed cities or ‘caves of steel’, and introducing detective Elijah Baley to solve a murder mystery
1956 The Naked Sun by Isaac Asimov – 3,000 years in the future detective Elijah Baley returns, with his robot sidekick, R. Daneel Olivaw, to solve a murder mystery on the remote planet of Solaria
1956 They Shall Have Stars by James Blish – explains the invention – in the near future – of the anti-death drugs and the spindizzy technology which allow the human race to colonise the galaxy
1959 The Triumph of Time by James Blish – concluding story of Blish’s Okie tetralogy in which Amalfi and his friends are present at the end of the universe

1961 A Fall of Moondust by Arthur C. Clarke – a pleasure tourbus on the moon is sucked down into a sink of quicksand-like moondust, sparking a race against time to rescue the trapped crew and passengers
1962 A Life For The Stars by James Blish – third in the Okie series about cities which can fly through space, focusing on the coming of age of kidnapped earther, young Crispin DeFord, aboard New York
1968 2001: A Space Odyssey by Arthur C. Clarke – panoramic narrative which starts with aliens stimulating evolution among the first ape-men and ends with a spaceman transformed into galactic consciousness

1971 Mutant 59: The Plastic Eater by Kit Pedler and Gerry Davis – a genetically engineered bacterium starts eating the world’s plastic
1973 Rendezvous With Rama by Arthur C. Clarke – in 2031 a 50-kilometre long object of alien origin enters the solar system, so the crew of the spaceship Endeavour are sent to explore it

1981 The Golden Age of Science Fiction edited by Kingsley Amis – 17 classic sci-fi stories from what Amis considers the Golden Era of the genre, namely the 1950s

Do Androids Dream of Electric Sheep? by Philip K. Dick (1968)

In the irregular light the bounty hunter seemed a medium man, not impressive. Round face and hairless, smooth features; like a clerk in a bureaucratic office. (p.173)

This is the novel which director Ridley Scott made into the smash hit movie Blade Runner starring Harrison Ford at his charming, tough-guy best. The novel is a lot less glamorous, more puzzling and more worrying, than the movie.

Background

On the first page we learn that it is January 1992, as we meet Rick Deckard, android hunter and his bad-tempered wife, Iran. Within a few sentences they are discussing that central Dick topic, mental illness, depression and despair. It’s what his wife woke up feeling. Being a modern couple they have a Penfield Mood Organ on which they can dial any number of moods or feelings which the machine instantly stimulates the hypothalamus in their brains to make them experience.

Aha. What is ‘real’? What is ‘reality’? Another major Dick theme.

Oh, and a few years back there was a nuclear war which devastated large parts of the country. The chatty TV weather forecast includes predictions for the levels of today’s fallout.

After the war a radioactive dust covered the world. Nobody sees the sun any more. As many people as possible have migrated to colonies on the other planets of the solar system, Mars being particularly popular. Those who remain undergo regular DNA tests. Those whose DNA is acceptable remain ‘regulars’. But a steady number are diagnosed with radioactive mutations, and categorised as ‘specials’. Those who have undergone significant mental damage are nicknamed ‘chickenheads’ or ‘antheads’.

One such chickenhead is John Isidore, a mental defective who works for the Van Ness Animal Hospital owned by Hannibal Sloat, himself a man falling apart due to radiation poisoning.

Mood

So that gives you a flavour of the mood. Depressed. The entire novel labours under a black cloud of radioactive dust, with people dying or being mutated by radiation, with most animals (all birds) having been killed off, with everyone depressed at not being able to emigrate off-world or at the general plight, with people using drugs to alter their mood or escaping altogether via Mercerian fusion (more on this in a moment).

The plot

So as always Dick has created a very dense and thick texture of themes and subsidiary ideas within which to embed the big central idea.

This is that in the future, despite the war and dying off of most animals etc, humanity still retains advanced technologies and in particular has been refining better and better androids – artificial humans, with human minds, intelligence and reflexes.

Mostly these are used as slaves on the off-world colonies. But a small number rebel against their masters and jump ferries back to earth where they try to hide. As a matter of law and order, and also because they can behave unpredictably and violently, these escaped androids need to be tracked down.

Rick Deckard is an android bounty hunter. He tracks down rogue androids or ‘andys’, which have escaped from one of the off world colonies, usually killing their master in the process, in order to come to earth illegally. When he finds them, Deckard ‘retires’ them i.e. destroys them. He gets paid a grand per andy.

Deckard has barely finished dealing with his depressed wife before he gets a call from his boss, Harry Bryant. Eight andys have escaped from Mars and come to earth. Deckard’s fellow bounty hunter Dave Holden ‘retired’ two of them and was in the middle of interviewing a third when it shot him with a laser blaster. (Laser blasters are tubes you hold in your hand and do what they say on the tin, blasting a hole through a body or wall, and exploding people’s heads.)

Bryant hands him the task of finishing the job, getting the one that shot Holden plus the other five, six in all.

But there’s a problem, the sophistication of modern android brains. Just recently they’ve introduced the Nexus-6 electronic brain, the most complex and ‘human’ yet. It makes the job if identifying andys – and of distinguishing them from humans – almost impossibly difficult.

The only tool bounty hunters like Deckard have is the Voigt-Kampff test. This is designed to monitor the emotional reactions of those being tested. A patch is applied to the side of the testee’s face and wired up to the testing box, while a light is shone into the pupil of the eye. Then the interviewer asks a number of rather disturbing questions, a lot of them revolving around the plight of animals. Normal humans’ skin and eyes give immediate, unconscious responses to the questions. Androids have to think about them for a few milliseconds, and sometimes miss the emotional cue altogether. That’s what distinguishes humans from androids. At least up to now. Now some andys are giving borderline human responses. It’s getting difficult to tell them apart.

Deckard’s boss sends him up to Seattle, to the headquarters of the Rosen Corporation which invented the Nexus-6 brain. Here he meets the harassed owner, Eldon Rosen, and his striking 18-year-old niece, Rachael. They were meant to have lined up a mix of androids and humans for Deckard to test, as a test both of the Rosen androids, and of the test itself.

But Eldon insists that Deckard first of all test his niece. This leads to a prolonged scene in which Deckard at first comes to doubt the test because her reactions are all wrong – and then realises, with a shock, that the ‘niece’ is in fact an android. Eldon admits as much in front of her. (We are left to think through the emotional impact of thinking you are a human being and then being told, like this, that you are in fact a robot. With a limited life span. Later we’re told they last four years.)

Deckard flies back from Seattle in his hovercar, shaken and with serious doubts about the future of the Voigt-Kampff test. His boss calls him on the vidphone and tells him a Russian cop, Kadalyi, has flown in from the WPO (never spelled out but presumably some international police organisation).

Kadalyi arrives in a helitaxi and gets into Deckard’s hovercar, but they’ve barely begun talking before Deckard realises he’s an android, Max Polokov, the one who zapped Holden. Polokov pulls out his ‘laser tube’ to kill Deckard but, fortunately, Deckard’s hovercar is fitted with a device which emits a ‘sine wave’ which ‘phases out laser emanation and spreads the beam into ordinary light’ (p.74). Handy, eh? Deckard pulls out an old fashioned handgun and shoots Polokov’s head off.

Deckard phones his wife, who has relapsed into a prolonged and profound depression. He flies on to the San Francisco Opera House where Bryant has told him the next android, Luba Luft, is working as an opera singer.

Deckard loves classical music. He loves opera. When he walks into the auditorium a rehearsal is going on and he hears Luba Luft sing an aria from Mozart’s Magic Flute. She has a beautiful voice and he is genuinely moved. He goes to her dressing room and starts giving her the Voigt-Kampff test but she objects that it’s all about sex and calls a cop. Five minutes later this cop, Officer Crams, arrives and arrests Deckard.

There then follows a genuinely weird and disorientating passage, for the Crams tells him he’s a long-time officer from the new San Francisco police station downtown. Crams says he knows all the bounty hunters and has never heard of Deckard. Deckard says this is all wrong and tries to call Bryan, who seems to appear momentarily on the vidphone but then it goes dead. When Crams calls the same number he gets through to someone who says that isn’t police HQ and there’s no-one called Bryant there.

Crams takes Deckard in his police hover car to the new Hall of Justice which is on Mission Street, which is a genuine police station, full of bored front desk officers processing drunks and crooks, uniformed cops hanging round and everything. The reader shares in Deckard’s delirious hallucinatory panic, his fear that…. maybe Deckard is the android. Maybe the entire story we’ve read to date has involved fake memories, is a delusion programmed into him for some reason. Maybe there is no police HQ where he thinks it is, maybe there is no Inspector Harry Bryant, maybe his ‘wife’ is part of the delusory programming.

This sense of vertigo doesn’t let up. Deckard is taken into the presence of Inspector Garland who is told all about him pestering some opera singer with a cock and bull story about being an android bounty hunter. Into the office comes the station’s best android bounty hunter Phil Resch. Deckard has never heard of him. Resch has never heard of Deckard. Has he stumbled into a parallel universe?

Everyone in the room accuses everyone else of being an android, with both Resch and Garland suggesting that Deckard must be. Deckard holds out but part of him is thinking: Is he?

Anyway, Resch is dispatched to go and get the test these guys appear to use for detecting androids, the Boneli Reflex-Arc Test. While he’s out of the room, Garland confides in Deckard that Resch is an android, the poor sap. As Resch returns with the test equipment in his hand, Garland makes a move with his laser tube, at which Resch drops to the floor and shoots his head in half. Deckard had also dropped and now regards the scene with shock.

So is Resch a genuine bounty hunter who he’s never heard of operating out of an HQ he didn’t know existed? Or is Resch, like Garland, an android, but doesn’t realise it? While he’s worrying about it Resch says they’d better get out of the cop station – it’s infested with andys – and he pretends to put cuffs on Deckard and walks him briskly to the lifts, up to the roof, and into his hovercar.

They return to the opera house where they’re told Luba Luft has gone to the nearby museum. They go there and find her examining the pictures of Edvard Munch, standing in front of Puberty. They now jointly arrest her but she continues the bewildering confusion by accusing Resh of definitely being an android, and she should know. Resch defends himself to Luba and to Deckard, claiming that he has a squirrel, a pet squirrel, and cares for him, so he has empathic response, so surely that means he’s human, right? Right?

By this time Deckard, and the reader, really don’t know. What definitely happens is that as they accompany her to the lift Luba continues to deliberately wind Resch up into a frenzy with her accusations that he’s a robot till he pulls out his laser tube and fires. because she pulls away he only wounds her in the stomach, so Deckard immediately finishes her off. The lift arrives at the ground floor, to the horror of museum goers.

They report the killing to Bryant at headquarters and continue the bizarre conversation about whether Resch is or is not a damn android. Finally he agrees for Deckard to give him a test (p.111). To Deckard’s surprise Resch is human. Resch, for his part, is surprised that Deckard is so upset about killing Luba. Her voice was divine. What harm, was she doing anyone? For the first time Deckard doubts his vocation.

Resch gives Deckard some parting advice. He says he had trouble with Luft because he was attracted to her. Callously, Resch says, instead of retiring an andy and then being attracted to her, how about the other way round – have sex with her first, then retire her. Byee.

Deeply traumatised and shaking, the only way Deckard can calm down at the end of this pretty tough day is by going over to Animal Row, where the pet shops are, and after some (quite amusing) haggling, buying a fine black Nubian goat, making a down-payment and signing a contract for crippling ongoing monthly payments (at 6% interest!). Maybe it’s time to explain about the animals.

Rare animals

Since the nuclear war almost all animals have died out (it might occur to sensible readers to wonder how any form of food can be cultivated if all animals – including the ones vital for pollinating crops – have perished, but Dicks’ books are less novels than visions, and you don’t quibble about facts or details in a vision, you let yourself be transported).

So all the characters are obsessed with owning one of the few remaining examples of each species. Deckard is extremely jealous of his neighbour in their apartment block because he owns a horse. Deckard can only afford the very second best option of owning an electronic animal, in his case an android sheep, which he pathetically pretends is real. Almost every other character has, or longs for, just one animal to own.

Dick invents a whole culture built around the trading of live animals, and the lesser market in manufactured android ones. For example, many of the characters keep a copy of the standard handbook of live animals, Sidney’s Animal and Fowl Catalogue (with monthly updates), which gives exact market prices for each species.

This is why Deckard, feeling shattered and confused, decides to blow blows the bounty money he’s made by retiring three androids (Kopolov, Garland – who he’s claiming, and Luba Luft) on a live black Nubian goat.

When he gets home his wife is awestruck and hugs and kisses him for the only time in the book.

Hence the title of the book – Do Androids Dream of Electric Sheep? – is a little less fanciful than at first sight. There really is an electric sheep in the novel. And the title sort of implies that Deckard may be an android who owns an electric sheep. Maybe…

More plot

His wife is at first thrilled with the Nubian goat until Deckard sort of admits he didn’t buy it for her but to manage his mood, his depression (his panic, I’d have thought, after such a confusing day).

She persuades him to have a go on the empathy machine. Grasping the twin handles he is immediately transported to become one with old man Mercer, in his Biblical robe, endlessly struggling up the desert hillside. He senses all the other people who are fusing at that moment, but is caught on the head stone by one of the Enemy, and releases the handles, re-emerging into ‘reality’. Ah. I’m going to have to explain Mercerism.

Mercerism

Mercerism is a new religion which appears to have eclipsed all the traditional Western religions, which are never mentioned. Followers possess an empathy box. Whenever they need to, they grab the two handles of the empathy box and are immediately transported into the mind of Wilbur Mercer who is depicted as an old man, wearing Biblical robes, who is endlessly, endlessly struggling up a steep rocky hill in the desert, with unseen Opponents jeering and throwing rocks at him.

The follower is keenly aware that thousands, maybe hundreds of thousands, of other followers are experiencing the same things at the same moment. The followers’ minds are joined together and they each experience tremendous empathy with others, and relief from their own anxieties. This experience is called ‘fusion’.

The Mercer experience is repeatedly described but still remains mysterious, especially the way that the gruelling ascent is only the start of the much worse experiences Mercer has to undergo once he has reached the summit of the hill.

In a hard-to-understand sequence, when the chickenhead Isidore activates his empathy box we appear to see some of Mercer’s backstory, that he was a mutant found abandoned in a raft, was adopted, and proved to have awesome powers, capable of reversing time in order to raise the dead! This motif appears a couple of times but always in the context of mind-bending ‘fusion’ so it’s difficult to know how ‘real’ it is.

More plot

While he was experiencing fusion one of the opponents, the enemy, the killers, threw a rock at Deckard which hit him on the ear and drew blood. A peculiarity of the empathy box is that physical wounds incurred while doing it persist back into ‘real life’.

Deckard’s wife, Iran, puts a bandage to the cut ear to stop blood, then Bryant phones and says he wants the remaining three andys retired today, this evening. Dazed Deckard is reluctant, but finally agrees.

Deckard hasn’t been able to get Rachael out of his mind, the young android he had tested up in Seattle. In a throwaway remark to him, as she was walking him to his hovercar, she had said she might be able to help him track down the three remaining andys.

Deckard realises his faith in himself is shaken. He empathised with Luba Luft, and found Lesch repellent – just the opposite response than logic demanded.

He realises he needs Rachael to help him. He gets through and asks her. It’s late and she’s reluctant but eventually agrees to come and see him (it only takes an hour to fly by hovercar from Seattle to San Francisco – for most of the novel it’s easy to forget there’s been a nuclear war which has wiped out cities and animal life: the opposite – everyone seems to be using impressive futuristic gadgets as if benefiting from a highly advanced economy).

Deckard arranges to meet her in the St Francis, the last decent hotel in San Francisco (p.144). Rachael arrives wearing what appears to be a see-through top revealing her bra, skimpy shorts, and bearing booze, the hard-to-get-hold-of bourbon. They drink and they argue.

She is disgusted by the fact that she’s an android. She hates the other androids. She says one of them is identical to her, they’re no more people than identical bottletops coming off a production line. She assesses his chances against the three andys, tells him she’ll come and take out one of them, reducing his task to just two. She strips and gets into bed. He is struck by her weird shape, lean, without real breasts. He kisses her. She is cold. In the end she demands that he go to bed with her and he does. My God. This is just what Phil Resch predicted…

Later they get dressed and go to find the three remaining andys. A word needs to be said about J.S. Isidore.

The andys at the chickenhead’s apartment

This summary has so far concentrated on Deckard. But almost every other chapter cuts away to the activities of the chickenhead J.S. Isidore. There’s a minor plotline about an electronic cat he takes along to his boss at the Van Ness Animal Hospital. But the main thing is he discovers someone else living in the huge ruined apartment block where he lives in a rundown flat.

It’s a young woman named Pris Stratton. She’s living in some squalor. It takes a little while for the reader to realise this is one of the andys. During that interval there are a number of passages where we see her odd, detached android manner, though the eyes of Isidore who is himself mentally retarded. In other words, Dick makes fiction from the interaction of two deviant types of mind. Some of it is straightforward sci-fi thriller but some is weird.

That Pris is an andy is confirmed when two other andys turn up, Roy and Irmgard Baty. She short and dark, he wide, stock, eastern European looking. Isidore is persuaded to carry all their stuff up into his flat, which they’re going to use as a hideout. Vaguely he senses he’s being taken advantage of, but is mostly just happy that he’s got some new friends.

More plot

Deckard and Rachael are in his hovercar heading to Isidore’s apartment building.

(A logical flaw in the book is the way the androids are supposed to be in hiding, but Inspector Bryant simply phones Deckard up and tells him where they are. It’s just one example of the way the book isn’t really meant to be read logically or consistently. Plot logic is secondary to the puzzles about the nature of consciousness which it is designed to throw up.)

They have another big argument which takes a chilling turn when Rachael reveals that she has slept with a number of android bounty hunters and does it deliberately because after sleeping with her, they become incapable of killing other androids.

She only slept with Deckard in order to neutralise his professional instinct to kill andys. It turns out she knows Pris and Roy and Irmgard, she helped them from the start –  and provoked him into calling her, and then offered to help him and generally lured him into bed in order to destroy his andy-killing capacity.

Deckard is stunned. Cold. Goes numb. He had been flying the hovercar to the apartment building but now turns round and takes her back to the hotel. The argument takes a grim turn when she asks him to kill her, right there, right now, and he reaches out to do it and she says just one shot through the occipital bone, that would do it, if you’re going to do it, do it now. But suddenly he’s overcome with disgust at how easily androids just give up.

He kicks her out onto the hotel roof, then turns and flies to the apartment building where the remaining andys have been reported. On one level, what happens is straightforward. Isidore is at the main entrance to the building and tries feebly to put him off. Deckard ignores him and uses machinery to confirm their presence, goes slowly up the stairs to their floor. Pris tries to surprise him on the darkened stairs and he zaps her with his laser tube. Then he goes on to Isidore’s apartment, knocks and pretends to be the chickenhead. They tentatively open the door and he barges in, avoiding Roy Baty’s laser gun shots, and quickly killing both Roy and Irmgard.

What’s eerie, and would be unaccountable if this were a realistic novel, is that Deckard meets Mercer on the stairs. As he walked down a dark and derelict corridor, Mercer appeared out of the shadows, told him what he was doing was wrong but he had to do it anyway, and then warned him that the most dangerous one was coming up the stairs behind him. It was Pris. It is only because of Mercer’s warning that Deckard turns, ducks, fires and kills her before she can shoot him.

But Mercer, how can he be there, how did he get there, is it a vision, or has Deckard ‘fused’ enough to have visions of Mercer almost at will? Whatever the explanation, how does the phantom of Mercer know Pris is sneaking up on Deckard?

Buster Friendly

Especially as something equally unexpected happens just before the final shootout.

Throughout the book many of the characters are shown watching the no-stop, 24/7 TV show featuring your hilarious host Buster Friendly and his Friendly Friends, with his mad laughter track and inane chatter with the same cast of c-list celebrities.

Androids was published 15 years after Ray Bradbury’s Fahrenheit 451, another novel dominated by the horror of American commercial television (and, incidentally, in which the freewheeling protagonist feels he is having a transformative experience which can’t be understood by his conventional narrow-minded wife.)

Incongruously, against all the logic of the idea that Buster and Mercerism are twin foundations of this weird future society, Buster has been predicting he would make a big revelation on tonight’s show. And so he does. Just a few minutes before Deckard arrives, Buster reveals that the religion of Mercerism is a fake. That Mercer is just an out of work bit-part actor, he was hired years ago for a shoot in the desert where they dressed him up in Biblical clothing and generally shot all the scenes which followers of Mercerism ‘experience’, that even the desert isn’t real. If you close up on the so-called desert you can see it’s all a painted backdrop. They even have an interview with the actor, an alcoholic, who cheerfully admits it’s all a fake.

This comes as a shock to the chickenhead Isidore when he watches it with Roy and Irmgard and Pris, just before Deckard arrives. It comes as a surprise to me, since I have read how the experience of the empathy box is genuinely undergone by all the characters.

But it becomes plain incomprehensible that, if this man and his religion are a cheap fake, he nonetheless magically appears to Deckard in the apartment hallway and saves his life. How does that work?

Into the wastes

Deckard flies home to check on his wife but is so restless and upset at the day he’s had that he takes off again and blindly heads north, he doesn’t know why, he is at an extremity of fatigue, he flies up into the forbidden zone where there is nothing but dust and lifelessness.

He parks the hovercar and in a kind of trance stumbles up a hill and realises that… he is becoming Mercer. He is Mercer. To make the illusion complete someone, the enemy, the killers, throws a rock at him which draws blood on his cheek. But he is far gone in this transcendental religious illusion to look for the throwers… it is the intensity of the fusion with Mercer which is transforming him.

Just as suddenly he realises he has to get away, and blunders back down to the hill to the parked hovercar. He is sitting, head lolling, exhausted, half in and half out of the hovercar, when he notices movement on the ground. It is a toad! It is the first live animal he has ever seen in the wild! He carefully packs it in a box and flies back to San Francisco.

Here he carefully presents the toad to his wife who is as thrilled as he is. Unfortunately, in playing with its tummy, she discovers the clip which opens the flap to reveal the electric innards. It is a fake animal. Oh well.

Too tired to talk, Deckard lies on the bed and falls asleep. Will he dream of electric sheep?

Gizmos and consumer culture

When Deckard wants to enter one of the andys’ apartments he uses an ‘infinity key’ which fits every known lock in the universe.

Coming from reading four novels by Arthur C. Clarke whose writing is characterised by a careful attention to scientific and technical plausibility, Dick fits with the line of American sci-fi writers who, if they’re characters need one, just invent a gizmo to do it. Anti-gravity drives, space warps, anti-death drugs, hovercars, mood organs, infinity keys, “you wan’ it, we got it, baby”.

Dicks’ novels satirise the superficiality of American consumer culture, but the glibness of detail in his sci-fi novels comes right out of the same bubblegum, ‘do you want fries with that?’ mentality.

The Penfield Mood Organ

If you can afford one of these gadgets then you plug yourself in and the organ activates different parts of the cerebral cortex to create a wide range of moods. Each mood has a specific number. Numbers, and moods, which are mentioned, include:

  • 3 – motivation to dial a number
  • 382 – despair
  • 481 – awareness of the manifold possibilities open to me in the future
  • 594 – pleased acknowledgement of husband’s superior wisdom in all matters
  • 888 – desire to watch TV no matter what’s on

Every home should have one.

Credit

Do Androids Dream of Electric Sheep? by Philip K. Dick was published in 1968. All references are to the 2017 Orion paperback edition.


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1888 Looking Backward 2000-1887 by Edward Bellamy – Julian West wakes up in the year 2000 to discover a peaceful revolution has ushered in a society of state planning, equality and contentment
1890 News from Nowhere by William Morris – waking from a long sleep, William Guest is shown round a London transformed into villages of contented craftsmen

1895 The Time Machine by H.G. Wells – the unnamed inventor and time traveller tells his dinner party guests the story of his adventure among the Eloi and the Morlocks in the year 802,701
1896 The Island of Doctor Moreau by H.G. Wells – Edward Prendick is stranded on a remote island where he discovers the ‘owner’, Dr Gustave Moreau, is experimentally creating human-animal hybrids
1897 The Invisible Man by H.G. Wells – an embittered young scientist, Griffin, makes himself invisible, starting with comic capers in a Sussex village, and ending with demented murders
1898 The War of the Worlds – the Martians invade earth
1899 When The Sleeper Wakes/The Sleeper Wakes by H.G. Wells – Graham awakes in the year 2100 to find himself at the centre of a revolution to overthrow the repressive society of the future
1899 A Story of the Days To Come by H.G. Wells – set in the same London of the future described in the Sleeper Wakes, Denton and Elizabeth fall in love, then descend into poverty, and experience life as serfs in the Underground city run by the sinister Labour Corps

1901 The First Men in the Moon by H.G. Wells – Mr Bedford and Mr Cavor use the invention of ‘Cavorite’ to fly to the moon and discover the underground civilisation of the Selenites
1904 The Food of the Gods and How It Came to Earth by H.G. Wells – two scientists invent a compound which makes plants, animals and humans grow to giant size, leading to a giants’ rebellion against the ‘little people’
1905 With the Night Mail by Rudyard Kipling – it is 2000 and the narrator accompanies a GPO airship across the Atlantic
1906 In the Days of the Comet by H.G. Wells – a passing comet trails gasses through earth’s atmosphere which bring about ‘the Great Change’, inaugurating an era of wisdom and fairness, as told by narrator Willie Leadford
1908 The War in the Air by H.G. Wells – Bert Smallways, a bicycle-repairman from Bun Hill in Kent, manages by accident to be an eye-witness to the outbreak of the war in the air which brings Western civilisation to an end
1909 The Machine Stops by E.M. Foster – people of the future live in underground cells regulated by ‘the Machine’ until one of them rebels

1912 The Lost World by Sir Arthur Conan Doyle – Professor Challenger leads an expedition to a plateau in the Amazon rainforest where prehistoric animals still exist
1912 As Easy as ABC by Rudyard Kipling – set in 2065 in a world characterised by isolation and privacy, forces from the ABC are sent to suppress an outbreak of ‘crowdism’
1913 The Horror of the Heights by Arthur Conan Doyle – airman Captain Joyce-Armstrong flies higher than anyone before him and discovers the upper atmosphere is inhabited by vast jellyfish-like monsters
1914 The World Set Free by H.G. Wells – A history of the future in which the devastation of an atomic war leads to the creation of a World Government, told via a number of characters who are central to the change
1918 The Land That Time Forgot by Edgar Rice Burroughs – a trilogy of pulp novellas in which all-American heroes battle ape-men and dinosaurs on a lost island in the Antarctic

1921 We by Evgeny Zamyatin – like everyone else in the dystopian future of OneState, D-503 lives life according to the Table of Hours, until I-330 wakens him to the truth
1925 Heart of a Dog by Mikhail Bulgakov – a Moscow scientist transplants the testicles and pituitary gland of a dead tramp into the body of a stray dog, with disastrous consequences
1927 The Maracot Deep by Arthur Conan Doyle – a scientist, engineer and a hero are trying out a new bathysphere when the wire snaps and they hurtle to the bottom of the sea, there to discover…

1930 Last and First Men by Olaf Stapledon – mind-boggling ‘history’ of the future of mankind over the next two billion years
1932 Brave New World by Aldous Huxley
1938 Out of the Silent Planet by C.S. Lewis – baddies Devine and Weston kidnap Ransom and take him in their spherical spaceship to Malacandra aka Mars,

1943 Perelandra (Voyage to Venus) by C.S. Lewis – Ransom is sent to Perelandra aka Venus, to prevent a second temptation by the Devil and the fall of the planet’s new young inhabitants
1945 That Hideous Strength: A Modern Fairy-Tale for Grown-ups by C.S. Lewis– Ransom assembles a motley crew to combat the rise of an evil corporation which is seeking to overthrow mankind
1949 Nineteen Eighty-Four by George Orwell – after a nuclear war, inhabitants of ruined London are divided into the sheep-like ‘proles’ and members of the Party who are kept under unremitting surveillance

1950 I, Robot by Isaac Asimov – nine short stories about ‘positronic’ robots, which chart their rise from dumb playmates to controllers of humanity’s destiny
1950 The Martian Chronicles by Ray Bradbury – 13 short stories with 13 linking passages loosely describing mankind’s colonisation of Mars, featuring strange, dreamlike encounters with Martians
1951 Foundation by Isaac Asimov – the first five stories telling the rise of the Foundation created by psychohistorian Hari Seldon to preserve civilisation during the collapse of the Galactic Empire
1951 The Illustrated Man – eighteen short stories which use the future, Mars and Venus as settings for what are essentially earth-bound tales of fantasy and horror
1952 Foundation and Empire by Isaac Asimov – two long stories which continue the history of the Foundation set up by psychohistorian Hari Seldon as it faces down attack by an Imperial general, and then the menace of the mysterious mutant known only as ‘the Mule’
1953 Second Foundation by Isaac Asimov – concluding part of the ‘trilogy’ describing the attempt to preserve civilisation after the collapse of the Galactic Empire
1953 Earthman, Come Home by James Blish – the adventures of New York City, a self-contained space city which wanders the galaxy 2,000 years hence powered by spindizzy technology
1953 Fahrenheit 451 by Ray Bradbury – a masterpiece, a terrifying anticipation of a future when books are banned and professional firemen are paid to track down stashes of forbidden books and burn them
1953 Childhood’s End by Arthur C. Clarke – a thrilling tale of the ‘Overlords’ who arrive from space to supervise mankind’s transition to the next stage in its evolution
1954 The Caves of Steel by Isaac Asimov – set 3,000 years in the future when humans have separated into ‘Spacers’ who have colonised 50 other planets, and the overpopulated earth whose inhabitants live in enclosed cities or ‘caves of steel’, and introducing detective Elijah Baley to solve a murder mystery
1956 The Naked Sun by Isaac Asimov – 3,000 years in the future detective Elijah Baley returns, with his robot sidekick, R. Daneel Olivaw, to solve a murder mystery on the remote planet of Solaria
1956 They Shall Have Stars by James Blish – explains the invention – in the near future – of the anti-death drugs and the spindizzy technology which allow the human race to colonise the galaxy
1959 The Triumph of Time by James Blish – concluding story of Blish’s Okie tetralogy in which Amalfi and his friends are present at the end of the universe

1961 A Fall of Moondust by Arthur C. Clarke – a pleasure tourbus on the moon is sucked down into a sink of quicksand-like moondust, sparking a race against time to rescue the trapped crew and passengers
1962 A Life For The Stars by James Blish – third in the Okie series about cities which can fly through space, focusing on the coming of age of kidnapped earther, young Crispin DeFord, aboard New York
1968 2001: A Space Odyssey by Arthur C. Clarke – a panoramic narrative which starts with aliens stimulating evolution among the first ape-men and ends with a spaceman being transformed into a galactic consciousness

1971 Mutant 59: The Plastic Eater by Kit Pedler and Gerry Davis – a genetically engineered bacterium starts eating the world’s plastic
1973 Rendezvous With Rama by Arthur C. Clarke – a 50-kilometre-long object of alien origin enters the solar system so the crew of the spaceship Endeavour are sent to explore it

1981 The Golden Age of Science Fiction edited by Kingsley Amis – 17 classic sci-fi stories from what Amis considers the Golden Era of the genre, namely the 1950s

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