#40 = Volume 13, Part 3 = November 1986
Istvan Csicsery-Ronay, Jr.
Editorial Introduction
With this issue, SFS honors Stanislaw Lem
in the year of his 65th birthday.
Very slowly, but steadily, Lem's reputation as a leading writer on the world scene is
being established. As with most writers, this is largely a matter of literary prizes,
critical commentaries, and special issues of journals. And Lem's share of these has
increased markedly in recent years. Last year alone he was awarded the prestigious
Austrian State Prize for European Literature, with which he joins previous winners Christa
Wolf and Italo Calvino; the Austrian Society for Literature organized a special symposium,
the "Lem Disputation," devoted to his works and ideas; the Japanese literary
magazine Eureka published a special issue on Lem with contributions from Japanese
scientists and literary scholars. Studies about and interviews with Lem are appearing with
increasing frequencyas my co-editor, Franz Rottensteiner, documents in his review of
Jerzy Jarzebski's new book on Lema process which has also drawn out the inevitable
pedestrian attempts to domesticate his work (see my review of the woeful book by
Ziegfeld). Unlike most writers of belles-lettres, Lem also enjoys a following of scholars
and scientists who take his cultural and futurological ideas seriously. No other
contemporary writer can boast of an honor like the 1981 symposium-workshop with Lem on his
speculative ideas at the Free University of Berlin by the Project INSTRAT, which included
scholars of literature, psychology, computer science, and molecular genetics.
Originally, we did not intend that this issue
should have any particular theme or approach. We wished to translate some of the best
European articles about Lem, as well as some of his more important essays, and to publish
recent Lem scholarship by North American critics. As it happened, much had to be left out.
Most regrettably, Manfred Geier's major essays on Solaris and Eden proved too long and
difficult to translate. It also turned out that there was a pattern to the material we
collected, thanks in part to our having to postpone publication of some items that do not
fit that pattern as clearly as those included do. (I am referring to translations of the
first of Lem's Dialogues and of his essay on Stapledon's Star Maker and to Simonetta
Salvestroni's essay on Tarkovsky's films Solaris and Stalkerall of which will appear
in SFS sometime next year.)
The pattern we found was this: each of the
essays, as well as Lem's own pieces, elaborate what Katherine Hayles calls Lem's dialectic
between closure and openness, constraint and freedom, chance and necessity, with which he
creates a "space for writing."
Until recently, Lem criticism in North America
approached Lem with something like surprise, the surprise of suddenly encountering Solaris
among the mob of hastily written works of SF. Most of the early criticism centered on that
book, which appeared to be the long-desired bridge between popular SF and "high"
literature. The critics tried to make sense of it through the ideas familiar to them:
through Northrop Frye and the psychoanalysis of romance (Rose, Ketterer), or by placing
Lem in the Great Tradition of philosophical writers dealing with the perennial questions
(Potts, Kandel). Apart from Dagmar Barnouw, the major exception, of course, is Darko
Suvin, whose approach to Lem seemed especially "right" in part because some of
his premises derived from Lem's own untranslated writings on SF and futurology, to which
Suvin had privileged access among the North Americans.
The pieces included in this issue represent what
seems to be the "settling in" of Lem criticism. For the North Americans
specifically, much more of Lem's corpus has been translated into English since those early
days, including many discursive essays. (And more can be expected: translations of
Eden
and Fiasco are due out very soon from Harcourt Brace Jovanovich; the latter by Michael Kandel, surely one of the elite translators into English from any language, who was coaxed
away from his own fiction to do the book.) Enough of Lem has appeared for the critics to
adapt their approaches to his concepts, which are rather alien to most formally and
politically minded literary theorists. The recent criticism seems to be based more on Lem's
dialectical terms, on the problems raised for literature by information theory,
cybernetics, techno-evolution, and a version of the postmodern condition in which all that
was ever perceived to be transcendental in human culture has been completely
"immanentized." Thus, the writers of these essays seem to stick closer to Lem
and his texts than their predecessors. In fact, they may even represent the beginnings of
an "orthodoxy" of Lem criticism.
I do not intend the term "orthodoxy" to
be pejorative; I mean only that these critics' compelling arguments arrive fairly
independently at very similar conclusions by using ideas compatible with (perhaps even
"approved by") Lem's own ideas and frame of reference, and they seem to map out
the direction that criticism will take in the future. One can imagine many other ways of
approaching Lem's work, but all will have to deal with this "orthodoxy" in one
way or another. Thus although there may seem to be "many Lems" (as Kandel has
remarked), in another sense there is one Lem: the skeptical dialectician of "carousel
thinking," the affirmer of the intellect's imagination and the cold wielder of
Occam's Razor, less a person than the scene of a process in which design and accident,
closure and openness, consciousness and unconsciousness continually enfold and perforate
each other.
This dialectic is not friendly to traditional
literary criticism. To readers of Lem's discursive writing, it often seems that he is much
more interested in the respect of the scientific community than in his status as a major
writer of fiction. As Katherine Hayles says in her essay, Lem writes in all of his
critical pieces (including, I might add, the two essays in this volume), as if logic and
rational realism were the be-all and end-all of speculative writing. Scienceeven
such purely speculative "sciences" as futurology and axiologyis subject to
certain norms and codes that can be tested against the real behavior of phenomena, and
these codes are both universally applicable and very rigorous. By contrast, the untestable
opinions of literary critics who unreflectively accept certain cultural norms simply to do
their critical work (e.g., that literature is important enough to devote one's life to
studying it) seem to have little attraction for Lem. In the interview with me, Lem comes
to the curmudgeonly conclusion that "there never was inspiring criticism as I far as
I am concerned."
And yet few writers have been as willing to allow
the critic as much of a role in producing the meaning of his works as Lem. He has often
written explicitly that he is not in conscious control of the creative process; as he
states it in the interview, he views his writing like a printer watching the page come out
of the press. That a writer so rigorous in his logicrational and
imaginativeand so insistent on the topicality of his writing should claim this kind
of unconsciousness is a clear invitation for reflective readers to make the commentaries
that he himself is not willing to make. It's as if Lem were trying his best to create a
kind of "objective art," fiction existing out in the world and as independent of
his identifiable intentions as an object awaiting the scientist's scrutiny, an SF that
requires its readers to be scientific interpreters. In the same interview, Lem states that
he approaches his discursive and imaginative writing in the same way, without knowing
beforehand what and how it will come out. That is, ultimately, the way of an artist, not a
logician. And as readers of Lem's essays know, his discursive writing often asks its
readers to make as many imaginative leaps, and to supply even more assumptions, than his
fiction. Thus, if Lem asks the critic to treat his fictions as if they were objects, he
also asks his "objective" readers to follow him down crazy paths.
The writings included here approach this
dialectic from many sides. In "Twenty-Two Answers and Two Postscripts," in the
two essays from Science Fiction and Futurology, and in the selections of letters "On
the Genesis of Wizja Lokalna," we have Lem's conscious thoughts about his creative
work, coming as it were from within. In the critical essays, we have others' scrutiny of
what Lem does not say, approaching his writing from the outside. "Twenty-Two Answers
and Two Postscripts" covers a lot of ground, some of it new, some of it familiar to
those who know Lem's other interviews and autobiographical remarks. The format of
exchanging written questions and answers was chosen because it would "minimize the
loss of information"; but it has its drawbacks. There is little continuity, and
sometimes the interlocutors seem to be missing each other's points as in a conversation of
polite monomaniacs. In context with the other pieces in this issue, however, it is
striking how Lem's comments illustrate the Lemian dialectic in action. Over and over
again, we see the author developing plausible ideas about his writing which might give a
handle on his work, ideas he then dismisses as "mere hypotheses." The two
postscripts bring the point home especially strongly. In the first of these unsolicited
addenda, Lem explains how little he understands his own work, which seems to him to
develop unconsciously and yet to be completely grounded in social and scientific reality.
In the second postscript, he adds that no one else has understood him even as well as
himself. Another interesting aspect of the exchange is the way Lem juggles the concepts of
realistic and fantastic as he discusses the idea of a "fantastic science or
mathematics."
The two essays taken from Science Fiction and
Futurology are also excellent examples of the Lemian dialectic, as well as significant
pieces in their own right. "Metafuturology" is ostensibly a sober account of the
constraints on realistic futurology; yet in it Lem elaborates one of his most striking
scientific fantasies, the breakdown of the "somatogenetic boundary" and the
"genotypicization of culture." The essay "On Stapledon's Last and First
Men" is ostensibly an appreciation of what Lem considers to be that English SF
writer's magnum opus; yet it includes some of Lem's most straightforward analyses of the
problems of futurology. The essay on Stapledon is also significant for the light it sheds
on Lem's debt to the English writer, whom he holds to be the only significant writer of SF
in past half century. And while explicitly comparing Stapledon with Borges, Lem also
implicitly locates his own place in the spectrum of philosophical SF between the
"miniaturist's precision" of Borges and the monumental canvas of Stapledon.
Though the essay is by no means uncritical, Lem's admiration for Stapledon's
"anthropological SF" is extremely rare, and perhaps it is a fitting, even if
very modest, way for SFS to mark the 100th anniversary of Stapledon's birth.
In these two essays Lem shows how closely his
ideas of SF and a logically rigorous futurology are interrelated: the implicit conclusion
of each one is that the future must be imagined, with maximum variety compatible with
rational plausibility, if humanity is to maintain a measure of control over its
technological evolution. This is the project modeled in Stapledon's fiction and in Lem's
own straightforward proposal for a "metafuturology." Let us add that, along with
the companion piece to "Metafuturology" published in SFS as "Metafantasia:
The Possibilities of Science Fiction" (March 1981), the essays included here show
English-language readers the gist of Lem's (as yet) untranslated Science Fiction and
Futurology.
The critical essays in this issue represent many
different approaches to Lem, from the global to the specific. The key is established by
Katherine Hayles's typically excellent "Space for Writing: Stanislaw Lem and the
Dialectic 'That Guides My Pen.'" Hayles describes, in topological terms taken from
Lem's own critical and autobiographical writings, the dialectic of linguistic-constructional closure and hermeneutic indeterminacy that characterizes the
"Lemian" mode of writing. Her essay may well be the first to make a compelling
argument for a creative principle that unifies Lem's vast and varied corpus: the
grotesques, the realistic "dramas of cognizance," the philosophical discourses,
the autobiographical fragments, and the literary critical essays. She describes the two
opposing vectors of Lem's dialectic through brilliant analyses of The Cyberiad and His
Master's Voice. The former she takes as an example of the movement from too much
informational openness toward increasing constraints; the latter, with its realistic
narrative gradually expanding into cosmogonic mythic-scientific hypotheses, as the epitome
of the movement from overmuch informational constraint to increasing openness of
interpretation.
If Hayles names the recurring, constant dynamics
of Lem's writing, seen as if from above the process, Robert M. Philmus's difficult and
subtle essay, "Futurological Congress as Metageneric Text," complements Hayles's
by defining the same Lemian dialectic from within. Taking the case of The Futurological
Congress, Philmus describes Lem's fiction as skeptical self discovery, in which the process
of working out the neologistic and Futurological principles that distinguish SF from
realistic fiction or futurology also Reconstructs the unreflectively-held ideological
conceptions of the real and the imaginary, which establishes the premises for SF's generic
opposites. Philmus links Futurological Congress to Wells's The Time Machine and its
project of restoring the possibility of utopia by drawing attention to the historically
and linguistically determined conceptions of reality and the future. Although it plays
only a supporting role in his closely argued piece, Philmus's discussion of The
Futurological Congress's "futurolinguistics" opens one of the most promising
paths to understanding the importance of Lem's famous neologisms in his workand in
SF as a whole. It is also worthwhile to compare Philmus's essay with Lem's pieces; for Lem
demonstrates how little difference there can be between SF and futurology when viewed from
their future, and indeed how little the distinction between the fantastic and the real
means when considering the developments of modern physics, with its "virtual
particles" and the "colors of quarks." Lem would probably balk at the depth
of skepticism Philmus attributes to him; Lem constantly reaffirms his faith in an
extratextual reality that language can refer to and science can study and manipulate. But
Philmus's analysis of what is ultimately, in Lem's own terms, Lem's "modeling
intention" in The Futurological Congress demonstrates the way the generic constraints
of SF open up a "space for writing" by re-modeling the world at the same moment
that it draws attention to the process of modeling.
Hayles's implicit ground is information theory,
while Philmus's is cyberneticsboth purely cognitive models of the nature of things.
David Field's implicit model, in his essay "Fluid Worlds: Lem's Solaris and Nabokov's
Ada," is biological-organicistic, focusing on the synapsis of the teleological and
non-teleological elements in creation, and its personal side: the relation of love and
knowledge. Field discusses the fluid relation between imagination and fact that both Lem
and Nabokov depict in the fluid worlds of their novels. The terms Field uses are perhaps
more appropriate to Nabokov, who viewed himself as part of the organicist tradition, than
to Lem, who does not; but they are not completely inappropriate. By naming the erotic and affectional aspects of Solaris and tracing the parallels to Nabokov's more explicit
linking of SF symbolism to love, Field foregrounds the affective element of Lem's
dialectic, an element Lem keeps so deep in the background of his other works that it plays
the role of the textual unconscious. Field's piece also points out a way for more extended
work on Lem's place in the romantic tradition, and thus helps to link the more recent
criticism with the earlier work of Rose and Ketterer.
This affective aspect of Lem's dialectic is also
prominent in the Russian essays translated for this volume. These pieces are interesting
for many reasons. They show a moral sophistication rather surprising in Soviet SF
criticism, and they review Lem's The High Castle and His Master's Voice, respectively, in
very similar ways. Anninski's review introduces English readers to the The High
Castlewidely considered one of Lem's masterworks. Anninski reads the work less as an
autobiography than as an extremely ironic representation of the struggle between the
deterministic-mechanistic world-view and the "philosophy of chance" in the mind
of a child coming to consciousness. That struggle then inspires the ironic
double construction of a non-"identificationist" autobiographya problem in
metageneric textuality that links Anninski to Philmus. Anninski thus also draws attention
to the active ambivalence of Lem's creative stance, which simultaneously celebrates the
freedom of "smuggling" personality through the "crevices" of physical
creation and resents the "terrifying freedom" of an existence in which "the
identification card has replaced the absolute."
Rodnianskaia's piece is somewhat less lucid than
Anninski's. On the surface, it appears merely to sketch the "carousel thinking"
underlying His Master's Voice, in which Hogarth's affective and projective desire for
transcendence of death inexorably leads to his affirmation of a chance universe, and back
again. But Rodnianskaia's real subject goes much deeper: her analysis of Hogarth's
conflicts is an implied analysis of Lem's own creative personality, the portrait of a man
constantly in search of the source of the significance which he does not believe in, yet
which drives him to create. In terms of our pattern, Rodnianskaia's piece discusses the
psychology of the Lemian hero: the creative mind fascinated by "terrifying
freedom" of having knowledge that cannot be lived (the "closed-openness" of
stochastics), and hope that cannot be believed (the "open-closure" of
personality).
Jerzy Jarzebski's chapter on the Ijon Tichy cycle
from his recent book, Zufall und Ordnung, does not fit very comfortably into the pattern I
have been describing. Unlike the other essays, its approach is diachronic, and hence less
concerned with the structure of antinomies in Lem than in the development of his themes.
Here (and in his earlier "Stanislaw Lem: Rationalist and Visionary" [SFS no.
12]), Jarzebski appears to see only the the pessimistic vision of the infinite regress of
creation and the ultimate insignificance of a freedom created purely by chance. This is
due in part to his concentration on the grotesques in Lem's corpus, but also to his
traditional humanistic approach, which does not consider the metageneric and
metalinguistic aspects of Lem's writings. Yet in a sense Jarzebski simply interprets the
same interfusion of the open and closed, which for the others represents a sort of freedom
constructed in an undesigned universe, in a pessimistic key. He stresses the motif of
"the presumptuousness of the intellect" and parodic freedom created by error in
the Tichy cycle as examples of "evil" in Lem's universe; whereas these same
qualities can simultaneously create a tentative form of "good," the
"crevices" through which personality and human creativity can become manifest in
the cosmos. Jarzebski's traditionalist view of Lem as a bitter parodist of lost humanism
is stated even more explicitly in Michael Kandel's elegant remarks on Lem.
Finally, the snake bites its tail. We have
included the excerpts from Lem's correspondence with Franz Rottensteiner "On the
Genesis Wizja Lokalna," only to seal the case. It is a document, characteristic of
Lem's letters, which seem always to be written at white heat, without consideration for
the letters that went before. If readers still have doubts about the dialectic of closure
and openness that creates Lem's "space for writing," let them peruse Lem's
running account of his creative process.
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