It is a given that the modern-day proliferation of texts dealing with
artificial intelligence — particularly that occurring in humanoid form—has
injected new life, so to speak, into the question of what it means to be
conscious, what it means to be human. Paradoxically, what is quintessentially
human (the effort to know oneself) is perhaps reflected most clearly in the
mechanical simulacra inhabiting much current film and fiction: in Robocop’s
inability to go home again, Data’s struggles to come to terms with what makes
him different from the rest of the Enterprise crew, and Roy Batty’s
futile howl to the "blade runner" against the programming that will
terminate him; in Rudy Rucker’s self-replicating Boppers and Stanislaw Lem’s
increasingly humanoid washing-machines. Androids, cyborgs, and robots prompt us
to ask whether a machine could manifest consciousness, take on life of its own,
transcend its programming. They make us ponder whether our performances could be
distinguished from theirs—whether we could in fact be replaced by our
creations, just as the false Maria replaces the true in Fritz Lang’s Metropolis,
perhaps one of the earliest films to posit the reduction of humanity by the
forces of technology.1 At the same time, these mechanical simulacra
cause us to consider whether we are ourselves programmed—products of cultural
forces, manifestations of the discourse that inscribes us. Is our own free will
as spurious as that of the machines that do our bidding? In effect, intelligent
mechanisms bring to the fore our difficulty in defining the nature of the
subject; indeed, they problematize the very notion of the subject as such.
In its considered, cogent exploration of these issues, Stanislaw Lem’s
"The Mask" is characteristic of much of his fiction—seemingly just
another robot fable in Lem’s ongoing enterprise to chart the boundaries of
artificial intelligence and our own. But, uncharacteristically, Lem adds an
additional layer to his exploration of consciousness—that of gender.
Generally, Lem’s fiction is saturated with the masculine, appearing almost as
a parodic extension of the traditional SF realm as male, filled with phallic
spaceships and militaristic heroes. When a female does appear, "she"
turns out to be that which is not. Rheya, the most fully realized feminine
character, is not a woman but a simulacrum of one, created from Kelvin’s
memories (and hence determined by his story of the past) and made of the
same stuff as the mimoids, the replications of indeterminable meaning that
Solaris produces.2 She is another (an other) Rheya par excellence.
Lem’s other major feminine character appears in "The Mask," wherein
Lem assumes the persona (the mask, if you will) of a robot who in the first half
of the story wears the form of a beautiful human female and in the second
metamorphoses into its essential metallic form—significantly, a form that
resembles a praying mantis, the female of which kills the male during the mating
act.3 Thus "she," like Rheya, is only a representation of a
woman, not the genuine article. Yet it is the very artificiality of the woman
that enables Lem to examine the issue of gender programming, and the non-human
nature of the robot that enables him to address the human condition. As we
explore the issue Lem raises, however, we must keep in mind that Lem’s address
of the human condition is skewed toward a male norm, that the artificial woman
ends up subsumed under a rubric of artificial intelligence in general.
"The Mask" serves as a site for exploring contemporary notions of
the subject, weaving together in the fictional pattern strands that reverberate
in contemporary psychoanalytic and social theory. The robot’s self-division
(given literal form in the scene wherein the beautiful female cuts herself open
to reveal the metallic monster within) is emblematic of humanity’s, and its
gender programming is a synecdoche for the programmed nature of all human
response. The robot experiences the otherness of language and entrapment within
another’s discourse, a situation which mirrors that of the human subject
according to Lacanian thought. The robot’s experience of gender allows us to
see that what we regard as intrinsic male and female responses may be determined
instead by cultural programming. Lem thereby draws our attention to the
programmed nature of all human response and undermines our notion of a self that
is self-determined. "The Mask" foregrounds sexual desire as a
locus of power relations, thus affirming the Foucauldian claim that "power
and desire are joined to one another" (Foucault 81). In effect, Lem’s
interrogation of the programmed nature of gender and sexuality enables him to
strike most forcibly at the power structures that give rise to all forms of
cultural programming. Although Lem leaves indeterminable whether we can escape
the determinations imposed by our culture, he nonetheless makes clear that only
by pulling off the mask and revealing the mechanisms of power do we have any
hope of resisting them.
As we will see, however, the affinities between Lem’s fictional narrative
and those "non-fictional" narratives of Lacan and Foucault include not
only what they represent, but what they leave unrepresentable—a female
"subject." In effect, "The Mask" is played out in a
narrative field of the male and the neuter. What Alice Jardine argues in regard
to Lacan might be applied to Lem’s story: "he never
moved beyond the male subject as absolute metaphor" (161).4
Thus, although "The Mask" elucidates several important facets of the
human condition, we must remain aware that it is a human experience that
is dealt with therein.
In Lem’s story, the robot (a literal mechanism of power) has been
engineered by an exemplary representative of an authoritarian system, the
ultimate father, God’s appointed representative on earth—the King. He has
programmed this creature to ensnare the nobleman Arrhodes with "her"
beauty and then, upon revealing its metallic form, first to drive him mad and
then to destroy him. A Promethean figure, Arrhodes has threatened the King’s
absolute authority: "he had dared to raise his hand against the
throne"; he "had sought to bestow freedom upon the people in
opposition to the King’s will"; "he possessed the water of life, and
with it could raise up martyrs" (221). For assuming the prerogative of the
god-like King, Arrhodes must die. Although the King who has decreed Arrhodes’
death appears as but a shadowy figure within the story, his influence is
pervasive. As the robot realizes when it considers the possibility of walking
away from Arrhodes, the King’s least gesture can control it: "had I
succeeded in escaping that zone of attraction, the merciful King with a twitch
of his signet ring, with the corners of his faded eyes, pupils like pins, would
have attended to me soon enough, and I would have gone back" (189). So
absolute is his power that it would persist after his death: "even were [Arrhodes]
to lay violent hands upon His Majesty, that would not set me free; the King, if
the King was indeed behind this, was still so far removed that his death could
not alter my fate in any way" (209). Like the workings of a clock (to which
the robot at one point compares itself), the mechanisms of power continue to
run, even in the absence of the maker.
We might regard the King as a literal representative of Lacan’s
"phallic signifier." His authority (or potency) has a distinctly
phallic quality. The King has managed to create life (or what passes for it) by
himself, without the agency of the mother. We might say that he has, in fact,
appropriated the role of phallic mother, as the robot’s natal passage through
"the round opening without light" suggests (182). Phallic instruments
infuse the robot with life, as we see in the following passage, a transmutation
of the first verse of Genesis:
In the beginning there was darkness and cold flame and lingering thunder,
and, in long strings of sparks, char-black hooks, segmented hooks which passed
me on, and creeping metal snakes that touched the thing that was me with the
snoutlike flattened heads, and each such touch brought on a lightning tremor,
sharp, almost pleasurable. (181)
The King’s instrument of death is also phallic in nature: although the
robot appears in the mask of a woman and even its bug-like form is associated
with the female of the species, it administers death with its stinger. When the
robot rebels against its fate in a Lear-like frenzy of denial ("but no, no,
no, no, no, no"), a similar stinger effectually deprives it of
"life":
I saw a light, something budded out in front of me, like the small head of
a snake, except that it was metal. A needle? I was pricked, above the knee, in
the thigh, from outside, a tiny, barely noticeable pain, a prick and then
nothing.
Nothing. (206)
The prick silences all opposition; it is "the prick that stilled
rebellion" (208). The phallic snake is the symbol of the King’s power
over life and death.
Of course, to a certain extent, Lem’s own "construction project"
has affinities to that of the King he holds up to our scrutiny. Like the King,
he has bypassed the female. He explores gender programming without acknowledging
the agency of woman, much as Lacan and Foucault explore the technology of desire
without examining the female difference. We might apply to Lem’s story that
characterization that Hélène Cixous makes in regard to male writing in
general, "woman never has her turn to speak."5
Certainly, by (en)gendering the robot in the first half of the story, Lem
causes us to consider the way in which the otherness of language problematizes
the notion of the subject. After its "birth," the robot experiences a
simultaneous awareness of language and gender:
And then, with a sound not heard but sensed, a tenuous string snapped
within me and I, a she now, felt the rush of gender so violent, that her head
spun and I shut my eyes. And as I stood thus, with eyes closed, words came to
me from every side, for along with gender she had received language. (182)
Gender and language are imposed upon the subject, and, as the dizzying,
schizophrenic shift between the first-person and the third-person feminine
pronouns indicates, they occasion a split between what might seem to be an
authentic self and a self that can only constitute itself through the agency of
the other. This is not to say that sex differentiation is not prior to
language, but the notion of gender itself derives its particular meaning in a
culture only through language. Lacan’s discussion of the determining nature of
the symbol provides, in fact, an appropriate gloss on the robot’s plight:
Symbols in fact envelop the life of man in a network so total that they
join together, before he comes into the world, those who are going to engender
him "by flesh and blood"; so total that they bring to his birth,
along with the gifts of the stars, if not with the gifts of the fairies, the
shape of his destiny; so total that they give the words that will make him
faithful or renegade, the law of the acts that will follow him right to the
very place where he is not yet and even beyond his death.... (68)6
By making the King responsible for conferring both language and gender upon
the robot, Lem literalizes the Lacanian argument that it is "the symbolic
father whose name initiates and propels the signifying chain" (Bowie 134).
The Robot’s own relation to language thus holds a mirror up to our own, the
self-alienation appearing in its speech representative of the self-alienation
that is intrinsic to the human subject. But, again, it is an alienation based on
the norm of the male. Certainly, in his portrayal of the King and the
manifestations of his power, Lem is indicting the ultimate patriarch. However,
Lem’s indictment of monarchy/patriarchy does not so much call our attention to
the oppression of women as to the oppression of people in general. The
King/patriarch is thus representative of all absolute wielders of power, and the
robot, of all those programmed to aid such power in sustaining itself. Whether a
female experience might be different, we are not allowed to know.
When the robot embarks on a quest to discover its identity while in its
female form, it is repeatedly frustrated. "And who was I?" it asks
(186), "Where did I come from?" (197). The plurality of memory
implants ("the daughter of Count Tlenix, the Duenna Zoroennay, the young
Virginia, orphaned in the overseas kingdom of the Langodots by the Valandian
clan" (187)), each seemingly culled from fantastical romances, militates
against the robot’s struggle to discover a coherent self: "could I once
have been a plurality of branchings, which then merged in me as rivulets merge
into the current of a river? But such a thing was impossible, I told myself.
Impossible" (198). The passage reminds us of the impossibility of
extracting the authentic self from the multiplicity of cultural representations
with which we are subjected from birth.7 Trapped in the inevitable
paradox of self-referentiality, the robot cannot rely on the self as a tool to
determine what the self is: "Everyone knows it is impossible to turn the
eyeball around, such that the pupil can peer inside the skull" (194). The
mind cannot be trusted (the robot may be mad); the body cannot be trusted (the
robot finds its actions alien). Thus neither empiricism nor rationalism serves
as a system that can lead to the truth: "But if I could trust neither my
face nor my mind, against what precisely could I harbor fear or suspicion, when
outside of the soul and the body, one had nothing?" (200). The untenable
position of solipsism may be the only alternative: "Could it be that I was
imagining everything, that the ultimate reality here was an old, unemotional
brain, entangled in the experience of countless years?" (203). Finally, the
robot turns to the mirror in a deliberate attempt to fix identity: "On the
evening of the third day I finally set about discovering who I was. Dressed for
bed, I stripped in front of the pier glass and stood naked in it like a statue"
(212). Self can be apprehended only through another medium—in this case, the
mirror.
The robot’s experience before the mirror serves as a literalization of the
Lacanian "mirror stage." Of course, the robot comes into existence
with a sense of both its distinction as a separate entity and a foreboding of
its lack of autonomy, unlike the human infant, who prior to the mirror stage
exists in a state of oceanic undifferentiation; further, it does not experience,
to use Lacan’s terms, the "I precipitated
in a primordial form, before it is objectified in the dialectic of
identification with the other, and before language restores to it, in the
universal, its function as subject" (Lacan 2). But the robot’s methodical
examination of its external form and its subsequent self-evisceration bring to
the fore "the alienating destination" prefigured by the mirror-stage
"Gestalt" (ibid). In a travesty of a childbirth scene, it
discovers that the self it wants to fix is a fiction, that "I" reveals
itself as the other: "The severed layers separated, like white leather, and
in the mirror I saw a silver, nestled shape, as of an enormous fetus, a gleaming
chrysalis hidden inside me, held in the parted folds of flesh, flesh not
bleeding, only pink" (213). The robot plays out the culmination of the
mirror-stage experience: "the assumption of the armor of an alien
identity, which will mark with its rigid structure the subject’s entire mental
development" (Lacan 4). The beautiful woman is a mechanical object.
Paradoxically, the authentic self is one that recognizes its own lack of
authenticity, as the robot realizes:
I dared not touch the silvery surface, immaculate, virgin, the abdomen
oblong like a small coffin and shining, reflecting the reduced images of the
candle flames, I moved and then I saw its tucked-in limbs, fetal-fashion, thin
as pincers, they went into my body and suddenly I understood that it was not it,
a foreign thing, different and other, it was again myself. (213)
Significantly, it is still it. The dropping of the mask signifies the
death of the subject; self is exposed as object.
The passage is a vexed one, however, bringing to the fore the contradictions,
tensions, and ambivalences we encounter dealing with narratives that both
explore and elide the question of gender. On the one hand, the beautiful woman
is a mechanical object. We might bear in mind Alice Jardine’s argument
that the other in Lacan’s discourse is always a woman (166). In this case, a
woman is always an other. On the other hand, by ungendering the robot, by
neutering it, Lem takes woman out of the picture (which she has never really
been in anyway). As Catherine MacKinnon points out, "We notice in language
as well as in life that the male occupies both the neutral and the male
position" (55). Thus when "she" metamorphoses into the essential
"it," it itself migrates into the realm of the male, leaving us with
no access to a female subject.
The gendering and ungendering of the robot provide us with an understanding
of not only the psychic forces undermining the constitution of the subject, but
also the social ones. (I should add that it is impossible to separate psyche
from society. The distinction I make is merely one of emphasis.) Lacan notes
that "The phallus is the privileged signifier of that mark in which the
role of the logos is joined with the advent of desire" (287). I would like
to turn to another strain of French thought—to turn from psychoanalytic to
social theory—in order to explore further the implications of the connection
between "the privileged signifier" and "the advent of
desire." In The History of Sexuality, Michel Foucault examines how
the manipulation of sexual desire enables the deployment of power:
"Sexuality must not be described as a stubborn drive, by nature alien and
of necessity disobedient to a power which exhausts itself trying to subdue it
and often fails to control it entirely. It appears rather as an especially dense
transfer point for relations of power."
(103). "The Mask" provides the matrix wherein such relations can be
discerned.
The programmed femininity of the robot serves as a vehicle whereby the King
can manipulate sexual desire and thus keep his subjects in check. The robot has
been created to outgender its apparent gender. It is the ultimate womanly woman,
occasioning "concealed sighs" in the gentlemen of the court and
"envious breathing" in the ladies (182). But the absolute femininity
of the robot is not intrinsic, not part of its nature (and I use the term
deliberately), but a part of its programming. The robot is programmed to draw
upon conventional feminine gestures in order to charm Arrhodes to his doom;
Arrhodes is programmed by his culture to respond to such charm. The blush,
tantalizing dual sign of innocence and desire, occurs as something external to
the robot:
The blush did not belong to me, it spread on my cheeks, claimed my face,
pinkened my ear lobes, which I could feel perfectly, yet I was not
embarrassed, nor excited, nor did I marvel at this unfamiliar man, only one of
many after all, lost among the courtiers—I’ll say more, I had nothing
whatever to do with that blush, it came from the same source as the knowledge
that had entered me at the threshold of the hall, at my first step upon the
mirror floor—the blush seemed part of the court etiquette, of that which was
required, like the fan, the crinoline, the topazes and coiffures. (190)
Of course, we all blush involuntarily. But blushing itself is a learned
response, a response to feelings of shame, and shame arises only in a social
context. Such learned responses, occurring contrary to our will, may abet some
design over which we have no power, as the robot realizes: "for this
persistent blush had begun to anger me, it constituted an invasion of my
freedom, being part—I realized—of that same purpose with which the King had
consigned me to my fate" (191). Directed at Arrhodes, that blush will also
seal his fate, for it will render his heart captive to his beautiful assassin,
as the robot flirtatiously tells him: "Possibly I ought to add, ‘Is there
no help for this?’ And you would answer no, not in the face of a beauty whose
perfection seems to confirm the existence of the Absolute" (191). Of
course, the beauty does "confirm the existence of the Absolute"—the
absolute power of the King. By creating a being that will awaken desire in
Arrhodes, the King can control not only the destiny of his mechanical object,
but also that of his seemingly self-determining subject. In effect, the fatal
attraction between the robot and Arrhodes enables the King to achieve his end—the
destruction of the rebel. The embrace of a lover may allow power to exert its
utmost force.
Playfully, Lem demonstrates that we are all programmed to adhere to the
conventions of love. The robot employs a hackneyed gesture to bind Arrhodes to
it: "then I closed one hand and with the other let slip from my wrist the
little loop of my fan. For it to fall. So he immediately. . . ." (189). The
ellipsis is Lem’s, not mine, and the next paragraph begins with the robot and
Arrhodes gazing at each other "up close, over the mother-of-pearl handle of
the fan" (189). In the intervening blank space, we have supplied the
missing information: the fan falling, Arrhodes stooping to retrieve it and then
proffering it to the beautiful woman before him, her grateful acceptance. . . .
We can no more resist the succession of images than the robot can resist going
numb at the sight of Arrhodes.
The very language of love bends itself to the will of the King. The robot’s
attempt to warn Arrhodes ends up couched in a lover’s cliché: "I wish by
some inconceivable miracle you could forget we ever met" (195). As the
robot realizes, the conventionality of the words will ensure a conventional
interpretation, masking their admonitory intent and making Arrhodes even more
fervent in his passion: "Most unsuitable words, banal in these
surroundings, but there was now no way for me to break free of this deadly
banality, I realized that as the carriage began to move, he could—after all—
interpret what I had said to mean that I feared the emotions that he aroused in
me" (195). Resistance is futile when one has no control over the choice of
discourse.
The conventional language of love’s fatality is used to express the robot’s
inability to resist its programming. The initial meeting between the robot and
Arrhodes is described in earth-shattering terms. The robot tells us that
"if I hadn’t gone numb inside when our eyes collided, I certainly could
have walked away"; that "what passed for a chance meeting of glanceswas
foreordained" (189); that "I could feel his face, its porous skin, the
unruly, bristling brows, the large curves of his ears, all linking up inside me
with my hitherto hidden expectation, as though I had been carrying inside myself
the undeveloped negative and he had just now filled it in" (191-92). We are
reminded of those initial meetings between Troilus and Criseyde, Petrarch and
Laura, Anna Karenina and Vronsky, Humbert Humbert and Lolita. But is it love, or
is it programming? Cupid’s arrows give way to computer commands, and Cupid
himself becomes a techno/autocrat, consolidating his power by inciting desire.
Like a machine that passes the Turing test, the robot lover makes responses that
mirror in form those of the human lover. But like the Foucauldian theory with
which it has affinities, Lem’s story thereby neuters these desiring subjects,
thus bypassing an exploration of the mechanisms of female desire.8
Once the robot has thrown off the mask of femininity, its true form as a
mechanism of power can be discerned, and it seemingly accedes to the imperatives
of its programming. As Mark Rose points out: "Shedding the mask of humanity
ends the romantic agony. Language and consciousness disappear, and the machine
becomes a subhuman instrument of pursuit"
(162). In recognizing its mechanical nature, the robot apparently recognizes the
futility of resistance. Certainly, it bears a striking resemblance at this point
to Schwarzenegger’s "Terminator," plowing through whatever gets in
its way in its single-minded pursuit of Arrhodes. Even its request to have the
physician at the monastery sprinkle its poles with iron, thereby possibly
increasing the bounds of its freedom, may be just another piece of the overall
program:
No doubt you would like to know what my true intentions were in that final
run, and so I will tell you that I tricked the monks, and yet I did not trick
them, for I truly desired to regain or rather gain my freedom, indeed I had
never possessed it. However, concerning what I intended to do with that
freedom, I do not know what confession to make. This uncertainty was nothing
new, while sinking the knife into my naked body I also did not know whether I
wished to kill or only discover myself, even if one was to have meant the
other. That step too had been foreseen, as all subsequent events revealed, and
thus the hope of freedom could have been just an illusion, nor even my own
illusion, but introduced in me in order that I move with more alacrity, urged
on precisely by the application of that perfidious spur. (231)
The robot’s attempt to rebel may in fact just aid the King in carrying out
his plan. We might recall Foucault’s argument that "Where there is power,
there is resistance, and yet, or rather consequently, this resistance is never
in a position of exteriority in relation to power" (95). Rebellion may be
just another facet in the constellation of power.9
Although "The Mask" holds out little hope that the mechanisms of
power can be overthrown, it nevertheless offers the possibility for resistance,
albeit a slim one. As the above passage indicates, the robot does not know what
it will do with its freedom, and the conclusion of the story does not clear up
this uncertainty as to the robot’s intentions. Tracking Arrhodes and his
abductors to a remote mountain retreat, the robot finds Arrhodes already dying.
Yet it renounces action, fearing that a comforting gesture may hide within it a
reflexive murderous sting:
I gazed down into his upturned face, nor daring to touch him nor retreat,
for while he lived I could not be certain of myself, though the blood was
leaving him with every breath, yet I clearly saw that my duty extended up
until the very last, because the King’s sentence must be executed even in
the throes of death, therefore I could not take the risk, inasmuch as he was
still alive. (238)
Rose notes that in the first part of the story, the robot takes on "the
heroic posture of such romantics as Blake and Shelley": "no possible
authenticity exists except in rebellion and thus the genuine man must
rebel" (162). I would argue that the second part of the story demonstrates
that rebellion itself may work against authenticity. Only in renouncing all
action does the robot have a chance to escape the imperatives of its
programming. The gesture of the rebel is thus a non-gesture, a negation, a type
of silence. Interestingly, this may in fact be the most "female" of
the robot’s gestures. When one’s voice must speak in a discourse that has
negated one, one negates the negation through refusal to join in the game.10
It is not only the story he tells, but the means he uses to tell it, that
enables Lem to expose the mechanisms of power. If, as has been persuasively
demonstrated in recent theoretical debate, the status quo maintains itself
through setting up a system of hierarchical binaries, then erasing the
distinction between those binaries may serve to undermine things as they are.
The common plight of Arrhodes and the robot, epitomized in the concluding
paragraph wherein the two are clasped together in a grotesque version of the
marriage bed, blurs the distinction between human and robot identity. The
creature’s shifts from feminine to neuter pronouns when thinking of her/itself
underscore the shifting boundary between humanness and thingness, as do the
metaphors likening human beings to mechanical simulacra and vice-versa. The
attendants at the King’s ball appear as "mechanically dancing
mannequins" (103), the servant as "a puppet filled with civilities—a
live corpse of wax" (196), while "talking statues" (194) populate
the royal flower gardens. The robot can concurrently be both "bride and
butcher" (238), combining the angelic and the monstrous. By casting the
narrative in first person, Lem closes the distance between creator and creation,
human writer and ventriloquizing machine. Binaries no longer hold up in the
world Lem creates. At least, most of them. Significantly, the binary opposition
of male and female is never really broken down, for female becomes absorbed in
neuter/male, the gender argument thus derailing before it reaches its
destination.
Rose has argued that "The Mask" is "a self-reflexive fable
about literature." The robot’s difficulty in escaping its programming
mirrors the writer’s own: "Just as a robot is bound by its programming,
so a writer is bound by language, genre, and theme, limited by the program of a
medium that is the culture’s design, not his own" (157). Clearly, Lem’s
critique is itself ensconced in an ideology that we must subject to critique.11
But if Lem cannot resist the ideological narratives that mask their ideology, he
has certainly made the attempt. I would like to extend Rose’s argument
somewhat, looking at the way in which Lem attempts to resist the determination
imposed by the prior texts that make up the palimpsest for his own.
Lem inverts/subverts the ultimate authoritarian text, the story of the Fall—a
story that most persuasively equates woman with man’s downfall and knowledge
and self-consciousness with evil. Traditionally, Eve has been blamed for
precipitating Adam’s fall; she is the first in a long line of monstrous women,
her beauty masking the fact that she brings death. But "The Mask"
demonstrates that the woman who brings death to man is a construct, yet another
instrument that enables power to manifest itself. The robot comes into a world
that is already fallen—or perhaps has never been unfallen; its god has already
unleashed the forces of death. Whereas the God of Paradise Lost makes the
slippery argument that foreknowledge is not predestination, that His creations
are free, "The Mask" demonstrates that such freedom is specious. Thus
guilt comes not with the taste of the apple of knowledge, but with the refusal
to probe the mysteries of the self, as the robot realizes:
I was guiltless, yes, and at the same time full of guilt. Guiltless in all
the tracks of time past-perfect merging towards my present, as the little
girl, as the adolescent somber and silent through the gray-white winters and
in the stifling must of the palaces, and guiltless too in that which had
occurred today with the King, for I could not be other than what I was; my
guilt—my hideous guilt—lay only in this, that I knew it all so well and
considered it a sham, a lie, a bubble, and that wanting to get to the bottom
of my mystery, I feared to make the descent and felt a shameful gratitude for
the unseen walls that barred my way. (204)
The robot’s "sin" lies only in its avoidance of self-knowledge.
Although the attempt to assess the extent of our own programming may lead into
an infinite regress, it is only through such an attempt that any degree of
freedom might be presupposed.
The robot cannot answer whether it would have embraced or stung Arrhodes, but
it is left with the freedom to consider the possibilities. Resisting narrative
closure, Lem leaves the reader with that freedom also. Essentially, he resists
subscribing to one reigning myth over another. If the robot had indeed
administered the fatal sting, we could be left with the despairing notion that
no resistance was possible; if it had succored Arrhodes, we could end up with
the notion that we can escape our programming, thus playing into the hands of
those who lure us with false promises of freedom. Lem maintains his silence on
this point.12
NOTES
1. Recent debate about artificial intelligence has focused
upon whether machines whose performances are indistinguishable from those of
humans might be considered as minds. For conflicting interpretations of the
Turing test, a test designed to make such determinations, see two articles in
the January 1990 Scientific American: John R. Searle, "Is the Brain’s
Mind a Computer Program?" (26-31); Paul M. Churchland and Patricia Smith
Churchland, "Could a Machine Think?" (32-37).
2. I draw the distinction between "female" as
referring to the biological entity and "feminine" as referring to a
social construct. The distinction seems particularly appropriate in a story that
deals with a "female" that is only—and in a literal sense—a
construct.
3. In a 1979 interview with Zoran
Živković,
"The Future Without a Future," Lem discussed the affinities between
his two feminine characters:
of that which remains a mystery to me, and there’s quite a
good deal of it, I would isolate the problem of the being—a being rationally
created, evolving from an empirical method, created so to speak just as a
house is built. The being, or rather the heroine Hary [sic] (Rheya), becomes a
person and in that sense acquires a dominant position in relation to her
creator. This problem obsessed and occupied me for so long that I returned to
it last year, writing a story entitled "The Mask." This piece no
longer deals with an artificial human in the third person and he is not
described externally now; now it is the heroine herself who speaks in the
first person, she is conscious of her origin and status, she gradually finds
out the truth about herself. Here too we have the classical problem of the
freedom and non-freedom of the programmed mind. Why was this problem so
interesting that I had to treat it on two occasions? I’m not entirely sure.
I’m also not sure why I was interested in precisely a woman, and not in a
man or some neutral gender—which is a much more frequent occurrence in my
writings. Not only can I not explain this to others but I am unable to explain
it to myself. (Pacific Manoa Quarterly 4:258)
As I argue, Lem may not have departed so far from the neutral
gender as he imagined. The association of women and insects is not an unusual
one for Lem. He tells us that as a boy, having examined pictures in anatomy
books, he thought of female genitalia "as something spiderlike" (Microworlds
6).
4. Of course, we must also bear in mind that in
conceptualizing woman as other, the elusive Lacan may be drawing our attention
to his own difficulty in escaping the signifying system that has perpetuated
such determinations. Yet in so doing, he may be abetting further perpetuation.
Dealing with legal, rather than psychoanalytic, standards,
Catherine MacKinnon makes a similar point: "Concealed is the substantive
way in which man has become the measure of all things" (34). Teresa de
Lauretis points out that Foucault elides the question of sex difference, thereby
eliding the question of a female subject: "his critical understanding of
the technology of sex did not take into account its differential solicitation of
male and female subjects, and by ignoring the conflicting investments of men and
women in the discourses and practices of sexuality, Foucault’s theory, in
fact, excludes, though it does not preclude, the consideration of gender"
(3).
5. The rest of Cixous’ sentence puts a gloss on our
consideration of the subversiveness of the project with which Lem (Lacan,
Foucault) is engaged: "this [woman’s not getting a chance to
speak]...[is] all the more serious and unpardonable in that writing is precisely
the very possibility of change, the space that can serve as a springboard
for subversive thought, the precursory movement of a transformation of social
and cultural structures" (879).
6. Lacan’s use of the masculine pronouns in this passage
might also provide a gloss on Jardine’s critique of his taking the male as the
norm.
7. The robot’s sense of multiple selves may actually paint a
truer picture of the human condition than its later self-division. De Lauretis
notes that the subject is "not unified but rather multiple, and not so much
divided as contradicted" (2).
8. De Lauretis discusses the way in which male-centered
theories of power bypass the issue of gender: "Hence the paradox that mars
Foucault’s theory, as it does other contemporary, radical but male-centered
theories: in order to combat the social technology that produces sexuality and
sexual oppression, these theories (and their respective politics) will deny
gender" (15). She adumbrates this position in a later passage: "only
by denying sexual difference (and gender) as components of subjectivity in real
women, and hence by denying the history of women’s political oppression and
resistance, as well as the epistemological contribution of feminism to the
redefinition of subjectivity and sociality, can the philosophers see in 'women’
the privileged repository of 'the future of mankind"’ (24).
9. Recent thinking in dynamical systems theory leads us to
reevaluate the old notion of programming as being completely determined. The
concept of indeterminable determinism implies that there can be global
programming with a tolerance for localized randomness—that is,
decision-making. If we apply this thinking to Lem’s story, we can see that
Arrhodes’ death has been determined by the King, but the way in which it is
carried out is a local randomness that is allowed for by the global programming
structure. In his studies of the workings of power, Foucault anticipates the
concept of indeterminable determinism that dynamical systems theory has brought
to light. What we see as escaping or subverting our programming may be only a
local rebellion allowed for by the global structure. "The Mask" serves
as a site for the interconnection between scientific and cultural theory.
10. For a relevant discussion of silence as a form of
specifically female defiance, see Susan Gubar’s essay "‘The Blank Page’
and the Issues of Female Creativity," The New Feminist Criticism: Essays
on Women, Literature, and Theory, ed. Elaine Showalter (NY, 1985).
11. In a discussion of Althusser, De Lauretis points out that
he is unable to resist falling into an ideological snare, that put forth by the
issue of gender: "Althusser’s theory of ideology is itself caught and
blind to its own complicity in the ideology of gender" (6).
12. I would like to thank Tom Weissert and Istvan
Csicsery-Ronay for their valuable suggestions during the writing of this essay.
WORKS CITED
Bowie, Malcolm. "Jacques Lacan." Structuralism
and Since: From Lévi-Strauss to Derrida. Ed. John Sturrock. Oxford, 1979.
Cixous, Hélène. "The Laugh of the Medusa." Trans.
Keith Cohen and Paula Cohen. Signs: Journal of Women in Culture and Society
4:879, 1986.
De Lauretis, Teresa. Technologies of Gender: Essays on
Theory, Film, and Fiction. Bloomington, IN, 1987.
Foucault, Michel. The History of Sexuality, Volume I: An
Introduction. Trans. Robert Hurley. 1978. NY, 1980.
Jardine, Alice. Gynesis: Configurations of Woman and
Modernity. Ithaca, NY, 1985.
Lacan, Jacques. Ecrits: A Selection. Trans. Alan
Sheridan, NY, 1977.
Lem, Stanislaw. Microworlds: Writings on Science Fiction
and Fantasy. Ed. Franz Rottensteiner. 1984. San Diego: Harvest-HBJ, 1986.
—————. "The Mask." Mortal Engines.
Trans. Michael Kandel. NY: Seabury, 1977; NY: Bard-Avon, 1982. 181-239 (both
editions).
MacKinnon, Catherine A. Feminism Unmodified: Discourses on
Life and Law. Cambridge, MA, 1987.
Rose, Mark. Alien Encounters: Anatomy of Science Fiction.
Cambridge, MA, 1981.
Shelley, Mary. Frankenstein, or The Modern Prometheus.
NY: Signet-NAL, 1965.
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