#94 = Volume 31, Part 3 = November 2004
BOOKS IN REVIEW
Lost In Burroughs.
Edgar Rice Burroughs.
Lost On Venus. 1935. Intro. Kevin J. Anderson. Original
illustrations by J. Allen St. John. Frontiers of Imagination Series. Lincoln,
NE: Bison, 2004. xx + 318 pp. $14.95 pbk.
I’m not old enough to have read E.E. Smith, Robert E. Howard, and A. Merritt
during the great age of the pulps, of course, but I did come across these
writers at just the right age, somewhere between eleven and sixteen. Ditto for
H.P. Lovecraft, Clark Ashton Smith, Ray Cummings, John W. Campbell, Eando
Binder, and Otis Adelbert Kline. I can still remember any number of gaudy
paperback covers from Avon, Ace, and other publishers. Heck, I still own a few
of those early-to mid-1960s editions. And I particularly remember Edgar Rice
Burroughs. Tarzan was fun, of course, but not fantastic enough. What I really
loved was John Carter of Mars, and the Pellucidar books, and Carson of Venus,
and the Frank Frazetta covers.
Perhaps you too loved the pulps as a child or teenager, but then didn’t read
them for many decades. Perhaps, when you did go back to them, if you have, you
reacted much as I did when, starting a couple of years ago, I began to immerse
myself in the work of A. Merritt for a scholarly edition of The Moon Pool
for Wesleyan University Press. There’s some variation from author to author, of
course—Robert Howard actually could write better than most of the other
pulpsters—but they all have a lot in common as well. The style is the first
thing that gets to you regardless of whether you’re reading Merritt or Smith or
Burroughs: by turns florid and colloquial, often archaic, occasionally quite
obviously ungrammatical. Then there’s the breakneck pacing which only makes
sense when you remember that these guys were typing in a white heat, often
sending off their work within hours of having produced it. And there’s also the
casual racism and sexism, invisible when the stories were written, invisible to
me when I first read the books, but glaringly obvious today. Ah, nostalgia!
The University of Nebraska’s Bison Books has been producing relatively
inexpensive paperback volumes in its Frontiers of Imagination series for a
number of years now. Many of the books come from the pulp era—there’s a lot of
Burroughs, and they’ve also published Hugo Gernsback, Merritt, Edwin Arnold, and
E.E. Smith—but they’ve also reprinted a fair number of more serious works, from
Mark Twain’s Tales of Wonder (2003) to H.G. Wells’s The Sleeper Wakes
(2000), and they’ve brought back into print some genuinely hard to find books,
like Mary E. Bradley Lane’s Mizora and J.D. Beresford’s The Wonder.
It should be noted, however, that the Frontiers of Imagination books aren’t
really intended as scholarly editions despite their university pedigree. Yes,
John Clute did provide prefatory material for David Lindsay’s Voyage to
Arcturus and M.P. Shiel’s The Purple Cloud, and David Ketterer
introduced the Twain volume, but most of the books in the series have
introductions by such popular science-fiction writers as Harry Turtledove,
Gregory Benford, Jack Chalker, Greg Bear, and Ben Bova. Although some of these
are quite solid, others are rather perfunctory.
Kevin J. Anderson’s introduction to Lost on Venus, the second volume
in Burroughs’s Carson of Venus series, is, unfortunately, one of the latter
sort. Things start off on the wrong foot when Anderson states that the first
book in the series, Pirates of Venus, saw print in 1929. I may be wrong,
but the earliest publication date I can find is 1932, when it was serialized in
Argosy two years before its book publication. The sequel, Lost on Venus,
first appeared in 1935. Actually, though, and rather oddly, Anderson never even
mentions Lost on Venus, the novel he is ostensibly introducing, in his
Introduction! After that brief, incorrect reference to Pirates, he
plunges into what is essentially a straightforward biographical sketch of Edgar
Rice Burroughs’s life. It’s well-written and interesting enough—who would have
guessed that Burroughs failed at so many business ventures before discovering
his knack for pulp—but it’s essentially little more than a ten-page summary of
John Taliaferro’s 1999 biography Tarzan Forever, the only book other than
Jim Gunn’s 1975 Alternate Worlds: The Illustrated History of Science Fiction,
that Anderson cites.
As for Lost on Venus itself, well, it’s quintessential Burroughs, which
is to say that you’ll like it a lot if you like this sort of thing. Our hero,
Carson Napier, late of Earth, loses the Princess Duare, and then finds her
again. They wander around Burroughs’s Venus, fighting monsters and bad guys,
proclaiming their dislike or love for each other in typically pulpish language
such as the following: “We may be together for a long time, and you must
remember that I may not listen to love from the lips of any man. Our very
speaking together is a sin, but circumstances have made it impossible to do
aught but sin in this respect” (64). The language and the plot and the
characters are all, occasionally, ludicrous, but the novel can also pack a
considerable emotional punch, particularly in the action sequences. Lost on
Venus is a fun read, a vintage pulp adventure, but it isn’t clear that the
Anderson introduction, the five original but rather uninspired J. Allen St. John
illustrations, or the University of Nebraska label add much to the package.
—Michael Levy, University of
Wisconsin-Stout
Vintage Delany.
Samuel R. Delany.
Aye, and Gomorrah.
New York: Vintage, 2003. 383 pp. $14.00 pbk.
This volume contains almost all of Samuel R. Delany’s fiction of less than
novel length. Though it excludes those pieces that form a large component of the
author’s Nevèrÿon books, very little else is missing. Most of the fifteen
stories included here were first published between 1967 and 1971, and were
included in Delany’s 1971 collection, Driftglass. The remainder were
added to the expanded version of Driftglass, Driftglass/Starshards
(1993), which, as far as I can ascertain, was not published in a US edition (in
any event, my own copy is of a 1993 British edition, released under
HarperCollins’s Grafton imprint). Aye, and Gomorrah is, in short, a new
release of Driftglass/Starshards, minus a couple of autobiographical
pieces.
In the mid to late 1960s, Delany was a dominant force in the sf field, and
the stories from that period show us why. His first published short story, “The
Star Pit” (1967), is seldom discussed, and it is easy to forget how textured and
involving it is, with its setting at the edge of the galaxy, where the viewpoint
character runs a business repairing space vehicles. All of the characters are
trapped, in one way or another, even those who have an unusual capacity to
survive the metaphysical terrors of intergalactic travel.
At this point in his career, Delany already had several successful novels
under his belt, and he was using tough, detailed, naturalistic prose to depict
extraordinary future events. He did not rely on page-turning plots or stunning
resolutions, or even on an extravagant style—though there were always a few
stylistic experiments and flourishes. The pleasure was in the detailed
realization of what it would be like for his characters to find themselves in
the strange situations that their author could imagine. The viewpoint characters
of these classic stories have their own psychological demons, and they often
live and operate at the physical or sociological margins of their respective
societies. Yet they are not so bizarre in their emotional responses that we fail
to identify with them. We immediately recognize and identify with all their
hesitations, frustrations, and doubts, while being immersed in the sensory
detail of their worlds and cultures.
Among the other stories collected here is the title piece, “Aye, and Gomorrah
…,” which first appeared in Harlan Ellison’s taboo-busting Dangerous Visions
(1967). Delany transmutes queer sociology by postulating a subculture of sexless
spacers, who return to Earth between assignments, and the “frelks” back on
Earth, who have a sexual fetish for them (the frelks are said to have
“free-fall-sexual-displacement complex”). “Aye and Gomorrah …” won Delany a
Nebula Award, while he won both a Hugo and a Nebula for his baroque and
Besteresque “Time Considered as a Helix of Semi-precious Stones” (1968).
Less well known are such pieces as “Prismatica,” a long fantasy story said to
have been written in New York in 1961, but not published until 1977, when it
appeared in The Magazine of Fantasy and Science Fiction—and evidently not
collected before Driftglass/Starshards. It is one of the delights of the
book, an original fairy tale with everything a reader of such a tale could
possibly wish for: a classically-told quest adventure; a suitably charming and
brave prince; a beautiful and clever princess; a sinister villain who gets
what’s coming to him; and a simple allegory of joy and love versus drab
conformity.
Finally, Delany’s essay “Of Doubts and Dreams” (1981), which is used here as
an afterword, is only twelve pages long—but it contains the most concise and
cogent advice I have ever read on the craft of writing science fiction. Delany
freely acknowledges that he picked up two of his three essential points from
other writers, Theodore Sturgeon and Thomas Disch. But that does not make the
essay any less valuable, either as advice for aspiring writers or as an insight
into the author’s own method and craft.
In short, any sf library that does not already have this material in other
formats should include Aye, and Gomorrah. It contains some of the most important
shorter work in the sf field, all in one handy place.
—Russell Blackford, Monash University
Art Glass.
Camille Flammarion.
Lumen. Trans. and intro. by Brian Stableford. The Wesleyan Early
Classics of Science Fiction series. Middletown, CT: Wesleyan UP, 2002. xxxv +
153 pp. $45 hc; $17.95 pbk.
The Wesleyan Early Classics of Science Fiction Series has the laudable
intention of bringing back into focus—and keeping in print—the archaeological
remains of science fiction. In such an enterprise, one worries that one will be
presented with a series of potsherds that will delight only the connoisseur.
Only occasionally will the series editor unearth, wrapped and buried in silks,
precious glass which when brushed delicately with a single hair, will sparkle
now as it did for its own time and society. Lumen may be a piece of such
glass. Brian Stableford certainly has the delicacy of an archeologist. In his
introductory essay, he gently places the text in a society eager for scientific
popularizations, capable of holding to scientific rationality yet still flirting
with spiritualism.
Camille Flammarion was a French scientific popularizer of the late nineteenth
century, an astronomer, a philosopher, and to a lesser extent, a natural
philosopher. If modern science stands on the shoulders of giants, it is also
supported by the strong arms of lesser men who, like Flammarion, made small
observations that added incrementally to scientific knowledge. The history of
his reputation, as Stableford explains, is intimately linked to our attitudes to
the scientific endeavor. Flammarion wrote for a society that had come to regard
the scientific method and scientific knowledge as the birthright of the citizen,
a crucial element in the maintenance of a Republic. As science became more
rarefied, popularization was regarded as a vulgar exercise. Casting such
popularizations in a fictional mold was relegated by the 1920s to pulp magazines
and children’s publications, but in 1872, auto-didacticism was at the center of
middle-class culture and Lumen was well received.
Lumen is that peculiar thing which is not quite yet science fiction,
but is recognizably scientific romance. An elderly man returns from the spirit
world to talk with a young follower about the world to come. What he offers is
not heaven but, in the first three chapters, a perspective on the world
dependent on the new ideas about the speed of light and the shape of the
universe. These first three chapters discuss, in turn, watching oneself grow up
by moving in from 72 light years, watching the world go backward by traveling
faster than light, and finally a form of posthumous punishment in which travel
at the speed of light forces evil-doers to watch the consequences of their own
actions for ever. These chapters are only barely fiction, but they do have an
elegiac quality that can be partially ascribed to the quality of the
translation, and partly also to Flammarion’s concern with the relationship of
the material to the spiritual.
Although Flammarion casts scorn on theories of racial difference and
hierarchy, he does not seem to be able to escape his assumption that other
species would be higher or lower in the spiritual chain. Presumably influenced
by both Christianity and Hinduism, interplanetary reincarnation is about moving
up or down the spiritual scale. What saves the novel from being a period piece
is, as Stableford points out, the sheer exuberance of invention linked to a
conviction that form fits function. Flammarion’s aliens are genuinely a product
of another place. As a taproot of both popular science writing and science
fiction, Lumen is a fascinating text. Stableford’s commentary offers a
very effective introduction that makes it readily available to the scholar and
the classroom. The result is a text that is more than a reprint. Stableford’s
introduction and translation provide genuine value.
—Farah Mendlesohn, Middlesex University
Mediating Marxism and Modernism.
Carl Freedman. The Incomplete Projects: Marxism, Modernity, and the
Politics of Culture. Middletown, CT: Wesleyan UP, 2002.
xvi + 203 pp. $65 hc; $24.95 pbk.
The Incomplete Projects combines seven previously published articles—
including three of obvious interest to sf scholars—with a long introductory
essay that ambitiously juggles the concepts adumbrated in the book’s subtitle.
Each of these eight sections is valuable and interesting, but the whole is
rather less than the sum of its parts. The table of contents refers to the seven
articles as “Case Studies in the Politics and Ideology of Culture,” which they
certainly are, but this huge umbrella would cover a multitude of potential
topics, as Freedman himself concedes. The fact is that, despite Freedman’s best
efforts to present them as diverse articulations of a cohesive set of issues,
the chapters do not really hang together. As might be expected of any such
gathering of writings spanning almost two decades of intellectual labor, they
manifest some shared concerns but remain relatively distinct products, geared
for different audiences and expressing varying facets of a mind that is (to give
the author his due) admirably catholic and erudite. It is best, then, to
approach this book as a wide-ranging collection of essays rather than as the
focused methodological study it uneasily purports to be.
Happily, the essays are always cannily argued and sometimes quite brilliant,
whether examining the crosscurrents of race and sexuality in Robert Penn
Warren’s bestseller All the King’s Men or using Roland Barthes’s myth
criticism to analyze the ideology of the TV series M*A*S*H*. Two of the
essays—on banality and seriousness in Stanley Kubrick’s 2001 and on
paranoia and social structure in the work of Philip K. Dick—will be familiar to
long-time readers of this journal, but attention should also be paid to a
powerful analysis of Nineteen-Eighty-Four (originally published in
Modern Fiction Studies), that shrewdly dissects the political ambivalences
of that landmark dystopia (Freedman’s first book was an excellent study of
Orwell). Perhaps the best essay, however, is “Labor and Politics in Dashiell
Hammett’s Red Harvest” (coauthored with Christopher Kendrick), a sharp
and subtle defense of that novel’s critique of bourgeois individualism; more
than any of the other chapters, it seems precisely calculated to address the
cultural-political imbrication of Marxism and Modernity announced as a central
focus in the introduction.
That introductory essay, though it fails to provide a convincing rationale
for the volume as a whole, is nonetheless a compelling statement of the author’s
abiding commitment to Marxist theorizing. Arguing that “as long as we live under
capitalism we will need new and continuing analysis of capitalism performed
under the rigorous guidance (which, of course, is opposed to the uncritical
adulation) of Marx’s principles” (10), Freedman offers, in forty densely-packed
pages, an exposition of the basic political-economic insights of Marx and his
followers, bringing them into provocative alignment with Jürgen Habermas’s
influential critique of Modernity as an “incomplete project,” and concluding
with a stout defense of literary/cultural analysis as a key site of “strategic
intervention” (36). In part, this essay can be read as a follow-up to Freedman’s
Critical Theory and Science Fiction (Wesleyan, 2000), articulating some
of that book’s animating assumptions within a broader horizon of
political-philosophical inquiry. Indeed, it is better read as such a meditative
coda than as a prologue to the chapters that follow it, which it illuminates
fitfully at best.—RL
Two New Studies from France.
Arnaud Huftier, ed.
La Belgique: un jeu de cartes? De Rosny aîné à Jacques Brel. [Belgium: a
Game of Cards? From Rosny the Elder to Jacques Brel.] Valenciennes, France:
Presses universitaires de Valenciennes, 2003. 304pp. 16€.
Roger Bozzetto and Arnaud Huftier.
Les Frontières du fantastique. Approches de l’impensable en littérature.
[The Borders of the Fantastic. Approaches to the Unthinkable in Literature.]
Valenciennes, France: Presses universitaires de Valenciennes, 2004. 384pp. 22€.
For our francophone readers, here are two new and very worthwhile books that
have recently come to my attention—one featuring a collection of essays on J.-H.
Rosny aîné (who might be called the “H.G. Wells of France”) and one focusing on
“The Borders of the Fantastic” (in the European sense of fantastique à la
Todorov, rather than in the IAFA sense of “fantastic” as an umbrella term for
horror, sf, and fantasy). Both are published by the Press of the University of
Valenciennes located in the extreme northwest corner of France, near Lille and
the Belgian border.
As its title would seem to suggest, the first volume seems to suffer from an
acute case of thematic schizophrenia—it doesn’t appear to know what it wants to
be. Over two-thirds of its content are devoted to the life and works of the
Franco-Belgian sf writer J.-H. Rosny aîné. But, curiously, three additional
essays on very different—albeit generally Belgium-related—topics (the town of
Roubaix, Jacques Sternberg, and Jacques Brel) are tacked on at the end. Since
the latter contributors all list their affiliation as the University of
Valenciennes, one wonders if their inclusion in this collection was done as a
courtesy to publish the work of graduate students or if there were other motives
involved (e.g., perhaps these were the acts of a conference?).
As for the pieces on and by J.-H. Rosny aîné, they are very good—the best
collection of articles on Rosny that I have seen in recent years. Arnaud
Huftier’s “Rosny aîné et les frontières” [Rosny the Elder and Borders] dicusses
Rosny as a mainstream writer—who even served as president of the Académie
Goncourt—as well as a seminal sf writer. Roger Bozzetto’s “Rosny et ses chimères”
[Rosny and his Chimera] focuses mostly on Rosny’s “alien encounter” narratives.
Eric Lysøe’s “Rosny, poète de l’impur” [Rosny, Poet of the Impure] defines
“impure” as the intentional mixing of genres, registers, and patterns of
referentiality by Rosny in his sf texts. Guy Costes and Joseph Altairac’s “Une
lost-race ‘nouvelle’… perdue” [A Lost-Race Short Story ... Lost] presents a
short prehistoric tale by Rosny that was previously unknown: “La Résurrection de
mon oncle Jérôme” [The Resurrection of My Uncle Jerome]. Paul Jamati’s “Le
Premier Couple” [The First Couple] is a similar short story published in 1925 by
an admirer of Rosny. Arnaud Huftier’s “Déliquescence et déplacement du
merveilleux scientifique: M. Renard, A. Couvreur et Rosny aîné” [Decay and
Displacement of the Scientific Marvelous: M. Renard, A. Couvreur, and Rosny the
Elder] analyzes how these several French sf writers of the 1920s positioned
their works within the evolving genre definitions of the time. Gérard Klein’s
“Aperçu sur la taxinomie de variétés du roman dans l’œuvre de Rosny aîné” [A
Brief Look at the Taxonomy of the Variety of Novels in the Work of Rosny the
Elder] examines how Rosny viewed his own writings in the context of specific
genre labels and expectations. Daniel Compère’s “Les Déclinaisons de l’aventure
chez Rosny” [Declensions of Adventure in Rosny’s Works] discusses Rosny’s many
non-sf “adventure” novels—the genre epithet “adventure” being defined very
broadly—published during the 1920s. Hubert Desmarets’s “D’un horizon à l’autre :
L’Etonnant Voyage de Hareton Ironcastle” [From One Horizon to the Next:
The Amazing Journey of Hareton Ironcastle] offers an analysis of this
famous 1922 Rosny sf novel, probably his most self-reflexive and synthetic.
Jean-Pierre Picot’s “L’Etonnant Voyage de Hareton Ironcastle : un hapax
générique” [The Amazing Journey of Hareton Ironcastle: A Generic Hapax]
is another analysis of this—at times, Céline-like—novel, which is a “one of a
kind” in Rosny’s oeuvre. Jean-Michel Pottier’s “Fin de carrière, fin des temps :
Les Instincts” [The End of a Career, the End of Time: Instincts]
takes a look at Rosny’s last novel, published in 1939. J.H. Rosny aîné, “Hommes
et choses. Le Monde contemporain et les instincts primitifs” [Men and Things:
the Contemporary World and Primitive Instincts] concludes this part of the book
with a very prescient little essay by Rosny on the seeds of barbarism still
present in modern humanity (written in 1937-38 during Hitler’s rise to power).
As mentioned, in addition to the above—uniformly impressive—essays on Rosny,
this collection also features three articles tacked on to the end of the book,
all apparently spun off from graduate theses on Belgian topics done at the
University of Valenciennes and grouped under the rather elusive heading of
“Varia: entre frontières et cartes” [Varia: between borders and maps]. Chantal
Pétillon’s “Roubaix, une ‘colonie’ belge” [Roubaix, a Belgian “colony”] is a
sociological study of the patterns of Belgian immigration in the small French
town of Roubaix during the nineteenth century. Delphine Plouchart’s “Le Récit
belge de l’absence, ou la thématique de l’Entre-deux, l’exemple de Jacques
Sternberg” [Belgian Narratives of Absence, or the Theme of Between the Two, the
Example of Jacques Sternberg] analyzes the work of writer Sternberg from a
distinctly deconstructionist viewpoint. And Stéphane Hirschi’s “Ce Pays don’t
Brel a fait tout plat...” [This Country that Brel Made All Flat]—referring, of
course, to Brel’s famous song about Belgium “Le Plat Pays” (1962)—offers an
interesting discussion of all things Flemish in Brel’s oeuvre.
Roger Bozzetto and Arnaud Huftier’s Les Frontières du fantastique, by
contrast, is a book that is both more focused (exclusively on the
“fantastic”—there are no pieces on geography or francophone singers) and broader
in its thematic and generic sweep (ranging from Poe to Bradbury and from “hard”
sf to a fantasy tale by Salman Rushdie). Begun, appropriately, with a series of
essays—authored, as throughout the book, alternately by either Bozzetto or
Huftier—on how the “fantastic” seems to be defined in the world today, the
remainder of its contents is organized into five “borders of” groupings:
religion and myth, reason, science, law, and magic. For example, in the religion
and myth section, one finds an article by Bozzetto on “Fantastique et religions”
which discusses how gothic fiction recycles and makes reference to—or, at times,
refuses to make reference to—certain discourses, philosophies, and
“supernatural” iconographies of organized religion. In the “reason” grouping is
located the essay “Médecins et fantastique au XIXe siècle” by Huftier on the
portrayal of doctors in a variety of fantastic stories of the nineteenth century
from Irving’s “The Legend of Sleepy Hollow” (1819) and Hawthorne’s “Dr.
Heidegger’s Experiment” (1837) to Stoker’s Van Helsing in Dracula (1897) and
Conan Doyle’s “The Black Doctor” (1898). In the “law” section, two articles by
both editors focus on the character of the detective in fantastic narratives and
demonstrate how porous the boundary can sometimes be between the genres of
detective fiction and gothic fiction. Finally, included in the “magic” grouping
is a delightful piece by Bozzetto on Salman Rushdie’s first novel, a 1975
fantasy called Grimus, described as a kind of generic and ideological “melting
pot.” The book concludes with an extensive primary and secondary bibliography as
well as an index of proper names and titles of works.
For all SFS readers interested in the French sf pioneer Rosny aîné or in the
borders of the sf genre that overlap into the “fantastic,” I recommend these two
new studies from France.—ABE
Short Essays on Russian Film.
Evgeni Kharitonov and Andrei Shcherbak-Zhukov.
Na ekrane-Chudo: Otechestvennaya kinofantastika
i kinoskazka [The Wonder on the Screen: National Fantastic, SF,
and Fairy Tale Films]. Moscow: NII Kinoiskusstva, V. Sekachev, 2003. 320 pp.
This book consists of eighteen short essays about, and a filmography of,
Russian/Soviet films in all fantastic genres. Most of the essays (each written
by one of the two authors) discuss the fantastic works of one director, or the
films based on one author’s works, while a few cover more general themes such as
animated films, and one is actually an interview. Of the five writers discussed,
four are sf writers: A. Tolstoy, A. Belyaev, the Strugatskys, and Kir Bulychev;
one, Evgeni Schwarz, wrote fantastic philosophical and social parables that
Brecht might have written had he turned to fantastic literature. Most of the
essays were first published in Russian sf magazines, some in magazines dedicated
to cinema, and a few appear here for the first time.
The filmography makes up three quarters of the book. It gives the usual data
and, in most cases, a short description of theme and plot. The filmography is
alphabetized by film titles (with animated films in a separate section), and an
extra index puts the films in chronological order. While the essays are centered
(although not exclusively) on science fiction, the filmography contains a large
number of fairy tale films. The presence of the fairy tales, or rather the lack
of distinction between them and the other fantastic film genres, is the only
serious shortcoming of the whole book: there is not even an index that would
give an overview of the different genres, and while the filmography seems to be
very complete for sf and the other fantastic genres, it clearly presents only a
few of the fairy tale films without making clear why some were included and
others were not.
—Erik Simon, Dresden, Germany
Illuminating Dick.
Gabriel McKee. Pink Beams of Light From the God in the Gutter: The
Science-fictional Religion of Philip K. Dick.New York: UP of America, 2004. ix + 84 pp. $22 pbk.
Is Science Fiction Studies the right place for this review? I ask
because the author of this monograph claims that “this book is not about science
fiction. It is about theology” (vii). Philip K. Dick has discussed theology or
more accurately, theologies, in his fiction, but Gabriel McKee focuses more on
Dick’s religious non-fiction. Since McKee claims that “Dick’s writings pose
religious questions to the human beings of the future” (ix), one might argue
that the proper place for this review might be a journal of theology.
I believe, nevertheless, that PKD scholars will have to take Pink Beams of
Light into account as they consider his fiction, not so much because Dick’s
writings “blend religion and sf in a truly original way” (ix) as because the
theological questions and concepts that interested Dick are necessary for
interpreting his sf. PKD scholarship “can easily be a match for anyone if it
enlists the services of theology,” as Walter Benjamin said of historical
materialism in his “Theses on the Philosophy of History” (1950).
McKee charts Dick’s religious thinking from the (in)famous 2-3-74 experience,
seen as the source of Dick’s religious reflections. This is the time from
February to March of 1974 when Dick began hallucinating Kandinsky paintings and
seeing strange pink beams; he later became convinced that someone—God, aliens,
the apostle Thomas—had contacted him. The first chapter of Pink Beams of
Light, “Anamnesis, 1 Corinthians, and Rocket Ships: Philip K. Dick as
Religious Philosopher,” offers a summary of the experience, drawing mostly from
Sutin’s Divine Invasions (1989), Dick’s letters, and some interviews. It
then explores Dick’s interpretation of 2-3-74 in the Exegesis (only partially
published as In Pursuit of Valis [ed. Lawrence Sutin, 1991]), and
connects it to the Valis Trilogy (Valis [1981], The Divine Invasion
[1981], and The Transmigration of Timothy Archer [1982]). McKee then
offers a remarkably original section in this opening chapter called
“Philosophical Concerns in Dick’s Writing Before 2-3-74,” in which he outlines
Dick’s religious concerns before what has until now been considered the turning
point of his life. McKee reminds us that Dick had “joined the Episcopal Church
in 1963,” thus abandoning “the atheism of his Berkeley years” (13). That
conversion triggered Dick’s interest in the doctrine of transubstantiation, the
basis of The Three Stigmata of Palmer Eldritch (1964). After reading
McKee’s discussion, one might rethink or even reject Darko Suvin’s remarks about
the banality of Dick’s theological ideas. The first chapter ends with a
discussion of two of Dick’s most pressing questions: what is human and what is
reality. While McKee offers nothing really new here, he does connect Dick’s
questioning of the nature of humanity with Martin Buber’s meditation on the
it-world of impersonal relationships as opposed to the you-world of
interpersonal relations. McKee sets up a fascinating and promising short circuit
among Buber, the Holocaust, and Dick’s motif of empathy. This would be useful in
reconsidering The Man in the High Castle (1962) and The Simulacra
(1964), for example.
The second chapter, A Scanner Darkly: Dick as a Christian Theologian,”
aims at challenging the widespread opinion that Dick was a Gnostic writer. McKee
reviews much of the scholarship regarding Dick’s religious experience and the
fiction based on it, scholarship that does not often recognize that the term
Gnosticism “generalizes a number of heterogeneous religious communities and
obscures the broad differences between them” (28). McKee goes on to argue that
“it is problematic and inaccurate to attempt to find one category that can
describe the entire breadth of Dick’s metaphysics” (29), a statement that anyone
who knows Dick’s oeuvre in its entirety must endorse. The ensuing discussion
offers evidence of Taoist and Buddhist elements in Dick’s fiction and
non-fiction (27, 29), persuasively pitting Christian mainstream against Gnostic
elements, and highlighting the relevance of Paul’s writings and John’s Gospel to
Dick’s theological reflections and fictional constructs. It is puzzling,
therefore, that McKee ends this central chapter with a section about “The
Centrality of Christ in Dick’s Religious Writing.” I agree with him when he
claims that “it is both a mistake and a disservice to the right variety of
Dick’s religious ideas to describe his entire experience and process of
interpretation ... with a single categorical designation” (29), that is,
Gnosticism. But why then should we describe Dick’s body of work with the single
categorical designation of “Christian”? And why should we necessarily define a
center in a writer who so stubbornly and passionately challenges our notions of
center and periphery, and who is definitely not (as McKee acknowledges) a
systematic thinker? A system necessarily implies the demarcation of center and
periphery. We are dealing with the products of a restless man who declared
himself to be both “Fascistic” and Marxist (Dick, In Pursuit of Valis,
Publishers’ Group West, 1991:140, 175 ). McKee is persuasive when he spots, here
and elsewhere in the book, the heterogeneous threads of Dick’s intellectual
texture; he is not so persuasive when he argues that the texture shows a single
coherent image.
The third and concluding chapter is entitled “Infinity, Play Again: The
Nature and Importance of Dick’s Religious Speculations.” It deals with the
ingrained unsystematic character of Dick’s theological speculations: McKee
claims that since “Dick threw himself into each new theory with energy, fervor,
and conviction, he needed to discount old hypotheses in order to move on to new
ones” (47). Yet something is constant in Dick’s endlessly shifting theological
interrogations, and that is the basic idea of the unreality of the cosmos—what
we see is not what we really get. Hence, according to McKee, Dick is fascinated
with the theology of Martin Luther, who posits a God “hidden in his suffering”
(Luther, qtd. McKee, 58). The connection between Luther and Dick is extremely
interesting, and, given the widespread Pauline elements especially in his last
works, such as The Transmigration of Timothy Archer, it is not all that
far-fetched, since Luther was deeply influenced by Paul. But McKee does not give
us any detailed reference: although he writes in a footnote that “Dick certainly
read Luther, as he cites him on several occasions” (58), he does not tell us
where and how. McKee says that his “comparison ... is not to suggest such an
influence, but rather to use Luther’s thought to illuminate Dick’s ideas” (58).
This is certainly a legitimate strategy, but had he told us where Dick had
quoted Luther, McKee would have had enough evidence to support a direct
influence.
The chapter then traces one of Dick’s many abrupt reversals: after
mistrusting physical reality, he begins to approach the theology of Teilhard de
Chardin, who proposes God’s immanence in the universe as the cosmic or Universal
Christ (61). God is hidden, yet he does not hide behind the Creation, but in the
Creation, in “the solid, organic reality of a universe, taken from top to bottom
in the complete extent and unity of its energies” (Teilhard de Chardin, qtd.
McKee, 61-62). It is a pity that McKee contents himself with saying that “Dick
is in complete agreement with Teilhard de Chardin here, and in the Exegesis he
frequently acknowledged the similarities between their theories” (62). Once
again McKee omits telling us where and how Dick quoted the theologian, and
therefore he misses the opportunity to write a much more useful book. A cursory
search of In Pursuit of Valis allowed me to find Teilhard mentioned in a
highly meaningful passage, where Dick says, “as Teilhard de Chardin says—mankind
following Christ as a species along the stations of the cross—I went through the
vicarious experience of the Passion ... or was it vicarious? It was real” (26).
Such a statement, its theological value aside, casts light on the figure of
Mercer in Do Androids Dream of Electric Sheep (1968), undoubtedly one of
Dick’s key works. The virtual prophet Mercer, who painfully climbs the barren
hill, can be seen as a vicarious representation of Dick’s own experience,
something like Teilhard’s notion of the human species following the stations of
the cross and thus becoming the Universal Christ. We are not far from those
apocalyptic images studied by Northrop Frye in his Anatomy of Criticism
(1971), and close to the core of Dick’s symbolism. McKee doesn’t follow this
path, however, probably because his main aim is to outline Dick’s theology, so
he tells us that Teilhard de Chardin’s God, who incorporates the multiple (that
is, the universe), is, in Dick’s terms, “a form of transubstantiation: God, as a
mimicking, undetectable being superior to human beings, is altering the
substance of the universe and infusing it with and thus incorporating it into
its infinite Being” (McKee 62). We are extremely close to Ubik (1969),
yet McKee does not make the connection.
In spite of these gaps, the monograph is nevertheless useful for literary
critics because it is full of interesting suggestions about Dick’s less obvious
sources, be they literary, theological, or philosophical. Only a careful,
complete mapping of his sources might allow us to fully understand the workings
of Dick’s narrative strategies, and from this point of view, McKee’s monograph
is a step forward.
I am not competent to judge McKee’s final claim that “Dick’s religious
thought is certain to become an invaluable part of the future world of the
spirit” (72). Dick might well be read as a gifted, albeit flawed writer and
thinker (just like Nietzsche and Pascal, for example); it is, however, Dick’s
literary side that interests us here. But, even if considered on a purely
theological basis, McKee’s monograph is marred by a defect that, while not
nullifying the value of the book, nevertheless bars what could be the most
stimulating development of his discussion. He maintains that “Dick himself never
rejected religious interpretations of his writing, and seems to have thought
such interpretations more valuable than more secular, political analyses” (26).
While Dick’s theological side is important to his writing—and McKee proves that
it is—doesn’t it have a political component as well? McKee notes the relevance
of Dick’s 1982 statement about the sick man in need of hot soup being more
important than the ravishment of divine ecstasy (35). Should we not read that
statement as parallel to Angel Archer’s refusal to accept Timothy Archer’s
divine madness in The Transmigration of Timothy Archer? In other words,
are not Dick’s theological speculations a reflection on a fallen condition that
is also a political condition? The Black Iron Prison, the Demiurge, Satan, if
you prefer, are ways to reflect theologically on a personal crisis (the 2-3-74
experience comes after Dick’s drug years, the wreckage of his emotional life,
and so on), but also to reflect on an historical moment (the repression of the
counterculture of the 1960s, Nixon, Watergate, etc.). At the end of his
theological “adventure,” Dick wrote one of his most historical novels, The
Transmigration of Timothy Archer, in which the collapse of the
counter-cultural generation of the 1960s is brilliantly portrayed. This should
tell us that Dick never completely abandoned secular, political concerns, and
that his theological speculations should always be analyzed within their
historical and political contexts. Even the 2-3-74 experience, the starting
point of McKee’s discussion, can be envisioned (like many Biblical prophecies)
as having a strong political component that cannot be totally obliterated by any
ecstatic mysticism, no matter how huge a dose of it is present in the published
pages of the Exegesis and in Dick’s final Valis Trilogy.
In fact, we should not forget that part of that purportedly mystical and
religious experience was Dick’s overwhelming feeling of having actually lived in
first-century Rome at the zenith of the Roman Empire (3). Could not the vision
of imperial Rome and early Christian communities be a quasi-Blakean vision of
contemporary political concerns about the American Empire? Obviously, we cannot
reduce Dick’s theology to politics alone, yet we cannot dismiss it either. McKee
seems to have done just this, and that is probably the major defect of his
otherwise commendable analysis.
—Umberto Rossi, Rome
From E.T. to Betty Crocker.
John F. Moffitt.
Picturing Extraterrestrials: Alien Images in Modern Mass Culture.
Amherst, NY: Prometheus, 2003. 595 pp. $30.00 hc.
Moffitt’s Picturing Extraterrestrials is a mammoth volume dedicated to
analysing the image of the alien in popular culture and the American psyche.
Taking as his inspiration the fact that a recent poll showed that two thirds of
Americans believe the US Government is not telling the truth about UFOs, and
that both the The X-Files and E.T.: The Extraterrestrial (1982)
have become an integral part of the national cultural imagination, Moffitt
posits the question: “Why is the alien such a popular figure in contemporary
culture?” (27). To answer this question Moffitt’s research takes him through a
myriad of popular images, ranging from modernist apocryphal portraiture to alien
abductions, visitations, Betty Crocker, Henry Fuseli’s Nightmare, UFOs, New
Ageism, sf film and television, and Jesus Christ. The sheer number of case
studies Moffitt uses is evidence that we, and especially Americans, have taken
the image of the Other and made it into a living, sentient being. The alien is
as much a part of our cultural heritage as is Star Trek or Van Gogh, and
because of this it is impossible to separate the alien from attempts at
understanding ourselves and what it means to be human. As Moffitt states, “we
need… to establish the overwhelming importance of our subject, the awesome
‘fact’ of any number of extraterrestrials lurking among us, with their
portraiture being a necessary offshoot of their increasingly close encounters
with our merely mundane selves” (24).
Moffitt identifies several possible reasons for the omnipresence of aliens in
contemporary culture. First is the profitability of the UFO industry. Moffitt
points out that he received no advance royalties for writing this book, focused
on analyzing aliens and abduction stories as fiction, whereas the (in)famous
Professor John Mack, professor of psychology at Harvard Medical School, received
a $250,000 advance for his Abduction: Human Encounters with Aliens (1994)
because it was seen as a work of non-fiction (26-27). This is a compelling
insight into the “alien industry” and Moffitt explores that market throughout
American history. The second reason behind the rise of E.T. can be
ascribed to the development of certain cults in American society, whose
followers, according to Moffitt, turn the UFO experience into a postmodern
alternative religion. The “‘abduction by aliens’ stories, and the infotainment
industry that supports them, are a symptom of a larger syndrome, a general
‘occultation’ of the modernist mentality” (424). This may be true; there is no
doubt that the images of the alien visitor and the UFO carry great spiritual
worth for a number of people. In some cases, the aliens have replaced
traditional symbols of religious faith, and believers (many of them abductees)
gather together to worship the extraterrestrial as a Christ figure. At a
fundamental level, then, the alien might represent that which we feel is missing
in our lives.
Moffitt seems more interested in how the alien has become such a pervasive
figure. An art historian, he locates the first signs of the alien in artwork
depicting Christ’s image and in visions of him in the writings of Saint Teresa
de Avila (1515-1582). Just as we instinctively know what an alien looks like
because it has been seen over and over again in the media, personal accounts of
visions of the Lord began to influence the iconography of artwork showing the
image of Christ (43-44), and his image has become standardized over time. The
alien as popular image has been invented in stories describing abduction and
visitation and its iconography has become standardized as well. The alien of
media fame, usually bug-eyed with spindly limbs, is a result of society’s
attempts to understand momentous and inexplicable events. As we have become used
to the story of alien abduction we also convince ourselves that, if aliens do
come to Earth and introduce themselves en masse, they will look like E.T. In sf,
however, there is more to the alien than bug-eyed monster, and so Moffitt’s
limited scope is open to criticism since he takes as his subject only the
stereotypical, popular iconography of the alien (E.T. being the most
familiar), while ignoring other images of the alien.
Debunking the UFOlogists, attributing their fascination for the alien to
traditions in art history, is the central thrust behind much of Moffitt’s
argument. He goes into some depth with analyses of cinema aliens in movies such
as E.T., Close Encounters of the Third Kind (1977), Communion
(1988), Independence Day (1996), and X-Files: The Movie (1998),
but does not go further by pointing out their roots in sf literature. He does
not explore ideas of the non-corporeal alien, nor does he consider the alien
unknown, common to the fiction of Arthur C. Clarke, for example. Alien forces
lacking the typical alien body are not relevant to a study concentrating on the
physical image in popular culture, perhaps, but other ideas of the alien than
the small bug-eyed being are also part of popular culture or of sf, and
therefore should be considered, even if only in contrast to the stereotypical
iconography. While Moffitt is looking at how we picture the alien in mass
culture as a way of understanding our fascination for the other, there is just
as much to be said about how we imagine the alien in literature, as a means to
understand ourselves and our relationship with the universe.
From E.T. to Betty Crocker, Moffitt’s Picturing Extraterrestrials is
an informative read and a much-needed work on the alien image in popular
culture. Learning why people continue to believe in UFOs and abductions is an
important step in learning why we care at all about the strange, the wonderful,
and the alien. Yet such a large examination of the subject (14 chapters and 595
pages) often concentrates too much on the general and not enough on the
particular.
—Lincoln Geraghty, University of Nottingham, UK
Tracking Lem.
Jacek Rzeszotnik.
Ein zerebraler Schriftsteller und Philosoph
namens Lem [A Cerebral and Philosophical Writer Named Lem] Acta Universitatis
Wratislaviensis 2531. Wrocław: Wydawnictwo Uniwersytetu Wrocłaskiego, 2003. 278
pp. Z25.00 pbk.
Jacek Rzeszotnik, a Polish professor of German philology with a great interest
in fantastic literature, has published widely on the subject in German. This
book, a post-doctoral thesis, traces Stanisław Lem’s critical reception in the
German-speaking countries. Lem’s German agent Wolfgang Thadewald guaranteed that
Rzeszotnik had access to all materials on Lem published in German. The first
main part, “Autorenbild” (portrait of the author), gives a picture of Lem as a
writer and philosopher of science as it emerges from the German reviews. In the
second part, “Werkbild” (description of works), Rzeszotnik selects
representative samples from Lem’s rich body of works. Rzeszotnik by no means
examines the German reviews and essays one by one. On the the contrary, he
abstains from any evaluation but extracts from each work its relevant points. In
this respect, Rzeszotnik’s book is very different from an earlier thesis by Dr.
Dagmar Ende, who examines the portrayal of human beings and society in selected
sf works by Lem and their reception in the literary criticism of the German
Democratic Republic between 1954 and 1990 (Untersuchungen zum Menschen—und
Gesellschaftsbild in ausgewählten Science-Fiction-Werken Stanislaw Lem und zu
deren Aufnahme durch die Literaturkritik der DDR 1954-1990 [Researches into the
Portrayal of Human Beings and Society in Selected Works of Stanislaw Lem and
their Reception in the Literary Criticism of the GDR 1954-1990], 1992).
Rzeszotnik uses a careful and sophisticated arrangement of quotations, amply
documented in the footnotes and supplemented by further, extensive quotations.
The result is a running critical narration that is as wide-ranging as it is
penetrating. The author stresses that his book is by no means intended as a
“review” of the reviews of Lem, and will not enter into any discussion as to the
validity of insights or interpretations of Lem’s texts; nor will it take part in
a discourse on the aesthetics of reception. Rzeszotnik does not differentiate
between reception in the GDR (East Germany) and GFR (West Germany), since he
rightly points out that although criticism on Lem began in the GDR and was
therefore subject to certain ideological restraints, later interpretations
converged more and more. The first Lem translations, of Astronauci (The
Astronauts, 1951/trans. 1954) and Obłok Magellana (The Magellan Nebula,
1955/1956) were true to these ideological requirements.
A book such as Rzeszotnik’s would be possible only in the German language. “For
although Lem is without doubt the greatest Polish export success” (17), there
are great differences of reception in the various countries in which Lem has
been published. Lem probably had the greatest circulation in the Soviet Union,
but there is no Russian criticism that would be worthy of investigation. Almost
the exact opposite is the case in the Anglophone countries, where Lem was
reviewed in The New Yorker, Newsweek, Time, and The New York Times, and has
especially found attention in academic circles, but is ignored or actively hated
by sf readers and had only minuscule publishing runs. Indicative of this
situation is that until the remake of Solaris with George Clooney (2002), the
Science Fiction Book Club never offered a single volume of Lem’s. None of Lem’s
hardcover editions sold more than a few thousand copies in the Anglophone
countries, and his paperback sales were not significantly higher. Lem owes his
presence in the US book market to Harcourt Brace, which arranged for good
translations (at great cost and unappreciated by the author) and kept his books
in print despite abysmal sales figures. This is exceptional in US publishing,
and other publishers would have pulped his books long ago. The only Lem book
that was a middling paperback success, even before the Soderbergh film, is
Solaris (1961).
And Solaris was, thanks also to the great Tarkovsky film of 1971 (which Lem
hated as much as the new film), his greatest international success, appearing in
countless translations and still in print in many countries. In most European
countries Lem was translated in many different editions, but hardly any of those
books went beyond a first printing. They appeared almost exclusively in sf
series, and their success must be seen as part of the international success of
the genre. There was, however, hardly any critical reception, just newspaper
reviews of no importance, often as part of a column on sf books by various
authors. Lem was relatively successful in Japan where some paperbacks sold quite
well, and where the publisher Kokusho Kankoukai now offers a standardized
edition in six volumes. In Japan there was also some criticism published: the
January 1986 Eureka was devoted to the theme of “Stanislaw Lem: Postmodernism
and SF,” and Hayakawa’s SF Magazine published a Lem issue in January 2004, but
most of the contributions there were translations such as Peter Swirski’s “Lem
in a Nutshell” from his A Stanislaw Lem Reader (1997).
The great exception is Germany—both Germanies. There Lem’s work had a high
circulation, there he was paid high royalties (over the years several million
German Marks—more than for all his other translations combined), and there he
was amply discussed, if mostly in specialized sf criticism. Rzeszotnik makes no
distinction in his discussion between respected high-circulation newspapers like
Frankfurter Allgemeine Zeitung, Spiegel, or Die Zeit, and amateur publications
with a circulation of only a few hundred copies (like my own Quarber Merkur).
Larger studies of Lem’s work are rare in Germany, including only a couple of
essay collections by various hands, and three books by Polish scholars: Jerzy
Jarczebski’s Zufall und Ordnung (1986), especially written for German
publication and still unpublished in Poland in this form; Zygmunt Tecza’s
monograph Das Wortspiel in der Übersetzung (Stanislaw Lem’s play with the word
as the subject of interlingual transfer, 1997), and Stanisłlaw Bereś́s
Rozmowy z
Lemem (Conversations with Lem, 1987/1986), published in German before its Polish
appearance. The only exception is Bernd Gräfrath who has so far written three
books mostly on Lem’s philosophy. “The mass of the receptive task in German is
formed by interviews, followed by newspaper pieces, overviews, and single
reviews and short notices in the press” (20).
In Germany almost everything by Lem has been translated, even the juvenile
Clowiek z Marsa (The Man from Mars, 1946/1989) and his earliest borderline sf
techno-thrillers such as “Plan Anti-V” (published for purely monetary reasons).
But Obłok Magellana has never been published in the GFR, perhaps because the
author didn’t wish it to became known that he had ever held Marxist views. His
non-fiction has also been translated and published in Germany, most of which had
never been translated anywhere else in the world, including Filozofia Przypadku
(The Philosophy of Chance, 1968/1983 and 1985, in a greatly revised version),
Dialogi (Dialogues, 1957/1980), and even some of his most recent and rather
uninspired volumes of essays. That even those difficult works have been
translated into German is due to Lem’s main German publisher Suhrkamp. But Lem’s
successes in Germany were his sf books, most of all Solaris (trans. 1972), which
sold some 400,000 copies, followed by The Star Diaries (165,000 copies,
1957/1961 and 1973), and The Futurological Congress with 145,000 copies
(1973/1974). The Star Diaries was more successful in Germany than anywhere else.
In Germany, as elsewhere, Lem was recognized primarily as an sf author. Without
sf, which Lem holds in low esteem, he would never have achieved so many
translations and would have the same marginal position internationally that he
holds in Polish literature.
In the second part of his book, Rzeszotnik discusses as representative examples:
“Juvenilia” (The Man from Mars); “Realistic Fantasy in the Spirit of Dialectical
Materialism” (The Astronauts, 1951); “Realistic Prose” (Hospital of the
Transfiguration, 1956); “Ideological Experiments” (Eden, 1959); “Gnosological
Experiments” (Solaris); “Ontological Experiments” (Memoirs found in a Bathtub,
1961); “Political Experiments (“Wizja Lokalna,” 1982); “Metaliterary
Experiments” (A Perfect Vacuum,1971); “Experiments in Literary Criticism”
(“Science Fiction and Futurology,” 1964); “Socio-critical-satirical Experiments”
(The Star Diaries, Memoirs of a Space Traveler); “Experiments in Power Politics
and Allegory” (The Futurological Congress, 1973); “Autobiographical Experiments
(High Castle, 1966); and “Prognostic Experiments” (“Summa Technologiae,” 1964).
The volume also contains a bibliography of the first German editions of the
works discussed, and a bibliography of the literature quoted.
As noted, aside from concise introductory remarks, the author rarely offers any
evaluation of Lem’s criticism. Rzeszotnik skillfully arranges quotations as a
running chain of arguments, sometimes resembling a critical debate, which is
especially apt, since Lem’s works derive their interest only partly from their
surprising plots, and least of all from character development, but most from the
clash of often elegantly presented and contradictory intellectual arguments that
cover Lem’s fields of interest, so that Rzeszotnik’s manner of presentation
resembles that of his subject.
Rzeszotnik considers only German-speaking critics, which is a disadvantage since
it isn’t clear how much criticism about Lem has been translated into German, and
to what extent Lem’s writings on his own works are available in German. Istvan
Csicsery-Ronay, Jr. remarked once how much Lem has himself influenced and shaped
the criticism about his work, not only by direct statements, but also by the
parallelism of the argumentation in his fiction and non-fiction. M.R. Becher
also said that Lem loves to reflect on his own work (185). This is especially
true of German criticism, which has mostly taken Lem’s statements at face value,
especially his criticism of sf, without recognizing their vanity. Lem’s manner
of theorizing suits German preferences and acknowledges what the German reader,
especially the reader not familiar with science fiction, holds to be the most
valuable part of science fiction. There are hardly any reviewers who would
question Lem’s claim for sf as a literature of ideas, or who would accuse him of
not meeting his own intellectual standards. Perhaps because Lem argues very
teutonically, and because in German sf, theory, the play with ideas, and thought
experiments have been deemed more important than purely literary matters, Lem
has his greatest successes in Germany (while in the neighboring Netherlands he
is almost completely unrecognized). But aside from Gräfrath, only K. Podak has
discussed Lem’s philosophy, and his verdict is totally negative. For him, Lem is
a “philosopher without a philosophy .... He is not a scientist, although he is
well versed in many arts of thinking and the laboratory” (62) The most grievous
criticism comes from literary scholars who find Lem’s work on sf, Fantastyka i
fugurologia (1964), weak in its terminology (“imprecise and diffuse”), accuse
him of unstructured theorizing, and hold his definitions to be “nebulous and
contradictory” (C.W. Thomsen, qtd. 188). Here, Lem doesn’t meet his own
requirements, he uses terms and theories idiosyncratically, and he confuses
“structural or even structuralistic analyses with—at best witty—paraphrases and
the analysis of thematic strata” (188).
Lem proves himself well-versed in the juggling of philosophical-theological and
cognitive elements of science and culture, but he always allows himself the
escape hatch of fiction. Finally, he is neither a philosopher nor a scientist,
but a fabulist with a rich fund of philosophical and scientific materials,
contaminated, however, by popular culture. The achievements of this versatile
author are indeed admirable, but there are indications that he is “in general
not appreciated and honored as a philosopher and scientist, neither by science
nor his readers, and this has caused Lem deep wounds” (60): “Lem’s decision to
turn away from literature and to devote himself exclusively to ‘serious’ essay
writing may be gauged as a desperate attempt to get away from the discriminatory
odium of a fantasizing author, that is, a fiction writer who is not to be taken
seriously” (62). If this assessment hits the mark, then Lem’s decision to turn
exclusively to non-fiction was a fatal mistake, as is shown by the deplorable
quality of his recent volumes of essays, whose nature is journalistic, not
scientific or philosophical.
Rzeszotnik presents an overwhelming wealth of material, and this material has
also been persuasively organized into a richly faceted picture of the writer and
thinker. Rzeszotnik makes abundantly clear that German critics—and Lem
himself—are interested above all in the intellectual content of Lem’s work,
while the interest in its poetic and narrative aspects is negligible. Even for
those familiar with Lem’s work and its reception in Germany, Rzeszotnik offers a
wealth of new insights.
—Franz Rottensteiner, Vienna
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