John J. Pierce, formerly of Galaxy, is also the
author of an ambitious three-volume historical analysis of sf which appeared from
Greenwood Press in 1987-89. More comprehensive and balanced than James Gunn's history but
less cosmopolitan and literary than Brian Aldiss's, Pierce's studies were knowledgeable,
detailedand almost fatally bland. His new book, Odd Genre, seems partly
composed of outtakes from those earlier volumes, but is far livelier, more engaging, and
likely to be of greater use to both scholars and readers. Pierce's focus here is on the
question of how sf relates to other genres and to mainstream literature in general, and
while he doesn't offer much that's persuasive in terms of literary theory and seldom
analyzes anything at length, his extraordinarily wide reading and headlong coverage give
the book an undeniable value as a reference: in 173 pages of text, Pierce manages to touch
upon more than 600 separate works, and usually finds something useful to say about each
one.
Theoretical questions occupy only the first two chapters,
in which Pierce considers questions of genre and the "genrefication" of sf, and
offers a rather conventional view of defamiliarization as a central sf technique.
Misreading Darko Suvin's concept of "cognitive estrangement," he argues that sf
is instead a literature of "cognitive engagement"that sf presents strange
new realities for their own sake, not as a new angle of vision on the "real
world." I don't think this is at all convincing, but it sets the stage for Pierce's
general approach to the fiction, which is that of an informed and intelligent old-line sf
reader, convinced of sf's innate value and vaguely distrustful of newer, more metaphorical
or ideological approaches. He doesn't seem to grasp feminism at all, for example, and
thinks that charges of sexism leveled at del Rey's "Helen O'Loy" are answered by
Thomas N. Scortia's equally sexist "Woman's Rib," because Scortia has an
"aging and frumpish" woman clone a stud lover. Worse, he wisecracks that an A.
Merritt priestess "may have swung the other way" because she won't go to bed
with any of the stalwart explorers who meet her.
In subsequent chapters, Pierce explores various subgenres
of sf that cross over to other genres: romances, detective stories, juveniles, family
sagas, and problem-solving tales. His treatment of romance simply covers a number of sf
love stories without really treating romance as a form; he does a better job later on when
he discusses sf-based women's genre romances. Similarly, he makes little reference to the
evolution or conventions of other mainstream genres in discussing detective stories,
juveniles, or family sagas; instead he seems content to show how sf writers can make use
of the resources of other pop forms. This is hardly news, but Pierce's examples will be of
value to anyone interested in exploring such cross-genre fertilizations. A third section
of the book, called "Borderlines," examines such marginal related genres as
lost-race stories, superheroes (mainly Doc Savage), horror, satire, and various
gender-directed specialties as men's adventure fiction, technothrillers, and women's
romance. For me, these brief chapters are the most informative in the book. Even though
Pierce touches upon Calvino and Lem mainly to show us that he isn't impressed with them,
his coverage of such genuinely marginal works as Keith Williams's "Freedom's
Rangers" novels or Tom Clancy's technothrillers helps us understand the relationship
of these works to sfand, not incidentally, saves us from having actually to read
them.
A fourth section covers writers who have escaped the sf
ghetto (Vonnegut, Ballard, Bradbury) and mainstream writers who have invaded it (Atwood,
Burroughs, Lessing). This section is valuable for its discussions of rarely-treated
writers such as Alfred Doblin and Cecelia Holland, and its open-minded treatment of Atwood
and Marge Piercy, whom Pierce regards as having worked out their sf details with the
competence of good genre writers. A final section touches upon problems of story
construction, style, publishing constraints, and ideational content. Like the rest of the
book, these chapters are more suggestive than definitive, serving to convince you that
even though Pierce's readings tend to be crankily conservative, his knowledge of the genre
is impressive. At times, he's in such a hurry to get to the next example that his critical
vocabulary deserts him entirelyHeinlein's Podkayne of Mars, for example, gets
dismissed in what may be the first serious use of "yucky" as a critical
termbut in fact this rather loose and occasionally goofy style suits the material
better than the more formal approach of his earlier works, and as a resultfor all
its limitations as serious criticismOdd Genre is Pierce's most engaging and
readable critical work so far.
David
Alexander. Star Trek Creator: The Authorized Biography of
Gene Roddenberry. Roc, 1994. 624p.
$23.95. Joel Engel. Gene
Roddenberry: The Myth and the Man Behind "Star Trek."
Hyperion, 1994. 288p. $22.95. William Shatner with Chris
Kreski. Star Trek Memories. HarperCollins, 1993. 306p. Yvonne
Fern. Gene Roddenberry: The Last Conversation.
University of California Press, 1994. 228p. $20.00. Dave
Marinaccio. All I Really Need to Know I Learned from
Watching Star Trek. Crown, 1994. 128p. $14.00.
In 1969, only weeks before the moon landing, NBC-TV aired
the final episode of Star Trek, which has ironically survived in much better shape
than the space program itself. It's well-known that thanks to a sympathetic astronaut,
Gene Roddenberry finally got his ashes hauled, posthumously, on a space-shuttle
missionbut I'm having a hard time getting it through my skull that Roddenberry
qualifies as a Heinlein hero, let alone one of the great cultural innovators of the 20th
century, a spiritual guru, and the inventor of most sf concepts and ideas that I had
previously thought had been around for generations. I realize that this may partly be due
to my own obtuseness, but it seems to me that both David Alexander's massive
"authorized" hagiography, Star Trek Creator, and Joel Engel's
scandal-mongering demonization, Gene Roddenberry: The Myth and the Man Behind
"Star Trek," lead pretty much to the same conclusions. Engel's shoddy book
is actually more entertaining, if only because of its relentless mean-spiritedness, but it
shares with Alexander's 600-page press release a kind of awe-struck naivete about the ways
in which the TV and movie industries work. Engel wants to shock us with his portrayal of
Roddenberry as an alcoholic, womanizing, attention-grabbing egomaniac with limited talent
and a penchant for stealing other people's ideasin other words, a TV producer. What
else is new? Alexander wants us to swallow the myth of a war hero ex-cop who fought
valiantly to bring to the screen a humanistic philosophy of a better tomorroweven
though all Star Trek showed us of this vision was a militaristic spaceship armed to
the teeth with defensive shields and photon torpedos. (Even the much-vaunted "first
interracial kiss on TV"between Kirk and Uhurawas the result not of
affection but of evil alien coercion.)
The Roddenberry myth, in its purest form, is expressed in
the opening pages of William Shatner's Star Trek Memoriesfor the most part, a
collection of amusing but trivial anecdotes about production and casting problems. Shatner
sets his dramatic account of the origin of Star Trek in El Paso in the mid-1920s,
where a sickly child escapes to a makeshift cardboard-box spaceship to read his copies of
Astounding and dream of a better tomorrow. Never mind that, according to Alexander, Roddenberry
left El Paso when he was nineteen months old, or that Astounding didn't appear
until six years after thatwhat we're dealing with here is Hollywood bio, a peculiar
genre whose main imperatives are to give the audience what it expects, to validate gossip
and trivia as cultural history, and to make the offhand remarks of famous people sound
like philosophy.
No better example of this attitude can be found than in
Alexander's memorable sentence, "Nineteen thirty-nine was a good year for films and a
bad year for Europe," which he follows with a list of a dozen hit movies and an
almost offhand mention that "Adolph" Hitler invaded Poland. In the Hollywood
mythos, new releases always get top billing. Almost as if to acknowledge this, Alexander
offers explanatory footnotes and bonehead-history background on everything from who Greta
Garbo and John W. Campbell were to what SNAFU meant; he seems to be targeting readers who
can only get their historical bearings through mentions of actors and movies, and need
explanations for everything else. (Is this the Star Trek generation?) Engel and
Shatner aren't any better; for them the world of Star Trek might as well have
existed in a social and cultural vacuum, the product solely of contract negotiations and
studio politics.
None of these books offer much useful insight into how
Star
Trek evolved or what it represented; Alexander and Engel both note that someone loaned
Roddenberry a copy of Last and First Men when he was trying to figure out what sf
was, and both credit him with trying to get professional sf writers involved (including
one whom Alexander repeatedly calls "Pohl Anderson"). The most famous Star
Trek script story, concerning Roddenberry's rewrite of Harlan Ellison's "City on
the Edge of Forever," is recounted in all three books; none of them note how
Roddenberry introduced an ideological subtext critical of the then-budding antiwar
movement. Alexander notes that Don Ingalls was similarly so outraged at Roddenberry's
rewrite of an anti-Vietnam script that he invoked his Writer's Guild pseudonymbut
fails to note that the rewrite, far from being antiwar, clearly supports the
"balance-of-power" argument that was then official U.S. policy. (Both of these
episodes are analyzed tellingly in Bruce Franklin's essay "Star Trek in the
Vietnam Era" in last March's Science-Fiction Studies.) Alexander consistently
argues that such rewrites preserved Roddenberry's pristine vision, while Engel argues that
they reduced many episodes to a level of mediocrity or even incompetence. It's entirely
possible they're both right. But both seen to miss the point that Star Trek may
have had something to do with sf, and something to do with the 1960s. That bookone
that simply looks at the actual Star Trek episodes in the context of its time and
its antecedentshas yet to be written, which is pretty amazing when you consider that
the publishing industry has begun to spew out Star Trek-related books with a degree
of incontinence hitherto reserved for cats and celebrity workouts.
Shatner, for his part, cheerfully recounts one anecdote
after another, and then professes astonishment when he comes to realize, at the end of the
book, that some of the other cast members hated him for his arrogance and screen-hogging.
In some ways, his book seems the most honest of the three, because it begins and ends with
the classic Hollywood bio premise that history is made up of egos rather than events.
Roddenberry's ego is what haunts all three books, but none of them are able to back off
far enough to suggest any substantial new insights on what Roddenberry actually
accomplished; instead of cultural history, what we get is marketing strategy; even as
Roddenberry withdrew (or was pushed) from involvement in the later movies and successor TV
series, the studios continued to be wary of him for fear that he somehow controlled a huge
mass of fans crucial to the ongoing success of the franchise and committed to his personal
"vision." (I doubt that the fans were ever that zombielike, but in a perverse
way it must have been comforting for Hollywood to think so.)
Perhaps, in the end, marketing is the key to most of what
Roddenberry actually did accomplish: he found a way of packaging familiar sf concepts for
a brutally simple-minded TV environment, and he empowered fans in a manner beyond their
wildest dreams. Star Trek may have only sporadically achieved coherence as dramatic
art, but it achieved something even more seductive: the mass marketing of that most
classically dull of ideologies, utopian humanism. Just how seductive this was is apparent
in the ways in which Roddenberry was able to enlist figures such as Clarke, Asimov and
Bradburyand even Ellison, for a timeto his cause. Just how much it can
destabilize your brain is apparent in John W. Campbell, Jr.'s lone contribution to the
marketing blitz: in a letter to Roddenberry (quoted in Alexander), he enthusiastically
offers up the idea of fuzzy Spock hats for kids, complete with pink felt Vulcan ears. (Why
didn't he ever suggest that to Hubbard?)
We get a much clearer idea of how Roddenberry's mind
worked in Yvonne Fern's Gene Roddenberry: The Last Conversation, an extremely odd
book from the University of California Press, part of a series called "Portraits in
American Genius" which, to give us some bearings, also includes a study of cartoonist
Chuck Jones. What this book reveals is that, whether or not Roddenberry had a thoroughly
thought-out Star Trek philosophy when he began, he certainly developed one once he
realized how many people were listening to him. Fern spent several months with Roddenberry
and his wifeas it turned out, the last months of Roddenberry's lifeand the
book is an account of the extended conversations that took place during that period. And
it is indeed a conversation rather than an interview; Fern makes herself as much the
center of attention as Roddenberry, leaping on every opportunity to show how delighted and
amazed he was at her softball "philosophical" questions ("What is the
difference between truth and integrity?" "What would you not want to
lose?"). The main point of the book seems to be to chronicle the developing spiritual
bond between Fern and Roddenberryshe seems to want to portray herself as Joy
Davidman to Roddenberry's C.S. Lewis, and she isn't averse to grasping at mystical straws
to find evidence of this. Since Fern was born near Pearl Harbor after the war, and since
Roddenberry flew in the Pacific theater, Fern writes, "I am certain that my existence
on this planet is related to histhat we shared a direct connection."
Fern's relentlessly enlightened New Age attitude permeates
the book, but syrupy as it is, it may provide some of the clearest evidence yet of how
Star Trek's appeal has transcended sf's traditionally rationalistic base to become a pop
philosophy (Fern uses the term Star Trekunitalicizedto distinguish this
philosophy from the Star Trek shows and movies.) It may annoy some sf readers to
see how she uncritically credits Roddenberry with ideas that predate Star Trek by
decades"first contact" is defined not as a traditional sf plot, but as the
the Enterprise crew meeting up with aliens, and such familiar chestnuts as
society-organisms, humanity as an adolescent species, and dumping minds into computers are
all presented as startling Roddenberry insights. In fact, it's hard to find an original
idea anywhere in the book, and many of those that do crop up seem confused. Both Fern and
Roddenberry refer to androids as machines, and when she gets around to asking him what the
difference between an android and a robot is, his response is "I don't know, exactly.
I don't remember."
If Roddenberry's general grasp of sf seems slight, one
book emerges as the most likely source for the Star Trek concept itself, and not
surprisingly, it's a boys' book. Roddenberry describes Heinlein's Space Cadet as
"one of the most significant books in my life," and indeed Heinlein's
multinational crew and code of honor seems reflected in the Enterprise. But
precious little other sf gets mentioned in the book, and even other Star Trek
writers get little credit. "I am Star Trek," Roddenberry repeatedly
insistsa claim that takes on a certain pathos when we realize that by now he had
pretty much lost creative control of his franchiseand he also insists on his
identity as a writer rather than a producer. "I couldn't write a bad script if I
tried," he boasts. And if there's any doubt remaining about his emerging
self-conscious guru-dom, note his response to Fern's question about whether others will
remember him as a "pleasant person": "No. Some persons have been attracted
to false paths." Not Fern, however: she comes away from her encounter with
Roddenberry with a beatific glow, and her book is the testament of a disciple.
Another disciple is Dave Marinaccio, an ad executive whose
All I Really Need to Know I Learned from Watching Star Trek pushes the notion of
Star
Trek as philosophy right into the feelgood territory of such pop gurus as Robert
Fulghum, whose bestselling title Marinaccio deliberately rips off. His book offers about
as much substance as those Star Trek greeting cards and lapel buttons that have
been around the past few years, and that's likely to be the secret of its
successtaking already simplified ideas and simplifying them even further (I can see
the same trendy computer-store managers who three years ago were xeroxing pages from
Leadership
Secrets of Attila the Hun for their hapless employees doing the same with this paltry
volume). At first, Marinaccio gets off some good, breezy lines ("I live in
Washington, D.C. We have all your money"), and he openly admits his observations are
simplistic ("These are lessons culled from a television show, not the library at
Alexandria"), but it quickly becomes apparent that he's at least half serious, mixing
throwaway jokes (Kirk shows us it's o.k. to have a potbelly) with familiar bromides (every
organization should have a mission statement like the Enterprise's) and genuinely
lame-brained epiphanies (a car is today's version of a transporter pad).
What is interesting about Marinaccio's book, other than
the fact that its title is self-evidently wrong, is that it demonstrates two things about
the Star Trek phenomenon that none of the other books quite make clear. The first
is that Star Trek no longer has anything to do with sf; Marinaccio claims to be
inspired and motivated by the provocative ideas on the show, but it seems never to have
occurred to him to turn the set off and go find a book that might extend or deepen these
ideas. The second is that, freed of references to anything but itself, Star Trek
has gotten loose in the culture in a way far beyond its earlier cult status. Marinaccio
makes it clear that he himself is not a Trekkie, and he's pretty sure there are many more
like himselfpeople who don't go to conventions, don't know about the fanzines, don't
read even Star Trek fiction, but who find their conversations and thoughts peppered
with references to tribbles and transporter beams. At the end of the book, Marinaccio
invites these people to send him examples of how Star Trek has changed their lives.
(Clearly, he isn't done with us yet.) If this book and Gene Roddenberry: The Last
Conversation are any indication, Star Trek may just turn out to be the first
genuine TV-bred religion, and the producers may have missed the boat by not just going
ahead and titling the sequel series Star Trek: The New Testament.
M.
Keith Booker. The Dystopian Impulse in Modern Literature:
Fiction as Social Criticism Contributions to the Study of SF&F
58. Greenwood Press (800-225-5800), 1984. vii+197. $49.95. M.
Keith Booker. Dystopian Literature: A Theory and Research
Guide. Greenwood Press (800-225-5800), 1984. xiii+408. $75.00.
At one time, the utopian/dystopian axis was virtually the
only aspect of speculative fiction visible in academic literary scholarship. Prior to what
has variously been called the "academic awakening" or (less charitably) the
"academic invasion," just about the only sf that seemed destined for classroom
canonization was a handful of really depressing works by Wells, Huxley, and Orwell, with
Zamiatin and maybe Burgess added a little later. It comes as something of a surprise,
then, to see M. Keith Booker telling us that his The Dystopian Impulse in Modern
Literature is the first full-length study of dystopian literature to appear since Mark
Hillegas's 1967 H.G. Wells and the Anti-Utopians. I'm not sure that this is a
justifiable claim, since many of the scores of utopian studies over the last few decades
have given equal time to dystopias, but Booker's companion reference volume, Dystopian
Literature: A Theory and Research Guide, does indeed seem to be the first of its kind.
Essentially, what Booker offers us is two books not in one: a critical study treating
dystopian fiction in terms of modern and postmodern critical theory, and a sourcebook
offering brief discussions of important dystopian and utopian texts, together with
summaries of the work of relevant cultural critics and theorists.
The Dystopian Impulse in Modern Literature is the
essay, and it's an intelligent if not very imaginative treatment of dystopias as modes of
social criticism. Booker views Zamiatin's We and Orwell's 1984 as,
respectively, an anticipation and a response to the excesses of Stalinism; and he sees
Huxley's Brave New World and various works by Skinner, Sinclair Lewis, Kurt
Vonnegut, Gore Vidal, and Ray Bradbury as more or less parallel nightmares of the
potential excesses of bourgeois society. Two final chapters deal with
"postmodernist" dystopias in Russia (the Strugatskys, Sinyavsky, Aksyonov,
Voinovich) and the west (William Gibson, Delany's Triton, Atwood's The
Handmaid's Tale, and Pynchon's Vineland). Obviously, what is most interesting
here is Booker's treatment of works set in recognizably contemporary societies as
dystopian (Pynchon, Aksyonov's The Burn) and his pretty much wholesale treatment of
the whole cyberpunk movement as dystopian. By relating these works to the social critiques
of Foucault, Adorno, and even Freud, and focusing on such issues as sexuality, religion,
culture, language, and science, he comes close to persuading us that we've already
achieved dystopia whether we meant to or not.
For most readers (and libraries), Booker's companion
volume Dystopian Literature will prove more useful. It reiterates many of the
insights offered in his shorter book, but does so in a manner that makes it a useful
reference tool as well. In eight short essays, Booker summarizes the ideas of major
theorists whose work he regards as providing frameworks for discussing dystopian fiction:
Theodor Adorno, Louis Althusser, Mihail Bakhtin, Walter Benjamin, Michel Foucault (whose
concept of the "carceral society" is central to many of Booker's arguments),
Freud, Marx, and Nietzsche. This is followed by eight more essays on classic utopian works
(Bacon, Bellamy, Campanella, Gilman, More, Morris, Plato, Wells), 65 essays on important
modern dystopian works, and 11 essays each on dystopian drama and film. He does not strive
for comprehensive coverage, and many readers will be ready to complain about glaring
omissions (Katherine Burdekin's Swastika Night, Ellison's "Repent,
Harlequin!," and Bernard Wolfe's Limbo are three of many that come immediately
to mind). But on the whole Booker's selection is a provocative one; he includes some
unexpected works not only by Pynchon and Gibson, but also by William Burroughs, Samuel
Beckett, Vladimir Nabokov, Eugene Ionesco, and Peter Weiss (Marat/Sade). He offers
a fair coverage of genre sf (three essays each on Dick, Gibson, Wells, and Disch, and
others on Bradbury, Charnas, Delany, Elgin, Le Guin, Russ, Silverberg, and Vonnegut). And
he locates some less familiar works by the Somalian Nuruddin Farah (Variations on the
Theme of an African Dictatorship), Haruki Murakami (Hard-Boiled Wonderland and the
End of the World), Georges Perec (W, or the Memory of a Childhood), and Andrei
Platonov (Chevengur). His film list includes not only classics (Alphaville,
Blade Runner, Brazil, Metropolis), but also commercial schlock (Logan's Run, The
Running Man, Westworld) and even last year's TV miniseries Wild Palms. (He does
not include any film versions of the novels he listsFahrenheit 451, A Clockwork
Orange, etc.and has no entries for the literary sources of A Boy and His Dog,
Metropolis, or The Running Man). Booker's discussions of these works tend to
be highly theoretical, relating them to the cultural critiques of the major theorists he
discusses and less concerned with literary or social contexts. This may limit the book's
value for trivia-hunters and browsers, but as a guidebook and a selective annotated
bibliography, Dystopian Literature substantially fills a significant gap in modern
sf scholarship.
Scott
McCloud. Understanding Comics: The Invisible Art. HarperPerennial, 1994. 216p. $20.00 paper.
The most remarkable critical/aesthetic work I've seen this
year has nothing particular to do with sf, but ought to be required reading for anyone
still unwilling to accept the considerable impact comics and graphic novels have had on
the genre in the last couple of decades. Scott McCloud's Understanding Comics does
exactly what its title promises, and does it brilliantlyusing the comic format to
elucidate the narrative and graphic techniques that make this a genuinely original art
form. Casting himself as a kind of Carl Sagan tour-guide surrounded by all the special
effects that comics have to offer, McCloud begins with a compelling history of sequential
pictorial art, crediting the 19th-century German Rudolphe Töpfer with introducing panels
and word-picture combinations. He then analyzes various icons and the importance of levels
of abstraction in comic art, arguing that stylized figures increase viewer identification
(as in the popular Japanese technique of "masking," or placing cartoonish
figures in realistically-drawn settings).
Central to his argument is a triangular diagram in which
he locates comics along three axesthe abstract "picture plane," reality,
and language. He explains principles of "closure," the role of the
"gutter" between comic panels, the various kinds of narrative transitions in
comics, the representation of time and motion, the representation of motion and sensation,
the various ways words may relate to pictures, the uses of color, the importance of
synaesthesia. Along the way, he offers a six-stage theory of artistic creationidea
to form to idiom to structure to craft to surfacewhich is hardly original in terms
of classic aesthetic theory, but which takes on added meaning now that he's shown us how
comics, as well as more traditional art forms, can sustain this kind of analysis.
McCloud's cheerful advocacy doesn't seem to cloud his judgment, however; he recognizes
that much comic art remains formulaic and juvenile. At the same time, he calls attention
to the important innovations of artists such as Will Eisner, Jack Kirby, and Art
Spiegelman, as well as the Europeans and Japanese, and shows us exactly why they are
important. Understanding Comics stands a good chance of becoming one of the
standard works for understanding modern popular culture, and may itself become the first
comic to make its way into classrooms as a text in communications theory.
Jack
Seabrook. Martians and Misplaced Clues: The Life and Work
of Fredric Brown. Bowling Green State
University Popular Press (419-372-7865), 1993. 312p. $39.95 cloth, $16.95 paper.
Not counting books from specialty presses, there are
apparently only two ways for sf writers to become the subjects of full-length critical
biographies. One is to be Isaac Asimov. The other is to have established a sufficient
reputation outside the sf field to catch the attention of a wider audience. Constance
Reid's recent biography of Eric Temple Bell was essentially a biography of a mathematical
historian who happened to write sf as John Taine. Similarly, Jack Seabrook's Martians
and Misplaced Clues: The Life and Work of Fredric Brown would almost certainly never
have been published on the strength of Brown's sf reputation alone, which rests on a few
classic stories, a talent for humor rare in the genre before he arrived, and a brilliant
facility for short-short stories. As a mystery writer, however, Brown has had the good
fortune to be caught up in the rediscovery of 50s genre writers. His classic, tightly
plotted mysteriesThe Fabulous Clipjoint, The Screaming Mimi, Night of the
Jabberwockstill get reprinted, and from 1984 to 1991 Dennis McMillan published
an astonishing 19 volumes of Brown's detective pulp fiction in limited editions. These
mysteries, along with Brown's almost-forgotten mainstream novel, The Office, are
the main focus of Seabrook's study, which devotes only two chapters to Brown's sf.
Like many writers trying to make a living from the pulps,
Brown tried his hand at different genres even while establishing a substantial reputation
as a mystery writer. He wrote a handful of western stories, and began writing sf as early
as 1938, producing some of his best-known stories ("Etaoin Shrdlu," "The
Waveries," "Arena") by the early 1940s. After moving to Taos in 1949 and
meeting Mack Reynolds, Brown responded to the boom in sf magazines by substantially
increasing his output and trying his hand at sf novels, starting with What Mad Universe
(based on a 1948 Startling Stories novelette). This, together with the later Martians,
Go Home established Brown's reputation as an sf humorist, but Seabrook also calls
attention to the surprisingly moving The Lights in the Sky are Stars, with its
almost uniquely prescient view of a 1997 in which space travel is all but abandoned.
Seabrookwhose book generally tends to depend a bit too mechanically on his sources,
including Brown's own logbooklacks the sense of context for Brown's sf that he
provides for the mysteries, and without the aid of Philip Klass's introduction to a 1978
reprint of What Mad Universe, he'd be pretty much at sea untangling the fannish
in-jokes of that novel. He's quite accurate, however, in noting that Brown's later sf
novels are nothing to write home about, and his portrayal of the apparent burnout that
affected Brown's last decade makes for a moving elegy to a whole generation of genre
writers who very nearly wrote themselves to death. Even with its lack of critical depth
and its tendency toward plot synopses, Martians and Misplaced Clues is a valuable
source text, and is likely to be the most complete account of Brown's career that we'll
ever see.
Back to Home