Collected Essays

The success of the book meant that I was called upon to update it in the eighties. By that time, the field had greatly expanded and its parameters had become even more blurred than previously. I could not manage the task without my colleague, David Wingrove, another writer/critic, and the most diligent collaborator a man could wish for. So we produced Trillion Year Spree in 1986, with the able editorial assistance of Malcolm Edwards, then an editor at Gollancz.

Trillion met with less opposition than Billion, and even won a Hugo Award. It might be argued that this change in attitude was due to the establishment of academic bodies in the States like the SFRA and IAFA, where discussion is taken for granted.

In succeeding years, critics have perceived an increasing difficulty in writing what is referred to as ‘hard SF’—that is, SF closely involved with technology and the sciences. The fantasy aspect has become predominant. As I try to indicate in the essay entitled ‘Some First Men in the Moon’, it is not always easy to separate scientific speculation from fantasy. Our wishes and fears are wild horses not easily tamed. The one often comes wrapped in the other, as truth in an ordinary novel can arrive, as Iris Murdoch has said, in an ambush of lies. Kepler, the great Kepler, used the one to enliven the other, in his Somnium.

This is my fourth selection of essays and reviews to appear in print. In This World and Nearer Ones, the essays were deliberately diverse. I had in mind as a model two small collections of essays which delighted me at a time when I was even more ignorant than I now am. Both books were by minor British poets: Tracks in the Snow (1946) was by Ruthven Todd, and The Harp of Aeolus (1948) by Geoffrey Grigson.

Todd introduced me to a number of artists I should have known and did not, such as Henri Fuseli and John Martin, both early exponents of the Romantic and the Fantastic. Todd’s volume also included a reproduction of that marvellous painting, Joseph Wright’s An Experiment with an Air Pump, which David Wingrove and I were to use many years later in Trillion Year Spree. It represents the introduction of a scientific principle to ordinary people—some of whom appear more interested in the medium than the message.

Grigson talks about a painter, Samuel Palmer, a favourite of mine—a man who turned the Thames Valley into Biblical illustrations. Grigson claims that Palmer, and the poets John Clare and Alfred Tennyson were the first people to admire the horse chestnut. Before their day, in the eighteenth century, that century of the landscape gardener, the horse chestnut was despised as ‘a heavy, disagreeable tree’, much like an overgrown lupin.

Later in the nineteenth century, we find Coventry Patmore remarking admiringly how quiet stood the chestnut with its thousand lamps.

Tastes change—and not only in trees. Perhaps even mad Fuseli is not fashionable any more. And perhaps in time the writings of certain science fiction writers—not all of them, not all of those ‘thousand lamps’ we find lighting current publishers’ lists, by any manner of means—will come to be admired and studied as we study, say, the prolific Balzac.

I mention painters only because, for me, much of the pleasure of SF lies in its imagery, in the bold pictures it paints. The ancient woodland invading the mansion in Holdstock’s Mythago Wood, the alien landscapes of Earth at the end of Bear’s Blood Music, the infernal city of Dis rising up from Death Valley in Blish’s The Day After Judgement, the wonderful forbidding planets and moons in which we all indulge from time to time—this visual side of SF is apt to be neglected by critics, and taken for granted by readers. Even a poor SF movie can generally be relied upon to deliver visual fillips. Isn’t this techno-romantic sense one of the special developments of our century?

The big question is, as ever, why is SF not more readily absorbed as part of the general diet read by a literate public? It is accepted that that audience may read crime novels without thereby losing status. Police procedure is an interesting subject: but is it really more interesting, of greater worth, than the procedures of planets, or the future of mankind? To which critics might respond, ‘Is SF about the future of mankind? And if it is, is a popular literature the proper place in which to discuss such a serious subject?’ Popular literature has always been about serious subjects: courage, love, adultery, failure, heroism, death. The argument that because something is popular it must be in some way debased gets us nowhere; it is a statement merely of prejudice.

Science fiction is not so much a forum for new topics, as some claim; rather, it is itself a new way to discuss old topics. The sense of the alien. The unease generated by religion and the failure of religion. The quest for meaning. Notions of the Sublime. A hope for the better miscegenating with a misgiving about the worse. Our ambiguous feelings concerning technology. The longing for security and its obverse, adventure. And more recently the importance of gender roles.

And science fiction seems to offer an elusive something more, a Martian sense of looking at things and finding the familiar strange, of finding novelty in this world, and nearer ones. For this it needs the SF writer’s gift, a detached viewpoint, a detached retina. Perhaps ordinary readers are not comfortable with detached retinas. As Samuel Delany pointed out, you have to train yourself or be trained to appreciate the tropes of SF.

We in the West worry about the blemishes in our societies, and about their failures, remedies for which can be perceived but not applied. To paraphrase Percy Bysshe Shelley, we enslave much of nature, yet ourselves remain slaves. Horse chestnuts may go in and out of fashion, and the drawings of Fuseli likewise, but war is always with us, destroying humans, homes, monuments, histories and environments. Our societies become increasingly politicized; yet as politicians become increasingly a part of showbiz and mediabiz they grow less and less able to offer leadership. Engendered by this situation, alternating fits of exhilaration and depression pour into science fiction.

Cool reflections on the state of play are offered by many contemporary writers. Karen Joy Fowler, for instance, in her novel Sarah Canary (1991), has this to say:

Sanity is a delicate concept, lunacy only slightly less so. Over the last few centuries, more and more of those phenomena once believed to belong to God have been assigned to the authority of the psycho-analyst instead. Some of the saints can be diagnosed in retrospect as epileptics. St Teresa was almost certainly an hysteric. St Ida of Lorraine seems to have suffered from perceptional insanity … The prognosis for such cases in our own age is excellent; saintliness can often be completely cured.

The essays which follow might seem not to deal with such weighty matters. I no longer attempt to emulate Todd and Grigson. My belief is that much of SF’s interest and importance lies in what it does not say. Or rather, that we like mainly what it corporately has to say about what it sees through that detached retina. Hence our addiction. It scratches where we itch.

I am no academic, as these essays show. For that reason, I use my own experience when it illuminates an argument. Academics do not behave like that; unlike me, they have careers to protect. I can scratch in public …

And, just as opinions may change regarding the attractions of the horse chestnut, so the place where we itch changes. I remember the days when all we needed to stir our imaginations was to read of a landing on the Moon. The very idea challenged the limits of what was possible. Then men went and landed there, and spoilt everything (maybe they spoilt it even for themselves, because I notice they’ve not been back since …).

So nowadays a Moon landing must have a different emphasis if it is to scratch in the right place. Terry Bisson would presumably concur with Fowler, as quoted above. In one of his deceptively relaxed stories, The Shadow Knows, he tangles up his Moon landing nicely with other contemporary elements. The major is homing in on Station Houbolt:

Situated on the far side of the Moon, facing always away from the Earth, Houbolt lies open to the Universe. In a more imaginative, more intelligent, more spirited age it would be a deep-space optical observatory; or at least a monastery. In our petty, penny-pinching, paranoid century it is used only as a semi-automated Near-Earth-Object or asteroid early-warning station. It wouldn’t have been kept open at all if it were not for the near-miss of NEO 2201 Oljato back in ’14, which had pried loose UN funds as only stark terror will.

Here’s our old familiar Moon landing, wonderful as ever. But nowadays it crawls with social commentary.

We devotees of SF enjoy its diversity of opinion, the bustle of bright and dark, the clash of progress and entropy, the clamour of theories about the past, the future, the ever-present present, everything.

We doubt: therefore we are.

B.W.A.

Boars Hill

Oxford

November 1994

THANKS FOR DROWNING THE OCELOT (#u8bfe6f77-bc5e-5311-8e85-e7b7c87faaab)

England, 1989

Dear Salvador Dali,

It’s a real sorrow that you died in January of this year, and I expect you were upset as well. I wanted to say thanks to you; let’s trust I’m not too late. I hope this letter will reach you as you rest in Abraham’s Bosom. Rough luck on Abraham, though.

But that can’t be right. You must be in some surreal place—perhaps in the heaven the ancient Egyptians dreamed about, by the summer stars. Or simply in orbit. Somewhere unorthodox. You liked breaking taboos.

Remember you once tried to prove that ‘the whole universe comes to a focus’ (as you put it) in the centre of the railway station in Perpignan? That was a good stunt. Perhaps you’re there in Perpignan, awaiting a celestial diesel to somewhere.

You were crazy. Or you acted the part. The remark about Perpignan railway station came in an article you wrote in 1965, extolling the virtues of the great Salvador Dali. Like Caesar, you referred to yourself in the third person—though in your case you were the first and the second person too: there were scarcely any others.

Your article involves the miraculous flies of Gerona, the cleanliness of Delft, the visceral eye of Vermeer, van Leeuwenhoek’s invention of the microscope, several revolutions, the atomic bomb, and a swarm of priests dressed in black. It’s incoherent. You never wanted to make sense of the world; that had no part in your ‘critical paranoia’ method. Yet there was a tawdry magic. Take one sentence from that article:

Thus the blood of the dragoons and the hussars who hibernated at Beresina mixing directly with the blood of the new technologists of the always Very Holy Russia caused a historic mutation, producing the true and new mutant beings—the astronauts who, propelled by the templates of their genetic code, could not have a more positive way to direct themselves toward heaven than to jet straight toward the moon, which we will see happen from one moment to the other.

Even van Vogt couldn’t manage prose like that. So let’s just think of you in orbit somewhere in the summer stars. Greetings to Hieronymus Bosch.

You may not remember this, but we met on one occasion; an event was held in the London Planetarium, when you and I helped to launch a book of Fleur Cowles’s poems and paintings. You were working hard on giving an impression of great eccentricity. Without wishing to complain, I was slightly disappointed—only, I hasten to add, in the way that one is generally disappointed by meeting one’s heroes in the flesh. It’s the Napoleon-was-a-bit-short syndrome. When I met Jeffrey Archer, another of the greats, the same thought flashed across my mind. There was a kind of rotting Edwardian stylishness about you. Whereas Archer’s unmitigatedly eighties; the Hush Puppy school.

But you were a hero. At my school, in Form IVA, it was taken for granted you were the great artist of the age. We liked rotting carcasses, elongated skulls, soggy watches, crutches, and the rest of your props. One of our number, now a Labour backbencher, could act out your canvas, Spectre of Sex Appeal, naked, with the aid of a couple of hockey sticks. We chortled over your Life, so full of disgusting facts or fantasies that it would have meant expulsion had we been caught with the book in our lockers.

It was the confusion of fact with fantasy which caught the imagination. I have cooled down a bit since those days in IVA, when the class debated whether you had an exceedingly large whatnot, a laughably small one, or possibly none at all. Since then, you have sunk down the list of favourite artists in my estimation, whereas Kandinsky, Gauguin, Tanguy, Max Ernst and de Chirico in his early period, remain firm. Odd how all the century’s most exciting art was achieved before World War II was spent.

We’ll return to the confusion of fact with fantasy later, because that is where your connection with science fiction comes in, but first, at the risk of disturbing that great calm into which you have flown, I want to remind you of what George Orwell said. Orwell wrote that your two unquestionable qualities were an atrocious egotism and a gift for drawing. Many of us have aspired towards either, or both. As a kind of corollary to that remark, Orwell said ‘one ought to be able to hold in one’s head simultaneously the two facts that Dali is a good draughtsman and a disgusting human being.’ It is an oft-quoted remark. You must be proud of it.

Although he belonged to the NUJ, Orwell was a little, well, prudish. He objected in print to the way in which you consummated your love of Paul Eluard’s wife. That certainly must have been a Gala event: you covered yourself with a mixture of goat’s dung boiled in fish glue. Chacun à son goat, I say. It must have made something stick, since Gala remained your idolized companion for fifty years. Orwell has no comment on that aspect of your life.

To be honest—Orwell was another hero of mine—the author of 1984 is wearing no better than you. A new world has come up over the skyline since your heyday in the thirties and forties. Your paranoid harp-players and flaming giraffes have acquired period charm. You got too rich. You became religious, in a florid, Murillo-like, Madonna-worshipping way which sickens us more than the necrophilia sickened Orwell. It’s a common tragedy, outliving your epoch.

Still, you did paint Soft Construction with Boiled Beans: Premonitions of Civil War, and several other canvasses which will remain icons of their time.

You must always have worked very hard. Kept working, even when—towards the end—you turned to the kitschy religious subjects. Is Dali perhaps Catalan for Doré? Like Doré, you illustrated numerous books. But it was the early paintings which fed a young imagination, the images seen through a dry, pure atmosphere—some of them, like Sleep, where an immense sagging face is propped precariously above the desert, are now fodder for Athena posters, alongside Beardsley and Escher, other masters of illusion.

Your titles too took one into a new imaginative world. The Ghost of Vermeer of Delft which can be Used as a Table. Average Atmospherocephalic Bureaucrat in the Act of Milking a Cranial Harp. Paranoic Astral Image. Convincing, as only the preposterous can be.

Some of the paintings held even more direct links with a mentality which questions what is real. The Invisible Man, for instance. Various visual puns where things appear and disappear, such as Apparition of Face and Fruit-Dish on a Beach, Slave Market with Invisible Bust of Voltaire, and the hallucinatory Metamorphosis of Narcissus, another of Athena’s victims. Well, I won’t auto-sodomize you with lists of your own canvasses, but doesn’t it strike you, as you take your astral ease, that it’s the past which is rich with life? It’s the future that’s dead, stuffed with our own mortality?

Naturally, all these whims and excesses of your imagination can be put down to revolt against upbringing, revolt against Catholicism, revolt against traditional dull nationalism. There was just a little too much showbiz. All the obits followed Orwell in speaking of your egotism. After obit, orbit—and there you swing, moody among the summer stars. We who remain Earth-bound look up. You probably have for company the Japanese Emperor Hirohito, once proclaimed a god, who achieved escape velocity a mere two weeks before you.

What a patriot that man was! Your very opposite. Never showed off. Kept a low profile. Good family man. Responsible for perhaps millions of deaths.

And even your egotism was relieved, or probably I mean made more roccoco, by your sense of humour. Perhaps you recall a stuffy English BBC type—it can’t have been a young Alan Whicker, can it?—coming to interview you in your retreat in Port Lligat, near Figueras? You sat with Gala by your blue swimming pool, your pet ocelot lounging on a cane armchair beside you.