Читать книгу Collected Essays - Brian Aldiss - Страница 8

WARNING: These essays are written by a man who produced his first SF short story at the age of eight. Writing has brought him joy and possibly saved him from a life of crime. The unifying theme here is his belief that all literature is a criticism of life, or someone’s life. Even when that was not the intention behind it.

Among the great range of talented artists working in the SF/fantasy field, the name of Jim Christensen is particularly cherished. Not only is he marvellously inventive, he is a man of great charm and courtesy. And an obsessive.

I watched him during a signing session at a conference in Houston. As people came up to his desk with a book to be autographed, Christensen gave them something extra, something more than the bare signature we novelists extrude. He would swiftly draw beside his name a cameo: a fish, or a boat, or a dwarf, or a boat-fish, or a fish-dwarf-boat, or something entirely new. That’s obsession!

This particular IAFA conference was being held at the Hobby Aiport Hilton Hotel in the mid-eighties. The Conference of the Fantastic is organized by the International Association for the Fantastic in the Arts, for many years under its energetic president, Marshall B. Tymn. Another obsessive.

The term ‘obsessive’ is used in complimentary fashion, since I must clearly be obsessive myself. My involvement with creative writing and criticism and science fiction has led me into the shallows of academia. Being a creative writer and a critic at one and the same time is somewhat convoluted, but I have certainly learnt from the academics.

The two similar writing processes impede but also cross-fertilize each other. I rejoice that it is so, and late in my writing career—if career it is—wish to give grateful thanks to the IAFA, one of the two major bodies to which SF academics belong. The other, and longer-established, body is the SF Research Association.

Before these two well-organized bodies set up shop, a certain amount of chaos reigned. The teaching of science fiction was in its infancy, with no one clear as to what to teach or how. Early SF curricula were described as Utopian Studies, or Futurism in Literature, or went under similar disguises. Most of the thought on the subject could best be described as muddled, though early lecturers on the subject, such as Jack Williamson, Tom Clareson, and Willis E. McNelly were fighting the good fight by dawn’s early light.

In 1971, when my wife and I were staying in California with Harry Harrison and his wife, I was called upon to lecture at the J. Harvey Mudd College. SF had become all the rage as a degree option, and unqualified persons were being coerced into teaching courses for which they were ill-prepared.

A woman came to me in distress. ‘I was due to hold a course on Dryden’, she said. ‘But no one enlisted. It was cancelled yesterday. Now I have to teach Science Fiction. Can you tell me anything about a writer called Robert Heinlein?’

Billion Year Spree was devised to attend to such problems. My hope was, by a little clarity of thought, to supersede some of the sillier theories of SF then floating about, and by so doing to focus on the intrinsic nature of the beast. Also, of course, I wanted to write of SF from my own experience as writer and reader with a half-lifetime’s enjoyment behind him. While preserving as much detachment as I could muster.

The IAFA—I hope I have this right—was founded in the late seventies, by the revered Dr Robert A. Collins of the Florida Atlantic University, among others. Their first conference was held in Boca Raton, Florida, at the University, in 1979—a year after the SFRA presented me with a Pilgrim Award for Distinguished Contributions to Science Fiction. Dr Collins invited me to the third conference (referred to in the Sturgeon chapter). Since then I have attended all conferences bar two, and have attained the valued status of Special Permanent Guest.

The conference moved to Houston in the eighties, and is now (1994) convened in Fort Lauderdale, Florida. It has become the most pleasurable event of the SF year. I owe a great debt of gratitude to the executive board, whose skills I view with awe. This annual plunge into the rather hard-pressed academic world of American scholarship acts like a refresher course, while the continuity of the relationship, with all its challenges, is invaluable.

The board invited me in the first place because of the SFRA precedent, and also because I was one of the few writers actively to support the idea of academic criticism and study. In England, by contrast, there seemed to be only one lone scholar of SF, the feisty Tom Shippey, and in Scotland Colin Manlove. If SF is to be a literature, clearly the scholarly side must thrive. Nowadays, others writers, such as Joe Haldeman, John Kessel, Jane Yolen, Tom Maddox, and Stephen Donaldson, and of course Frederik Pohl and his wife, Betty Anne Hull, write and teach. And attend the IAFA conferences. Veteran editors such as David Hartwell and Charles Brown are generally present, to remind scholars that SF also has to be lived right down to the toenails. Writers as diverse as Doris Lessing, John Barth, Stephen King, Leslie Fiedler, and Richard Ellman have proved successful and popular visitors.

In the nineties, science fiction has spread into media other than the printed word. Into movies and videos, and into all the ramifications of the still proliferating electronic world, towards that digital time in the twenty-first century when the entire globe is on Internet and we all have access to everything.

Billion Year Spree proved an asset to scholars. It gave them carte blanche not to have to study texts a million miles from the real thing unless they wished; they were not forced to lead their students through Gilgamesh or Dante; they could narrow their sights on Frankenstein and all the amazements which have poured forth since. That proved good news for all concerned.

Billion Year Spree delivered a dialectic in which SF could be studied as a literature dealing with mankind’s attempts to come to terms with new powers and to overcome those aspects of nature reckoned to be impediments to progress.

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