Technonihilism 2023: That Hideous Strength, by C.S. Lewis (Clive Staples Lewis) – 1945

Here, in this house, you shall meet the first sketch of the real God.
It is a man — or a being made by man —
who will finally ascend the throne of the universe.
And rule forever.

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No, no; we want geldings and oxen.
There will never be peace and order and discipline so long as there is sex.
When man has thrown it away, then he will become finally governable.

__________

But the educated public, the people who read the highbrow weeklies,
don’t need reconditioning.
They’re all right already.
They’ll believe anything.

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What’s on a book is interesting (hey, that’s why this blog’s here!) but it’s what’s inside that really counts.  Some novels; some stories are so compelling that the message they present – whether explicitly or implicitly – demands acknowledgement; demands recognition; demands contemplation.  This is so regardless of a tale’s format, physical quality, or (sometimes being generous!) literary venue.  In some pulp fiction, there has been profundity.  In a few cheap paperbacks, there has been prescience.  And even in some works of mainstream fiction, there can be (on infrequent occasion!) meaning.  Such as, in the four examples below: Two pulps; a mainstream novel; a cheap paperback.  While they certainly merit notice of their cover art, it’s the commonality – expressed in different degrees of sophistication and style – of their understanding of the intersection between human nature, technology, and civilization, and the endurance of civilization, for which they should be recognized.

So, each post features images of the book or pulp’s cover art, followed by a whole, long, big bunch of excerpts.

Astounding Science Fiction – July, 1947 (Featuring “With Folded Hands…”, by Jack Williamson) [William Timmins]

The Temperature of Chaos: Galaxy Science Fiction – February, 1951 (Featuring “The Fireman”,  by Ray Bradbury) [Joseph A. Mugnaini; Chesley Bonestell]

The 14th Utopia: Player Piano, by Kurt Vonnegut, Jr. – August, 1952 [Charles Binger]

Year of Consent, by Kendell Foster Crossen – 1954 [Richard M. Powers]

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As for the above, so for the below: Given these four previous posts about the three books in C.S. Lewis’ Space Trilogy…

Out of the Silent Planet – 1956 (1938) [Everett Raymond Kinstler]

Out of the Silent Planet – 1965 (1938) [Everett Bernard Symancyk]

Perelandra – 1957 (1943) [Art Sussman]

Perelandra – 1965 (1943) [Bernard Symancyk]

That Hideous Strength (The Tortured Planet) – 1958 (1945) [Richard M. Powers]

That Hideous Strength – 1965 (1945) [Bernard Symancyk]

… some worthy quotes from That Hideous Strength, the trilogy’s final novel, follow below. 

But first…! 

here’s George Orwell’s review of the novel from the Manchester Evening News of August 16, 1945, published one day after Emperor Hirohito’s radio broadcast concerning the termination of WW II.  A strange and subtle synchronicity, eh?  Orwell’s opinion of Lewis’ novel is generally positive, but his criticisms of the magical and supernatural elements in the story are, I think, unwarranted and strangely naive, especially coming from a man of such shining literary skill and moral sensitivity.  (I recently finished The Road to Wigan Pier, and, Homage to Catalonia, both of which clearly reveal Orwell’s intellectual honesty, compassion, and political wisdom.)  After all, it was Lewis’ specific and deliberate intention – having successively “segued” from Out of the Silent Planet and Perelandra – to combine elements of science-fiction, fantasy, and the supernatural as a warning about the dangers of deification of the human intellect, the seductiveness of power – and especially the desire to feel that one is among a society’s elect, and, an entirely mechanistic view of reality. 

Here’s the review…

The Scientist Takes Over

(Reprinted as No. 2720 (first half) in The Complete Works of George Orwell, edited by Peter Davison, Vol. XVII (1998), pp. 250–251)

On the whole, novels are better when there are no miracles in them.  Still, it is possible to think of a fairly large number of worth-while books in which ghosts, magic, second-sight, angels, mermaids, and what-not play a part.

Mr. C.S. Lewis’s “That Hideous Strength” can be included in their number – though, curiously enough, it would probably have been a better book if the magical element had been left out.  For in essence it is a crime story, and the miraculous happenings, though they grow more frequent towards the end, are not integral to it.

In general outline, and to some extent in atmosphere, it rather resembles G.K. Chesterton’s “The Man Who Was Thursday.”

Mr. Lewis probably owes something to Chesterton as a writer, and certainly shares his horror of modern machine civilisation (the title of the book, by the way, is taken from a poem about the Tower of Babel) and his reliance on the “eternal verities” of the Christian Church, as against scientific materialism or nihilism.

His book describes the struggle of a little group of sane people against a nightmare that nearly conquers the world.  A company of mad scientists – or, perhaps, they are not mad, but have merely destroyed in themselves all human feeling, all notion of good and evil – are plotting to conquer Britain, then the whole planet, and then other planets, until they have brought the universe under their control.

All superfluous life is to be wiped out, all natural forces tamed, the common people are to be used as slaves and vivisection subjects by the ruling caste of scientists, who even see their way to conferring immortal life upon themselves.  Man, in short, is to storm the heavens and overthrow the gods, or even to become a god himself.

There is nothing outrageously improbable in such a conspiracy.  Indeed, at a moment when a single atomic bomb – of a type already pronounced “obsolete” – has just blown probably three hundred thousand people to fragments, it sounds all too topical.  Plenty of people in our age do entertain the monstrous dreams of power that Mr. Lewis attributes to his characters, and we are within sight of the time when such dreams will be realisable.

His description of the N.I.C.E. (National Institute of Co-ordinated Experiments), with its world-wide ramifications, its private army, its secret torture chambers, and its inner ring of adepts ruled over by a mysterious personage known as The Head, is as exciting as any detective story.

It would be a very hardened reader who would not experience a thrill on learning that The Head is actually – however, that would be giving the game away.

One could recommend this book unreservedly if Mr. Lewis had succeeded in keeping it all on a single level.  Unfortunately, the supernatural keeps breaking in, and it does so in rather confusing, undisciplined ways.  The scientists are endeavouring, among other things, to get hold of the body of the ancient Celtic magician Merlin, who has been buried – not dead, but in a trance – for the last 1,500 years, in hopes of learning from him the secrets of pre-Christian magic.

They are frustrated by a character who is only doubtfully a human being, having spent part of his time on another planet where he has been gifted with eternal youth.  Then there is a woman with second sight, one or two ghosts, and various superhuman visitors from outer space, some of them with rather tiresome names which derive from earlier books of Mr. Lewis’s.  The book ends in a way that is so preposterous that it does not even succeed in being horrible in spite of much bloodshed.

Much is made of the fact that the scientists are actually in touch with evil spirits, although this fact is known only to the inmost circle.  Mr. Lewis appears to believe in the existence of such spirits, and of benevolent ones as well.  He is entitled to his beliefs, but they weaken his story, not only because they offend the average reader’s sense of probability but because in effect they decide the issue in advance.  When one is told that God and the Devil are in conflict one always knows which side is going to win.  The whole drama of the struggle against evil lies in the fact that one does not have supernatural aid.  However, by the standard of the novels appearing nowadays this is a book worth reading.

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This post concludes with a bunch of references to commentary about and discussion of the novel, the most recent of which are N.S. Lyons’ profound “A Prophecy of Evil: Tolkien, Lewis, and Technocratic Nihilism” – also available in podcast form via Audyo – and Rusty Reno’s “That Haunting Nihilism“.  (Admittedly, the very title of Lyons’ post inspired the leading word in this post’s title: Technonihilism.  One must give credit where credit’s due!)  

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But First, Some Thing to Watch

So, to (try!) to begin on a note of levity, what better way than to poke fun at science scientism than by Thomas Dolby’s “She Blinded Me With Science” (Official Video – HD Remaster – April 15, 2009), at Thomas Dolby Official?    

After all, humor may be the refuge of the powerless, but it is a refuge nonetheless.

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 And so, some quotes:

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The most controversial business before the College Meeting
was the question of selling Bragdon Wood.
The purchaser was the N.I.C.E., the National Institute of Co-ordinated Experiments.
They wanted a site for the building which would house this remarkable organisation.
The N.I.C.E. was the first fruits of that constructive fusion between the state and the laboratory
on which so many thoughtful people base their hopes of a better world. (23)

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Jewel had been already an old man in the days before the first war
when old men were treated with kindness,
and he had never succeeded in getting used to the modern world. (28)

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“And what do you think about it, Studdock?” said Feverstone.

“I think,” said Mark, “that James touched on the most important point
when he said that it would have its own legal staff and its own police.
I don’t give a fig for Pragmatometers and sanitation de luxe.
The real thing is that this time we’re going to get science applied to social problems
and backed by the whole force of the state,
just as war has been backed by the whole force of the state in the past.
One hopes, of course, that it’ll find out more than the old free-lance science did;
but what’s certain is that it can do more.” (38)

______________________________

“But it is the main question at the moment:
which side one’s on – obscurantism or Order.
It does really look as if we now had the power to dig ourselves in as a species
for a pretty staggering period, to take control of our own destiny.
If Science is really given a free hand it can now take over the human race
and re-condition it:
make man a really efficient animal. If it doesn’t – well, we’re done.” (40-41)

______________________________

“It’s the real thing at last.
A new type of man; and it’s people like you who’ve got to begin to make him.”

“The practical point is that you and I don’t like being pawns, and we do rather like fighting – especially on the winning side.”

“And what is the first practical step?”

“Yes, that’s the real question.
As I said, the interplanetary problem must be left on the side for the moment.
The second problem is our rivals on this planet.
I don’t mean only insects and bacteria.
There’s far too much life of every kind about, animal and vegetable.
We haven’t really cleared the place yet.
First we couldn’t;
and then we had aesthetic and humanitarian scruples;
and we still haven’t short-circuited the question of the balance of nature.
All that is to be gone into. The third problem is Man himself.”

“Go on. This interests me very much.”

“Man has got to take charge of Man.
That means, remember, that some men have got to take charge of the rest –
which is another reason for cashing in on it as soon as you can.
You and I want to be the people who do the taking charge,
not the ones who are taken charge of. Quite.”

“What sort of things have you in mind?”

“Quite simple and obvious things, at first –
sterilization of the unfit,
liquidation of backward races (we don’t want any dead weights),
selective breeding.
Then real education, including pre-natal education.
By real education I mean one that has no ‘take-it-or-leave-it’ nonsense.
A real education makes the patient what it wants infallibly:
whatever he or his parents try to do about it.
Of course, it’ll be mainly psychological at first.
But we’ll get on to biochemical conditioning in the end and direct manipulation of the brain…”

“But this is stupendous, Feverstone.”

“It’s the real thing at last.
A new type of man; and it’s people like you who’ve got to begin to make him.” (42)

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“Is there, do you think, anything very seriously wrong with me?”

“There is nothing wrong with you,” said Miss Ironwood.

“You mean it will go away?”

“I have no means of telling. I should say probably not.”

Disappointment shadowed Jane’s face.
“Then – can’t anything be done about it?
They were horrible dreams – horribly vivid, not like dreams at all.”

“I can quite understand that.”

“Is it something that can’t be cured?”

“The reason you cannot be cured is that you are not ill.” (64)

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“But what is this all about?” said Jane
“I want to lead an ordinary life.
I want to do my own work.
It’s unbearable!
Why should I be selected for this horrible thing?”

“The answer to that is known only to authorities much higher than myself.” (66)

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“I happen to believe that you can’t study men;
you can only get to know them, which is quite a different thing.
Because you study them,
you want to make the lower orders govern the country and listen to classical music,
which is balderdash.
You also want to take away from them everything which makes life worth living at
not only from them but from everyone except a parcel of prigs and professors.” (71)

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They walked about that village for two hours
and saw with their own eyes all the abuses and anachronisms they came to destroy.
They saw the recalcitrant and backward labourer and heard his views on the weather.
They met the wastefully supported pauper in the person of an old man
shuffling across the courtyard of the almshouses to fill a kettle,
and the elderly rentier (to make matters worse, she had a fat old dog with her)
in earnest conversation with the postman.
It made Mark feel as he were on a holiday,
for it was only on holidays that he had ever wandered about an English village.
For that reason he felt pleasure in it.
It did not quite escape him that the face of the backward labourer
was rather more interesting than Cosser’s
and his voice a great deal more pleasing to the ear.
The resemblance between the elderly rentier and Aunt Gilly
(When had he last thought of her? Good Lord, that took one back.)
did make him understand how it was possible to like that kind of person.
All this did not in the least influence his sociological convictions.
Even if he had been free from Belbury and wholly unambitious,
it could not have done so,
for his education had had the curious effect
of making things that he read and wrote more real to him than things he saw.
Statistics about agricultural labourers were the substance;
any real ditcher, ploughman, or farmer’s boy, was the shadow.
Though he had never noticed it himself, he had a great reluctance, in his work,
ever to use such words as “man” or “woman,”
He preferred to write about “vocational groups,” “elements,” “classes” and “populations”:
for, in his own way, he believed as firmly as any mystic
in the superior reality of the things that are not seen. (87)

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“Why you fool, it’s the educated reader who can be gulled.
All our difficulty comes with the others.
When did you meet a workman who believes the papers?
He takes it for granted that they’re all propaganda and skips the leading articles.
He buys his paper for the football results
and the little paragraphs about girls falling out of windows and corpses found in May-fair flats.
He is our problem.
We have to recondition him.
But the educated public, the people who read the highbrow weeklies,
don’t need reconditioning.
They’re all right already.
They’ll believe anything.”

“Don’t you understand anything?
Isn’t it absolutely essential to keep a fierce Left and a fierce Right,
both on their toes and each terrified of the other?
That’s how we get things done.
Any opposition to the N.I.C.E.
is represented as a Left racket in the Right papers and a Right racket in the Left papers.
If it’s properly done, you get each side outbidding the other in support of us —
to refute the enemy slanders.
Of course we’re non-political. The real power always is.”

“I don’t believe you can do that,” said Mark.
“Not with the papers that are read by educated people.”

“That shows you’re still in the nursery, lovey,” said Miss Hardcastle.
“Haven’t you yet realised that it’s the other way round?”

“How do you mean?”

“Why you fool, it’s the educated reader who can be gulled.
All our difficulty comes with the others.
When did you meet a workman who believes the papers?
He takes it for granted that they’re all propaganda and skips the leading articles.
He buys his paper for the football results
and the little paragraphs about girls falling out of windows and corpses found in May-fair flats.
He is our problem.
We have to recondition him.
But the educated public, the people who read the highbrow weeklies,
don’t need reconditioning.
They’re all right already.
They’ll believe anything.”

“As one of the class you mention,” said Mark with a smile, “I just don’t believe it.”

“Good Lord!” said the Fairy, “where are your eyes?
Look at what the weeklies have got away with!
Look at the Weekly Question.
There’s a paper for you.
When Basic English came in simply as the invention of a free-thinking Cambridge don,
nothing was too good for it;
as soon as it was taken up by a Tory Prime Minister it became a menace to the purity of our language. And wasn’t the Monarchy an expensive absurdity for ten years?
And then, when the Duke of Windsor abdicated,
didn’t the Question go all monarchist and legitimist for about a fortnight?
Did they drop a single reader?
Don’t you see that the educated reader can’t stop reading the high-brow weeklies whatever they do? He can’t.
He’s been conditioned.” (99-100)

______________________________

Stone had the look which Mark had often seen before in unpopular boys or new boys at school,
in “outsiders” at Bracton —
the look which was for Mark the symbol of all his worst fears,
for to be one who must wear that look was, in his scale of values, the greatest evil.
His instinct was not to speak to this man Stone.
He knew by experience how dangerous it is to be friends with a sinking man
or even to be seen with him:
you cannot keep him afloat and he may pull you under.
But his own craving for companionship was now acute,
so that against his better judgment he smiled a sickly — smile and said “Hullo!” (109)

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The least satisfactory member of the circle in Mark’s eyes was Straik.
Straik made no effort to adapt himself to the ribald and realistic tone in which his colleagues spoke.
He never drank nor smoked.
He would sit silent,
nursing a threadbare knee with a lean hand
and turning his large unhappy eyes from one speaker to another,
without attempting to combat them or to join in the joke when they laughed.
Then — perhaps once in the whole evening — something said would start him off:
usually something about the opposition of reactionaries in the outer world
and the measures which the N.I.C.E. would take to deal with it.
At such moments he would burst into loud and prolonged speech,
threatening,
denouncing,
prophesying.
The strange thing was that the others neither interrupted him nor laughed.
There was some deeper unity between this uncouth man and them
which apparently held in check the obvious lack of sympathy,
but what it was Mark did not discover.
Sometimes Straik addressed him in particular,
talking, to Mark’s great discomfort and bewilderment, about resurrection.
“Neither a historical fact nor a fable, young man,” he said, “but a prophecy.
All the miracles — shadows of things to come.
Get rid of false spirituality.
It is all going to happen, here in this world, in the only world there is.
What did the Master tell us?
Heal the sick, cast out devils, raise the dead.
We shall.
The Son of Man — that is, Man himself, full grown — has power to judge the world —
to distribute life without end, and punishment without end.
You shall see. Here and now.”
It was all very unpleasant. (128)

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The poster was created by John Paul Cokes and is among several conceptual illustrations for That Hideous Strength that can be viewed at Behance.  He’s also created a great series of stylistically similar illustrations for Alfred Bester’s The Stars My Destination, which – like That Hideous Strength; like so many other works of science fiction and fantasy (A.E. van Vogt, anyone?) – have long merited wokeless transfer from the printed page to screen.   

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“It was not his fault,” she said at last.
“I suppose our marriage was just a mistake.”

The Director said nothing.

“What would you — what would the people you are talking of — say about a case like that?”

“I will tell you if you really want to know,” said the Director.

“Please,” said Jane reluctantly.

“They would say,” he answered, “that you do not fail in obedience through lack of love,
but have lost love because you never attempted obedience.”

Something in Jane that would normally have reacted to such a remark with anger or laughter
was banished to a remote distance (where she could still, but only just, hear its voice)
by the fact that the word Obedience —
but certainly not obedience to Mark —
came over her, in that room and in that presence,
like a strange oriental perfume, perilous, seductive, and ambiguous…

“Stop it!” said the Director, sharply.

Jane stared at him, open mouthed.
There were a few moments of silence during which the exotic fragrance faded away.

“You were saying, my dear?” resumed the Director.

“I thought love meant equality,” she said, “and free companionship.”

“Ah, equality!” said the Director.
“We must talk of that some other time.
Yes, we must all be guarded by equal rights from one another’s greed,
because we are fallen.
Just as we must all wear clothes for the same reason.
But the naked body should be there underneath the clothes,
ripening for the day when we shall need them no longer.
Equality is not the deepest thing, you know.”

“I always thought that was just what it was.
I thought it was in their souls that people were equal.”

“You were mistaken,” said he gravely.
“That is the last place where they are equal.
Equality before the law, equality of incomes — that is very well.
Equality guards life; it doesn’t make it.
It is medicine, not food.
You might as well try to warm yourself with a blue-book.”

“But surely in marriage… ?”

“Worse and worse,” said the Director.
“Courtship knows nothing of it; nor does fruition.
What has free companionship to do with that?
Those who are enjoying something, or suffering something together, are companions.
Those who enjoy or suffer one another, are not.
Do you not know how bashful friendship is?
Friends — comrades — do not look at each other. Friendship would be ashamed…”

“I thought,” said Jane and stopped.

“I see,” said the Director.
“It is not your fault.
They never warned you.
No one has ever told you that obedience — humility — is an erotic necessity.
You are putting equality just where it ought not to be.
As to your coming here, that may admit of some doubt.
For the present, I must send you back.
You can come out and see us.
In the meantime, talk to your husband and I will talk to my authorities.” (147-148)

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No, no; we want geldings and oxen.
There will never be peace and order and discipline so long as there is sex.
When man has thrown it away, then he will become finally governable.

“At present, I allow, we must have forests, for the atmosphere.
Presently we find a chemical substitute.
And then, why any natural trees?
I foresee nothing but the art tree all over the earth.
In fact, we clean the planet.”

“Do you mean,” put in a man called Gould, “that we are to have no vegetation at all?”

“Exactly. You shave your face: even, in the English fashion, you shave him every day.
One day we shave the planet.”

“I wonder what the birds will make of it?”

“I would not have any birds either.
On the art tree I would have the art birds all singing when you press a switch inside the house.
When you are tired of the singing you switch them off.
Consider again the improvement.
No feathers dropped about, no nests, no eggs, no dirt.”

“It sounds,” said Mark, “like abolishing pretty well all organic life.”

“And why not? It is simple hygiene.
Listen, my friends.
If you pick up some rotten thing and find this organic life crawling over it,
do you not say, ‘Oh, the horrid thing. It is alive,’ and then drop it?”

“Go on,” said Winter.

“And you, especially you English, are you not hostile to any organic life except your own
on your own body?
Rather than permit it you have invented the daily bath.”

“That’s true.”

“And what do you call dirty dirt? Is it not precisely the organic?
Minerals are clean dirt.
But the real filth is what comes from organisms —
sweat, spittles, excretions.
Is not your whole idea of purity one huge example?
The impure and the organic are interchangeable conceptions.”

“What are you driving at, Professor?” said Gould.
“After all we are organisms ourselves.”

“I grant it. That is the point. In us organic life has produced Mind.
It has done its work.
After that we want no more of it.
We do not want the world any longer furred over with organic life,
like what you call the blue mould —
all sprouting and budding and breeding and decaying.
We must get rid of it.
By little and little, of course.
Slowly we learn how.
Learn to make our brains live with less and less body:
learn to build our bodies directly with chemicals,
no longer have to stuff them full of dead brutes and weeds.
Learn how to reproduce ourselves without copulation.”

“I don’t think that would be much fun,” said Winter.

“My friend, you have already separated the Fun, as you call it, from fertility.
The Fun itself begins to pass away.
Bah! I know that is not what you think.
But look at your English women. Six out of ten are frigid, are they not? You see?
Nature herself begins to throw away the anachronism.
When she has thrown it away, then real civilisation becomes possible.
You would understand if you were peasants.
Who would try to work with stallions and bulls?
No, no; we want geldings and oxen.
There will never be peace and order and discipline so long as there is sex.
When man has thrown it away, then he will become finally governable.” (172-173)

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“The world I look forward to is the world of perfect purity.
The clean mind and the clean minerals.
What are the things that most offend the dignity of man?
Birth and breeding and death.
How if we are about to discover that man can live without any of the three?” (174) Filostrato

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Nature is the ladder we have climbed up by, now we kick her away.

“For the moment, I speak only to inspire you.
I speak that you may know what can be done: what shall be done here.
This Institute — Dio mio, it is for something better than housing and vaccinations
and faster trains and curing the people of cancer.
It is for the conquest of death: or for the conquest of organic life, if you prefer.
They are the same thing.
It is to bring out of that cocoon of organic life which sheltered the babyhood of mind the New Man,
the man who will not die,
the artificial man,
free from Nature.
Nature is the ladder we have climbed up by, now we kick her away.” (177)

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Here, in this house, you shall meet the first sketch of the real God.
It is a man — or a being made by man —
who will finally ascend the throne of the universe.
And rule forever.

“You are frightened?” said Filostrato.
“You will get over that.
We are offering to make you one of us.
Ahi — if you were outside, if you were mere canaglia you would have reason to be frightened.
It is the beginning of all power.
He lives forever.
The giant time is conquered.
And the giant space — he was already conquered too.
One of our company has already travelled in space.
True; he was betrayed and murdered and his manuscripts are imperfect:
we have not yet been able to reconstruct his space ship.
But that will come.”

“It is the beginning of Man Immortal and Man Ubiquitous,” said Straik.
“Man on the throne of the universe. It is what all the prophecies really meant.”

“At first, of course,” said Filostrato, “the power will be confined to a number —
a small number — of individual men.
Those who are selected for eternal life.”

“And you mean,” said Mark, “it will then be extended to all men?”

“No,” said Filostrato. “I mean it will then be reduced to one man.
You are not a fool, are you, my young friend?
All that talk about the power of Man over Nature —
Man in the abstract —
is only for the canaglia.
You know as well as I do that Man’s power over Nature means the power of some men over other men with Nature as the instrument.
There is no such thing as Man — it is a word.
There are only men.
No! It is not Man who will be omnipotent, it is some one man, some immortal man.
Alcasan, our Head, is the first sketch of it.
The completed product may be someone else.
It may be you. It may be me.”

“A king cometh,” said Straik,
“who shall rule the universe with righteousness and the heavens with judgment.
You thought all that was mythology, no doubt.
You thought because fables had clustered about the phrase, ‘Son of Man,’
that Man would never really have a son who will wield all power. But he will.”

“I don’t understand, I don’t understand,” said Mark.

“But it is very easy,” said Filostrato.
“We have found how to make a dead man live.
He was a wise man even in his natural life.
He lives now forever; he gets wiser.
Later, we make them live better —
for at present, one must concede, this second life is probably not very agreeable to him who has it.
You see?
Later we make it pleasant for some — perhaps not so pleasant for others.
For we can make the dead live whether they wish it or not.
He who shall be finally king of the universe can give this life to whom he pleases.
They cannot refuse the little present.”

“And so,” said Straik, “the lessons you learned at your mother’s knee return.
God will have power to give eternal reward and eternal punishment.”

“God?” said Mark. “How does He come into it? I don’t believe in God.”

“But, my friend,” said Filostrato, “does it follow that because there was no God in the past
that there will be no God also in the future?”

“Don’t you see,” said Straik,
“that we are offering you the unspeakable glory of being present at the creation of God Almighty?
Here, in this house, you shall meet the first sketch of the real God.
It is a man — or a being made by man —
who will finally ascend the throne of the universe.
And rule forever.” (178-179)

______________________________

One of Ransom’s greatest difficulties in disputing with MacPhee
(who consistently professed to disbelieve the very existence of the eldils)
was that MacPhee made the common, but curious assumption that —
if there are creatures wiser and stronger than man
they must be forthwith omniscient and omnipotent.
In vain did Ransom endeavour to explain the truth.
Doubtless, the great beings who now so often came to him
had power sufficient to sweep Belbury from the face of England
and England from the face of the globe;
perhaps, to blot the globe itself out of existence.
But no power of that kind would be used.
Nor had they any direct vision into the minds of men.
It was in a different place, and approaching their knowledge from the other side,
that they had discovered the state of Merlin:
not from inspection of the thing that slept under Bragdon Wood,
but from observing a certain unique configuration in that place
where those things remain that are taken off thine’s mainroad,
behind the invisible hedges, into the unimaginable fields.
Not all the times that are outside the present are therefore past or future.

It was this that kept the Director wakeful, with knitted brow,
in the small cold hours of that morning when the others had left him.
There was no doubt in his mind now that the enemy had bought Bragdon to find Merlin:
and if they found him they would re-awake him.
The old Druid would inevitably cast his lot with the new planners —
what could prevent his doing so?
A junction would be effected between two kinds of power
which between them would determine the fate of our planet.
Doubtless that had been the will of the dark eldils for centuries.
The physical sciences, good and innocent in themselves, had already, even in Ransom’s own time,
begun to be warped, had been subtly manoeuvred in a certain direction.
Despair of objective truth had been increasingly insinuated into the scientists;
indifference to it, and a concentration upon mere power, had been the result.
Babble about the élan vital and flirtations with panpsychism
were bidding fair to restore the Anima Mundi of the magicians.
Dreams of the far future destiny of man
were dragging up from its shallow and unquiet grave the old dream of Man as God.
The very experiences of the dissecting room and the pathological laboratory
were breeding a conviction that
the stilling of all deepset repugnances was the first essential for progress.
And now, all this had reached the stage
at which its dark contrivers thought they could safely begin to bend it back
so that it would meet that other and earlier kind of power.
Indeed they were choosing the first moment at which this could have been done.
You could not have done it with Nineteenth-Century scientists.
Their firm objective materialism would have excluded it from their minds;
and even if they could have been made to believe,
their inherited morality would have kept them from touching dirt.
MacPhee was a survivor from that tradition.
It was different now.
Perhaps few or none of the people at Belbury knew what was happening;
but once it happened, they would be like straw in fire.
What should they find incredible, since they believed no longer in a rational universe?
What should they regard as too obscene,
since they held that all morality
was a mere subjective by-product of the physical and economic situations of men?

______________________________

______________________________

Other Things to Ponder

Some Things to Read

C.S. Lewis on Mere Science, by M.D. Aeschliman, at First Things, October, 1998

A Century in Books – An Anniversary Symposium, by Various Authors, at First Things, March, 2000

George Orwell’s Review of That Hideous Strength by C.S. Lewis, at Amor Mundi (Dale Carrico), February 3, 2009

Lewis vs Haldane, by David Foster, at Chicago Boyz, September 16, 2009

The More You Want, by Tom Gilson, at First Things, February 22, 2012

Ideology, Institutions, and Modern Science, by Joseph Knippenberg, at First Things, December 19, 2012

Book Review: That Hideous Strength, by C S Lewis, by David Foster, at Chicago Boyz, July 24, 2014

Good and Evil in C.S. Lewis’ Space Trilogy, by Dr. Pedro Blas González, at NewEnglishReviewDecember 2, 2020

Brave New World?  1984?  No, CS Lewis’s That Hideous Strength is the Novel That Best Predicted Today’s World, by David Marshall, at Stream.org, September 4, 2021

Medical Mandates: A Hideous Strength, by David Solway, at Pajamas Media, September 12, 2021

A Prophecy of Evil: Tolkien, Lewis, and Technocratic Nihilism“, by N.S. Lyons, at The Upheaval, November 15, 2022

The Military-Industrial Complex Doesn’t Run Washington“, by N.S. Lyons, at The Upheaval, January 12, 2023

That Haunting Nihilism, by Rusty R. Reno, at First Things, January, 2023

Some Things to Hear

A Prophecy of Evil: Tolkien, Lewis, and Technocratic Nihilism (Old Version)”, at TheUpheaval (audyo.ai/theupheaval) (A little fast, but still audible!)

A Prophecy of Evil: Tolkien, Lewis, and Technocratic Nihilism“, at TheUpheaval (audyo.ai/theupheaval)  (As above!)

The Military-Industrial Complex Doesn’t Run Washington: Something else does“, at  TheUpheaval (audyo.ai/theupheaval) (As above doubly!)

 

The Shrinking Man, by Richard Matheson – 1962 [Mitchell Hooks] [Revised post…]

Dating back to February of 2019, I’ve now updated this post – displaying the cover of Fawcett / Gold Medal’s 1962 edition of Richard Matheson’s The Shrinking Man – to include a variety of videos about the book’s 1957 film adaptation.  The book’s first edition – also published as a Fawcett / Gold Medal paperback, rather than hardcover – appeared in 1956. 

On a personal note, I first viewed this film at about the age of eight (seriously) in the late 1960s.  In accurate retrospect, I remember having been – in the parlance of 2023 – completely “blown away” on an emotional level (though I could hardly articulate as much at the time!) by two aspects of Richard Matheson’s screenplay.

First, the transformation of the commonplace and mundane to the horrific, in terms of Scott Carey’s confrontation with a house cat and spider, let alone his simple, solitary, desperate struggle for survival.  Second, I found the movie’s conclusion to be profoundly affecting and deeply moving.  It was not the happy ending that I anticipated and hoped for early in the film – Scott’s restoration to normal size; reuniting with his wife; the resumption of and return to the life that he knew before – but its quietly upbeat ambiguity, which has deeply religious undertones (the word “God” is actually spoken, let alone in a positive sense!), lifted the film in its entirety (not just its final moments) into the realm of the sublime.  Ray Anthony’s refreshingly-un-theramin-like (for the 1950s) opening trumpet solo lends the film an almost noir-like dimension. 

What we really have in Jack Arnold’s, Albert Zugsmith’s, and Richard Matheson’s production is a fully “A Movie” – well, at least aspects or parts of an A Movie – hidden within an ostensibly “B Film”. 

Thankfully, there have been neither sequel nor remake.  And in this I include – ahem – Joel Schumacher’s The Incredible Shrinking Woman.  

See more below…!

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Unsurprisingly, the 1957 film adaptation does have marked differences from its original literary version, one passage of which is very disturbing, and probably would have been far “beyond the pale” for audiences of the 1950s.  

____________________

From Arrow Video, here’s the film’s trailer:

Via Larry Arpin, here’s Jack Arnold’s discussion of the movie’s creation…

…while History of Horror discusses the film in the context of other productions by Jack Arnold.  Cleverly, this video opens with Ray Anthony’s trumpet solo:

The full film can be viewed at the link below, from Archive.org:

The Incredible Shrinking Man

The film’s conclusion – which, paralleling the novel, carries with it an unusually profound theological and philosophical message – commences at 1:05:35. 

Here are the movie’s final four minutes, via Marie Ruggirello:

Compare to Matheson’s original text, below…

Chapter Seventeen

AS ON ANY other morning, his lids fell back, his eyes opened.  For a moment he stared up blankly, his mind still thick with sleep.  Then he remembered and his heart seemed to stop.

With a startled grunt, he jolted up to a sitting position and looked around incredulously, his mind alive with one word:

Where?

He looked up at the sky, but there was no sky – only a ragged blueness, as if the sky had been torn and stretched squeezed and poked full of giant holes, through which light speared.

His wide, unblinking gaze moved slowly, wonderingly.  He seemed to be in a vast, endless cavern.  Not far over to his right the cavern ended and there was light.  He stood up hastily and found himself naked.  Where was the sponge?

He looked up again at the jagged blue dome.  It stretched away for hundreds of yards.  It was a bit of the sponge he’d worn.

He sat down heavily, looking over himself. He was the same.  He touched himself.  Yes, the same.  But how much had he shrunk during the night?

He remembered lying on the bed of leaves the night before, and he glanced down.  He was sitting on a vast plain of speckled brown and yellow.  There were great paths angling out from a gigantic avenue.  They went as far as he could see.

He was sitting on the leaves.

He shook his head in confusion.

How could he be less than nothing?

The idea came.  Last night he’d looked up at the universe without.  Then there must be a universe within, too.  Maybe universes.

He stood again.  Why had he never thought of it; of the microscopic and the submicroscopic worlds?  That they existed he had always known.  Yet never had he made the obvious connection.  He’d always thought in terms of man’s own world and man’s own limited dimensions.  He had presumed upon nature.  For the inch was man’s concept, not nature’s.  To a man, zero inches means nothing.  Zero meant nothing.

But to nature there was no zero.  Existence went on in endless cycles.  It seemed so simple now.  He would never disappear, because there was no point of non-existence in the universe.

It frightened him at first.  The idea of going on endlessly through one level of dimension after another was alien.

Then he thought: If nature existed on endless levels, so also might intelligence.

He might not have to be alone.

Suddenly he began running toward the light.

And, when he’d reached it, he stood in speechless awe looking at the new world with its vivid splashes of vegetation, its scintillant hills, its towering trees, its sky of shifting hues, as though the sunlight were being filtered through moving layers of pastel glass.

It was a wonderland.

There was much to be done and more to be thought about.  His brain was teeming with questions and ideas and – yes – hope again.  There was food to be found, water, clothing, shelter.  And, most important, life.  Who knew?  It might be, it just might be there.

Scott Carey ran into his new world, searching.

THE END
of a novel by
Richard Matheson

293 Feb. 4, 2019

Year of Consent, by Kendell Foster Crossen – 1954 [Richard M. Powers]

SECURITY
A.D.
1990

“It is only 36 years from now.
The streets, the buildings, the fields look just as they do today.
And the people look the same
– until you get close enough to see the bland, vacant stare in their eyes,
to hear the empty, guarded quality of their voices.”

______________________________________

“His faith was the faith of a Torquemada backed by science.”

____________________

The imagination of the future comes in many guises.  

Among the most compelling are five twentieth-century novels that, despite the marked differences in their literary styles, plot, and characters, are stunning examples of world-building. All are chillingly crisp depictions of totalitarianism built upon a foundation of technology and bureaucracy, and ultimately, sociological persuasion, manipulation, and control.

1984, by George Orwell
Brave New World, by Aldous Huxley
Fahrenheit 451 (based on The Fireman) by Ray Bradbury
We, by Evgeniy Zamyatin
Utopia 14 (alternate title Player Piano), by Kurt Vonnegut, Jr.

There are innumerable other works in this vein, particularly in the realm of science-fiction, which have received (or merited?!) far less attention, but which are still compelling in their own right. One of these is Kendell Foster Crossen’s 1954 Year of Consent which, despite not being of the same literary standard as the above-mentioned works, has proven to be eerily relevant to the United States, and perhaps “the world”, of 2021.  A Dell paperback, you can read David Foster’s insightful 2021 review – I recommend it highly! – at ChicagoBoyz, and three brief comments (with middling ratings; oh, well!) at GoodReads.

To quote David Foster’s post:

The story is set in the then-future year of 1990.  The United States is still nominally a democracy, but the real power lies with the social engineers…sophisticated advertising & PR men…who use psychological methods to persuade people that they really want what they are supposed to want.  (Prefiguring “nudging”)  The social engineers are aided in their tasks by a giant computer called Sociac (500,000 vacuum tubes! 860,000 relays!) and colloquially known as ‘Herbie.’  The political system now in place is called Democratic Rule by Consent.  While the US still has a President, he is a figurehead and the administration of the country is actually done by the General Manager of the United States….who himself serves at the pleasure of the social engineers.  The social engineers work in a department called ‘Communications’, which most people believe is limited to such benign tasks as keeping the telephones and the television stations in operation.  Actually, its main function is the carrying out of influence operations.

…and…

Year of Consent can’t be called great literature, on a par with 1984 or Brave New World, but it projects a future which is perhaps closer to the immediate threats facing American liberty in 2020 than do either of those two other novels.

Aside from Crossen’s prescience, in purely artistic terms, Dell’s paperback is an unusual example of the art of illustrator Richard Powers.  Unlike as in the overwhelming majority of his compositions, Powers created a painting that is both symbolic and realistic.  In the background, kind of Matrix-like, a citizen is embedded in and connected to electronic circuits, her hands and feet fused into or hidden by a tapestry of wire junctions, even as her head and torso are surrounded by a translucent container.

However…  Protagonist Gerald Leeds an his girlfriend Nancy are neither stylized nor abstract nor – as in so many of Powers’ 1950s paintings – diminutively symbolic: They’re depicted in complete and dramatic realism as they flee from “Herbie”. 

____________________

She and her smartphone are one!

____________________

As far as the appearance of Gerald Leeds, could he have been modeled after Powers himself, as in this self-portrait from Bill & Sue-On Hillman’s ERBZine?  (Just a thought.)

____________________

SECURITY A.D. 1990

It is only 36 years from now.  The streets, the buildings, the fields look just as they do today.  And the people look the same – until you get close enough to see the bland, vacant stare in their eyes, to hear the empty, guarded quality of their voices.

They are victims of a gigantic con game.  Free will, the right of dissent have been washed away in a sea of slogans coined by the public-relations manipulators who have taken over the government.  The rare ones who momentarily forget they are no longer individuals have their symptoms recorded by an enormous mechanical brain in Washington.  The real dissenters, the incorrigible rebels, have their “sickness” cured by a simple surgical operation…

This is the year of consent.  And this is the story of a man who fought back.

____________________

____________________

Some quotes from the novel. 

Or, are they aspects of our reality?

____________________

Never has there been more freedom anywhere than in America today.
We’ve done away with police and even prisons.
Crime has been almost wiped out since we recognized it as a social disease.
We’ve done away with poverty.
There are fewer restrictions on people than ever before in the history of mankind.
For the first time they’re really free.

Gerald reflects:

Even if it hadn’t been dangerous, I wouldn’t have argued with him.
He believed what he was saying.
His faith was the faith of a Torquemada backed by science.
There was no way to make him see
that the social engineers had taken away only one freedom,
but that it was the ultimate freedom –
the right to choose.
Everything…was decided for them and then they were conditioned to want it.

____________________

“Why even the great Lenin said,
“It is true that liberty is precious – so precious that it must be rationed.”

“Yeah,” I said dryly. “Hobbyhorses.”

“What?”

“Hobbyhorses,” I repeated.
“Did you know that it is now almost two generations
since hobbyhorses have been sold in toy stores in either Russia or the United States?”

“I’m afraid I don’t understand,” he said doubtfully.

“I’m not sure why hobbyhorses withered away in the Soviet,” I said,
“but the ban was started here by the playschool consultants,
who were influenced by the social engineers
long before the latter came into power.
They put the finger on hobbyhorses
on the grounds that they did not develop the group spirit.”

He nodded thoughtfully.
“Of course.
But you realize that it meant different things in the two countries.
Here the group spirit was used to build fascism
while in Russia and the Soviet Countries it was used to build a people’s world.

____________________

This is a fight to the finish between mass man and individual man.
It was a pretty even match until the advent of controlled mass communications.
Then the giant electronic brains completely tipped the scales…
there is no difference between our social engineers and those in Russia.
Both are out to turn the world into one of mass men –
everyone conforming in every single way.
And they’ve damn near succeeded.

____________________

____________________

References

Chicagoboyz

…at Chicagoboyz.net

The Brothers Karamazov

…at Project Gutenberg

“The Grand Inquisitor” (translated by H.P. Blavatsky)

…at OnLine Literature

Kendell Foster Crossen

…at Internet Speculative Fiction Database

…at The Encyclopedia of Science Fiction

… at Fantastic Fiction

…at Wikipedia

…at Project Gutenberg (“The Gnome’s Gneiss”, and, “The Ambassadors From Venus”)

Evgeniy Ivanovich Zamyatin

…at Internet Speculative Fiction Database

Official Edgar Rice Burrough’s Tribute and Weekly Webzine Site

…at erbzine.com

Rembrandt’s Hat, by Bernard Malamud – 1974 [Alan Magee] [Revised post…]

Dating from March of 2018, I’ve now updated this post to display the cover of a much better copy of Rembrandt’s Hat, than which originally appeared here.  The “original” cover image can be viewed at the “bottom” of the post. 

I’ve also – gadzooks, at last! – discovered the identity of the book’s previously-unknown-to-me-illustrator, whose initials, “A.M.” appear on the book’s cover.  He’s Alan Magee, about whom you can read more here

And, a chronological compilation of Bernard Malamud’s short stories can be found here.

Contents

The Silver Crown, from Playboy (December, 1972)

Man in the Drawer, from The Atlantic (April, 1968)

The Letter, from Esquire (August, 1972)

In Retirement, from The Atlantic (March, 1973)

Rembrandt’s Hat, from New Yorker (March 17, 1973)

Notes From a Lady At a Dinner Party, from Harper’s Magazine (February, 1973)

My Son the Murderer, from Esquire (November, 1968)

Talking Horse, from The Atlantic (August, 1972)

______________________________

Half a year later, on his thirty-sixth birthday,
Arkin, thinking of his lost cowboy hat
and heaving heard from the Fine Arts secretary that Rubin was home
sitting shiva for his recently deceased mother,
was drawn to the sculptor’s studio –
a jungle of stone and iron figures –
to search for the hat. 
He found a discarded welder’s helmet but nothing he could call a cowboy hat. 
Arkin spent hours in the large sky-lighted studio,
minutely inspecting the sculptor’s work  in welded triangular iron pieces,
set amid broken stone sanctuary he had been collecting for years –
decorative garden figures placed charmingly among iron flowers seeking daylight. 
Flowers were what Rubin was mostly into now,
on long stalk with small corollas,
on short stalks with petaled blooms. 
Some of the flowers were mosaics of triangles.

Now both of them evaded the other;
but after a period of rarely meeting,
they began, ironically, Arkin thought, to encounter one another everywhere –
even in the streets of various neighborhoods,
especially near galleries on Madison, or Fifty-seventh, or in Soho;
or on entering or leaving movie houses,
and on occasion about to go into stores near the art school;
each of them hastily crossed the street to skirt the other;
twice ending up standing close by on the sidewalk.
In the art school both refused to serve together on committees.
One, if he entered the lavatory and saw the other,
stepped outside and remained a distance away till he had left.
Each hurried to be first into the basement cafeteria at lunch time
because when one followed the other in
and observed him standing on line at the counter,
or already eating at a table, alone or in the company of colleagues,
invariably he left and had his meal elsewhere.
Once, when they came together they hurriedly departed together.
After often losing out to Rabin,
who could get to the cafeteria easily from his studio,
Arkin began to eat sandwiches in his office.
Each had become a greater burden to the other, Arkin felt,
than he would have been if only one were doing the shunning.
Each was in the other’s mind to a degree and extent that bored him.
When they met unexpectedly in the building after turning a corner or opening a door,
or had come face-to-face on the stairs, one glanced at the other’s head to see what, if anything,
adorned it; then they hurried by, or away in opposite directions.
Arkin as a rule wore no hat unless he had a cold,
then he usually wore a black woolen knit hat all day;
and Rubin lately affected a railroad engineer’s cap.
The art historian felt a growth of repugnance for the other.
He hated Rubin for hating him and beheld hatred in Rubin’s eyes.
“It’s your doing,” he heard himself mutter to himself to the other.
“You brought me to this, it’s on your head.”

After hatred came coldness. 
Each froze the other out of his life; or froze him in.  (pp. 130-131)

March 25, 2018 255

The Pilgrim’s Progress, by John Bunyan (Introduced by Daryl B. Adrian) – 1969 (1678) [“Leonard”]

Pocket Books’ 1951 edition of The Pilgrim’s Progress is very different from this 1969 edition published by Airmont.  While the cover of the former shows a solitary “pilgrim”, “Leonard’s” cover for this edition is far more allegorical and symbolic in nature.  The figures have somewhat of an androgynous appearance, with a visual echo of the art of William Blake, particularly in the form of the winged red reptilian demon / lion standing at the left.    

From rear cover…

The Pilgrim’s Progress has been described as the fictionalized version of John Bunyan’s autobiography, Grace Abounding to the Chief of Sinners; the combination of a fairy tale, a picaresque adventure story. and a realistic novel; a serious religious allegory; and a myth, according to Olla Winslow, of “Everyman’s journey … a universal quest for men to the goal of his supreme desiring, his passionate search for unseen perfection, unattainable on earth … a universal quest, realized individually.”

“Although these facets and traits and implicitly evident in the work, The Pilgrim’ Progress is primarily a story, as Bunyan himself states in his apology, ‘of the way / And race of saints, in this gospel day, / … an allegory / About their journey, and the way to glory.”  That is, it is a conspicuous, symbolic portrayal of the religious struggles and experiences of sincere, elected Puritans of the later-seventeenth century.

“Bunyan himself experienced the struggles which he relates in allegorical form and he gave psychological states of mind the vivid forms of demons and monsters which the Pilgrim must overcome to reach the Celestial City.  In the England of Bunyan’s day, after the restoration of Charles II to the throne (1660), there were more tangible trials, too.  The Church of England again dictated the state religion and Bunyan, a Baptist preacher , was jailed because he refused to stop preaching.  It was in jail that The Pilgrim’s Progress was begun.”

References

John Bunyan, at…

Wikipedia

The Pilgrim’s Progress, at…

Wikipedia

Brittanica.com

The “Lomokome” Papers, by Herman Wouk – 1968 (1956) [Harry R. Bennett]

While the great majority of my posts displaying science fiction art present illustrations created for stories and novels written by authors of science fiction, the art for Herman Wouk’s The “Lomokome” Papers is somewhat different, given he nature of Wouk’s literary oeuvre.  This could be categorized as historical fiction, with a focus upon aspects of the American experience of the mid-twentieth century as viewed through the lens of United States Navy during the Second World War, or the Second World War “in general”, and, the history of the Jewish people in both the United States and Israel as perceived in and personified through the lives of individual men and women, and, their families.  

So, when – in a used bookstore (yes, a few still exist!) – I chanced upon this copy of The “Lomokome” Papers, it rang a literary bell of a highly different tone.  I’d long nominally known “of” the title, but had not yet read the book.

While one might at first think the story to be purely a tale of science fiction representative of the mid-twentieth century’s “Golden Age”, the 1949 novel instead uses the plot device of American astronauts’ lunar voyage to confront themes much larger: the intersection between technology, war, and politics, and morality.  In the words of Monstrodwhale at GoodReads – where ratings of the novel by 58 readers are hugely varied – the novel is a, “Swiftian satire about the Cold War set on the moon.  Written not long after WWII, it provides a fairly interesting take on the real differences between Democracy and Communism as well as a strange reading of Weapons of Mass Destruction.  Ultimately, it’s clever.” 

In any event, the novel does mark Wouk’s only foray into science fiction.  

In terms of art, this 1968 Pocket Books edition marked an effort by the publisher to – perhaps? – lend the novel a “highbrow” air through the inclusion of numerous full-page black and white interior illustrations, of which two are displayed below.  (I didn’t want to risk breaking the binding by scanning all the other illustrations within the book!) 

The frontspiece image of the astronaut depicted as floating against the background of a lunar inhabitant’s starry cloak in the “upper” black and white illustration was certainly inspired by James A. McDivitt’s famous photo of Edward H. White during the latter’s spacewalk three years prior to this edition’s publication: during Gemini 4, on June 3, 1965.  Subsequently, McDivitt’s superb photograph (it’s a really nice image aside from its historical significance) was directly incorporated into, was adapted for, or inspired much in the way of the iconography of space exploration, science, and science fiction, at least through the 1970s.  

Otherwise, Harry R. Bennett’s front cover has – surprise, surprise – a sort of “hippie” feel.  Y’know, big red hair and all.  

Well, this was 1968..!

____________________

– Frontspiece –

__________

____________________

– page ninety-three –

References

Herman Wouk

…at Wikipedia

…at FindAGrave

“The Lomokome Papers”

…at GoodReads

Illustrator Harry R. Bennett

…at Internet Speculative Fiction Database

…at Flickr.com (Book Covers)

“Where is the current location of Harry Bennett’s art used for Herman Wouk’s The “Lomokome” Papers?”

Science Fiction & Fantasy, at Stack Exchange

A Loss of Face: Galaxy Science Fiction – November, 1950 (Featuring “Honeymoon In Hell”, by Fredric Brown) [Don Sibley]

Synchronicity?…

…Synchronicity!

Synchronicity, from Wikipedia:  (Okay, yeah, I know it’s Wikipedia, but still..!)…

Synchronicity (German: Synchronizität) is a concept first introduced by analytical psychologist Carl G. Jung ‘to describe circumstances that appear meaningfully related yet lack a causal connection.’  Jung held that to ascribe meaning to certain acausal coincidences can be a healthy, even necessary, function of the human mind – principally, by way of bringing important material of the unconscious mind to attention.  This further developed into the view that there is a philosophical objectivity or suprasubjectivity to the meaningfulness of such coincidences, as related to the collective unconscious.”

____________________

So I was perusing; leafing through; skimming; wandering within, the pages of my copies of Galaxy Science Fiction, and chanced upon the issue of November, 1950, which features Don Sibley’s cover art for Fredric Brown’s short tale “Honeymoon in Hell”.  The issue also contains part two of Clifford Simak’s three-part serial “Time Quarry” (retitled in novel form as Time and Again) and notably, Damon Knight’s “To Serve Man”, which was the basis for Twilight Zone Episode # 89, adapted for television by Serling himself and broadcast under the same title on March 2, 1962. 

Remarkably for its cultural significance, Knight’s story is only six pages long.  It also features David Stone’s illustration of a Kanamit, the tale’s extraterrestrial protagonist (or, one of the protagonists, for those Kanamits seem to be pretty indistinguishable from one another) which portrayal is utterly unlike the aliens as depicted in the Twilight Zone adaptation. 

____________________

Close-up of Don Sibley’s cover art.

Red uniform?  Soviet Cosmonaut, Anna Borisovna.

Blue uniform?  American Astronaut, Captain Raymond F. Carmody.

____________________

Interesting.  But, for all its prominence in pop culture, “To Serve Man” has never been one of my favorite Twilight Zone episodes, for the plot, though ending with a twist that’s as disturbing as it is clever – o k a y, I’ll grant it t h a t – is really quite simple in concept.  Unlike many ‘Zone episodes, “To Serve Man”, though obviously and easily adaptable to television because of the simplicity and brevity of the original story, is one of the series’ more middling episodes because it simply does not have anywhere near the psychological and even moral depth of the numerous other, more complex episodes.  The best of these involve individuals confronting and often (but not always!) overcoming their moral, psychological, and even spiritual “ghosts” in settings where themes of science fiction, the paranormal, and occasionally the supernatural – alone, or in combination – while inherent to plot and setting, are actually incidental to themes of personal transformation.  And if not transformation, at least an epiphany. 

So, suppose that every aficionado of the series has their own (!) favorite episodes, here are mine:

The After Hours

King Nine Will Not Return 

The Man in The Bottle 

The Invaders (Brilliant solo performance by Agnes Moorehead.)

A Hundred Yards Over the Rim 

The Obsolete Man

Nothing In The Dark

Nightmare At 20,000 Feet (But of course!)

__________

My favorite episode of all?

Nervous Man in a Four-Dollar Room

A superb production. 

A story of great complexity, based upon an extraordinarily simple premise, with an excellent near-solo performance by Joe Mantell

Outstanding, by all measures.

__________

But, getting to the subject at hand.  Or more accurately, the image at hand.

Within the November, 1950 issue of Galaxy is another short story; one by Fritz Leiber, Jr., entitled “Coming Attraction”,  (You can listen to Atomic Julie’s audio version here.)  As summarized (in greater depth) at Wikipedia, the tale is set within a mostly uninhabitable Manhattan – rendered so by a Soviet “Hell Bomb” – amidst an ongoing war between the United States and (former) Soviet Union.  The protagonist, British citizen Wysten Turner, has ventured to New York City to obtain grain in exchange for electronic equipment which may be intended for an American military installation on the moon.

The story, however, features none of the standard science fiction tropes, such things as transformative technology, extraterrestrials, space voyages, time travel, and genetic engineering being quite absent.  Instead, the plot focuses on social interactions between men and woman, through the experience of Turner himself, in a society that has the air of a social dystopia – albeit a bland, soft, depressing sort of sociological dystopia rather than one characterized by material want or technological regression – where women have taken to wearing masks as a taken-for-granted accoutrement of everyday attire.

Unsurprisingly, given Leiber’s extraordinary literary skill, the story is well constructed; it’s “tight”, moving forward at a steady pace with no extraneous detail, tedious digressions, or slack.  Yet with that, I still don’t think it’s one of Leiber’s best efforts, and I find it very odd that it was deemed worthy of inclusion in volume one of the Science Fiction Hall of Fame, published two decades later.  While certainly interesting in concept and well executed on a technical level, it’s just not one of Leiber’s strongest tales, or really, that strong of a tale at all.  Though it was included in Ballantine Books’ The Best of Fritz Leiber, it’s easily outshown by most of the other tales in that anthology, particularly “Gonna Roll The Bones” (1967), and “A Deskful of Girls” (1958), the latter showing Leiber’s originality at its best.

So much for words.

And pictures?

The story is illustrated by single thematic image, created by Paul Callé, which – soon after you begin reading the tale – leaves no room for ambiguity. 

Well, if these were “average” times (but there are no more average times, and I doubt if any era has ever been “average”, anyway) the reader would take a look, think “hmmm, interesting,” and much for any story, flip the page and move on. 

Alas, times are no long average, and they may not be so again in our lifetimes.  I wish that were not so, but so it is; so may be.  (But, for how long?)

Did Paul Callé’s art, of a mask as a fashion statement (in the story, it serves no other function), in some unanticipated way portend the year 2021?  And beyond?

She just sat there.
I couldn’t even tell if she was trembling.
I tried to read a message in her eyes through the mask.

“I’ll take you away,” I said to her.
“I can do it.  I really will.”

He smiled at me.  
“She’d like to go with you,” he said.
“Wouldn’t you, baby?”

“Will you or won’t you?” I said to her.
She still just sat there.

He slowly knotted his fingers in her hair.

“Listen, you little vermin,” I snapped at him.
“Take your hands off her.”

He came up from the seat like a snake.  
I’m no fighter.  
I just know that the more scared I am, the harder and straighter I hit.  
This time I was lucky.  

But as he crumpled back, I felt a slap and four stabs of pain in my cheek.  
I clapped my hand to it.  
I could feel the four gashed made by the dagger finger caps,
and the warm blood oozing out from them.

She didn’t look at me.  
She was bending over little Zirk and cuddling her mask to his cheek and crooning:
“There, there, don’t feel bad, you’ll be able to hurt me afterward.”

There were sounds around us, but they didn’t come close.  
I leaned forward and ripped the mask from her face.

I really didn’t know why I should have expected her face to be anything else.  
It was very pale, of course, and there weren’t any cosmetics.  
I suppose there’s no point in wearing any under a mask.  
The eyebrows were untidy and the lips were chapped.  
But as for the general expression, as for the feelings crawling and wriggling across it…

Have you ever lifted a rock from damp soil?  
Have you ever watched the slimy white grubs?

I looked down at her, she up at me.
“Yes, you’re so frightened, aren’t you?” I said sarcastically.
“You dread this little nightly drama, don’t you?
You’re scared to death.”

And I walked right out into the purple night,
still holding my hand to my bleeding cheek.  

No one stopped me, not even the girl wrestlers.  
I wished I could tear a tab from under my shirt,
and test it then and there, and find I’d taken too much radiation,
and so be able to ask to cross the Hudson and go down New Jersey,
past the lingering radiance of the Narrows Bomb,
and so on to Sandy Hook
to wait for the rusty ship that would take me back over to seas to England.

References

Paul Callé, at Wikipedia

Paul Callé, Beyond All Weapons

Paul Callé, By The Stars Forgot

Coming Attraction, at Wikipedia

Fritz Leiber, Jr., at Tellers of Weird Tales

Astounding Science Fiction – October, 1953 (Featuring “The Gulf Between”, by Tom Godwin) [Frank Kelly Freas] [Updated post… [Yet further updated…]]

[Update – December 26, 2020: My search for additional sightings of Frank the Robot has been successful.  I’m happy to report that he’s been captured on video on many occasions, and entirely un-UFO-like, his identity has been definitively verified by amateur and professional observers from locales the world over.  It turns out that he’s not at all reticent about public appearances, seeming to quietly revel in and appreciate public recognition.  True, he doesn’t say much.  (Actually, he doesn’t say anything at all.)  After all, if you’re a metallic man several stories tall, your presence alone speaks for itself.

I’ve also included numerous links about Frank’s creator, Frank Kelly Freas.  Oh, yes…  Note Frank’s resemblance to the robot in Freas’ black & white illustration for Tom Godwin’s story “The Gulf Between”.  A distant relative?

So, to view a better Frank sighting, scroll down a little – just below Stewie Griffin – and enjoy.]

________________________________________

“What the hell is that, a killer robot monster?!”

Frank Kelly Freas’ art gets around, in ways quite unexpected: 

I recently discovered that the plaintive, puppy-dog-eyed, giant robot featured on the cover of the October 1953 issue of Astounding Science Fiction – the inspiration for the cover art of Queen’s 1997 album “News of the World” – was encountered in the latter form by none other than Family Guy’s Stewie Griffin, in the series’ 2012 episode “Killer Queen”.  As you can see in the clip below (original here), Stewie’s introduction to the un-named metal monstrosity – courtesy of Brian Griffin – is a meeting quite memorable.

________________________________________

A MACHINE DOES NOT CARE

“You wanted obedience Cullin – now you have it.
You climbed a long way up by forcing human beings to behave like machines.
But you were wrong in one respect;
no human can ever be forced to behave exactly like a machine,
and no machine can ever be constructed that
will behave exactly like a human.
Machines are the servants of humans, not their equals.
There will always be a gulf between Flesh and Steel.
Read those five words on the panel before you and you will understand.

– – – – – – – – – – – – – – – – – – – – – – – – – – – – – –

It was a good ship,
built to travel almost forever,
and it hurled itself on through the galaxy
at full acceleration;
on and on until the galaxy was a great pinwheel of white fire behind it
and there was nothing before it.

On and on,
faster and faster,
into the black void of Nothing;
without reason or purpose
while a dark-eyed robot stared at a skeleton
that was grinning mirthlessly at a five-word sentence:

A MACHINE DOES NOT CARE
(Tom Godwin, “The Gulf Between”, p. 56)
________________________________________

“God, why does he look sad?!  He’s already destroyed mankind; what else could he want?!”

“I’ll tell you what the news of the world is, we’re in a lot of #@%$*! trouble!”

______________________________

From the YouTube channel of TroyDouglas917, here’s Frank’s opening for Queen + Adam Lambert’s  November 25, 2017, show at 3Arena in Dublin, with great views of Adam Lambert and Brian May.

______________________________

Illustration by Frank Kelly Freas, for Tom Godwin’s story “The Gulf Between” (p. 35).

______________________________

Illustration by Richard Van Dongen, for James H. White’s story “The Scavengers” (p. 121).

______________________________

Illustration by Richard Van Dongen, for James H. White’s story “The Scavengers” (p. 136).

References

Killer Queen, at Internet Movie Database

Adam Lambert – Official Website

Adam Lambert – Wikipedia

Brian May – Official Website

Brian May – Wikipedia

Queen – Official Website

Queen – Wikipedia

Queen + Adam Lambert – Wikipedia

Frank Kelly Freas

Official Website

Wikipedia

SFE – The Encyclopedia of Science Fiction

FindAGrave

JVJ Publishing (Illustrators)

Field Guide to Wild American Pulp Artists

Internet Speculative Fiction Database

GoodReads

Galaxy Press

Wikimedia Commons (Cover Art) – 47 images

Comic Art Fans – some classic, “clickable” (relatively) full-size cover art

Dangerous Minds

invaluable – The World’s Premier Auctions and Galleries – original art for sale

Mad Magazine Covers by Frank Kelly Freas – Doug Gilford’s Mad Magazine Cover Site

1/28/17 – 9/7/20 — 3/23/18 1735

The Tortured Planet (That Hideous Strength), by C.S. Lewis (Clive Staples Lewis) – 1958 (1946) [Richard M. Powers] – Avon # T-211 [Slightly updated…]

Here’s the cover of Avon Books’ 1958 edition of the third and final novel of the Space Trilogy, That Hideous Strength, published under the awkward title The Tortured Planet.  (Ugh.)  I don’t know the reason for the title change, though it may relate to this Avon edition being – as stated on the cover – C.S. Lewis’ abridged version of the original work. 

This edition’s cover art, which looks like two factory-reject Christmas tree ornaments floating confusedly in space, is by Richard Powers, and is the “weakest” of the cover illustrations of Avon’s three 1950s-era volumes of Lewis’ trilogy.  This is more than ironic, given the typically exceptional quality – in terms of complexity, symbolism, and originality – of Powers’ oeuvre.  

You can view the cover art of Macmillan’s 1965 edition of That Hideous Strength here.     

Here are two discussions concerning That Hideous Strength / The Tortured Planet – at ChicagoBoyz.  Both by David Foster, they are “Summer Rerun – Book Review: That Hideous Strength” (September 15, 2017), and, “Summer Rerun – Lewis vs. Haldane” (August 31, 2019).

A (the?) central plot element of the novel concerns an organization dubbed NICE., the National Institute for Coordinated Experimentation.  As stated by Foster, Lewis describes NICE as “the first fruits of that constructive fusion between the state and the laboratory on which so many thoughtful people base their hopes of a better world.”  Though thankfully there’s no congruent analogue of N.I.C.E. in our world, perhaps the Institute can be taken to represent the long-reigning academic / corporate / media “complex”, which has wielded, and continues to wield, vastly more power than than the stereotyped (albeit a somewhat hackneyed stereotype) “military industrial complex”. 

Just sayin’.

Oh, here’s a quote by, “…the Head of the Institutional Police, a woman named Miss Hardcastle … nicknamed the Fairy, who explains to sociologist Mark Studdock [a professor “on the make” at Bracton College], the ease with which the news media can manipulate the public.  (Specifically alluding to that portion of the public that is “educated”, credentialed, and perhaps meritocratic?) 

Whether in the world of the Space Trilogy or our world, her point is valid. 

Thus:

“Why you fool, it’s the educated reader who can be gulled.
All our difficulty comes with the others.
When did you meet a workman who believes the papers?
He takes it for granted that they’re all propaganda and skips the leading articles.
He buys his paper for the football results and the little paragraphs
about girls falling out of windows and corpses found in Mayfair flats.
He is our problem.

We have to recondition him.

But the educated public,
the people who read the highbrow weeklies,
don’t need reconditioning.
They’re all right already.

They’ll believe anything.”

________________________________________

Since completing this post, I’ve made innumerable attempts to learn more about the NICE’s current incarnation, but information about the organization – at least, beyond what C.S. Lewis presents in his novel – is remarkably elusive.  (Understandable:  Much has changed since 1946, not least the fact that the NICE is no longer headquartered in England.)  Despite extensive searches using DuckDuckGo, and, that o t h e r search engine (y’know, the one headquartered in Mountain View, California, at which the arc of human history is tacitly understood to “progress” (Babel-like?) ever forward; always upward; ever higher…), I’ve been unable to identify either the Institute’s home page, or, links to the organization through any other website, whether governmental or private; whether in the Americas, Western or Eastern Europe, Africa, or Asia.    

Likewise, though the Institute assuredly has a presence on Twitter, Facebook, Instagram, and Snapchat, these too remain elusive.  

Well, not entirely true:  I did come across one possible link.  But, I’m not going to click on it.  (Y’never know what might happen…!)

(Okay, just kidding!  I thought it would be fun to indulge in brief speculation about parallel universes and alternate histories….)

But, I did find the image below:  It’s conceptual art of a promotional / propaganda poster for the NICE, fittingly done in 1940s “atomic” style: The kind of image you’d see – 1984-like – in abundance, weather-marked with tattered corners yet always freshly replaced – upon the walls of any urban center.   

The poster is one of many works created by J.P. Cokes as conceptual illustrations for That Hideous Strength, and can be viewed at Behance.  J.P. Cokes has also created a great series of stylistically similar illustrations for Alfred Bester’s The Stars My Destination, which – like That Hideous Strength; like so many other works of science fiction and fantasy (A.E. van Vogt, anyone?) – merits transfer from the printed page to animation, or, the “live” screen.  

________________________________________

Note: December 2, 2020 – Having created this post only five days ago, I was happily surprised to discover Dr. Pedro Blas González’ essay, “Good and Evil in C.S. Lewis’ Space Trilogy“, at NewEnglishReview

Perelandra, by C.S. Lewis (Clive Staples Lewis) – 1957 (1943) [Art Sussman] – Avon # T-157

Following the theme of C.S. Lewis Space Trilogy, here’s Art Sussman’s cover for Perelandra, the second book of the series, as published by Avon in 1957.  Sussman also created the cover of Avon’s 1960 edition of Out of the Silent Planet.

You can view the cover of Macmillan’s 1965 edition of Perelandra here. The large human figures in yellow-orange are probably symbolic representations of Tindril, the Queen of Perelandra (a.k.a. to we inhabitants of Earth as “Venus”), and her un-named King.  There’s also a science-fiction element on the cover in the form of a rocket-plane, but no such craft figures in the story!

And as always, to give you a literary “taste” of the novel’s contents, here’s an excerpt:  A conversation between the hero, Dr. Elwin Ransom, and his antagonist, Dr. Weston. 

“My dear Ransom,
I wish you would not keep relapsing on to the popular level.
The two things are only moments in the single, unique reality.
The world leaps forward through great men
and greatness always transcends mere moralism.
When the leap has been made our ‘diabolism’
as you would call it becomes the morality of the next stage;
but while we are making it, we are called criminals, heretics, blasphemers…”

“How far does it go?
Would you still obey the Life-Force
if you found it prompting you to murder me?”

Yes.”

“Or to sell England to the Germans?”

“Yes.”

“Or to print lies as serious research in a scientific periodical?”

“Yes.”

“God help you!” said Ransom.

* * * * * * * * * * *

As the novel progresses, Dr. Weston is transformed into some thing no longer quite human, although physically human in superficial appearance.  Here are Dr. Ransom’s observations of what remains of Weston – physically, intellectually, and spiritually – after the latter has succumbed (voluntarily?) to demonic possession. 

It [Weston] looked at Ransom in silence and at last began to smile. 
We have all often spoken –
Ransom himself had often spoken –
of a devilish smile. 
Now he realized that he had never taken the words seriously. 
The smile was not bitter, nor raging, nor, in an ordinary sense, sinister;
it was not even mocking. 
It seemed to summon Ransom, with horrible naivete of welcome,
into the world of its own pleasures,
as if all men were at one in those pleasures,
as if they were the most natural thing in the world
and no dispute could ever have occurred about them. 
It was not furtive, nor ashamed, it had nothing of the conspirator in it. 

It did not defy goodness, it ignored it to the point of annihilation.

Ransom perceived that he had never before seen anything
but half-hearted and uneasy attempts at evil. 
This creature was whole-hearted. 
The extremity of its evil had passed beyond all struggle
into some state which bore a horrible similarity to innocence. 
It was beyond vice as the Lady was beyond virtue.

________________________________________

Note: December 2, 2020 – Having created this post only six days ago, I was happily surprised to discover Dr. Pedro Blas González’ essay, “Good and Evil in C.S. Lewis’ Space Trilogy“, at NewEnglishReview