The very first adult novel I
ever read recreationally (3rd grade, I think) qualifies as science
fiction: Sir Arthur Conan Doyle’s The
Lost World. I’d already read the Classic
Comics adaptation, and wanted to tackle the original. The book, though a
bit tattered, is still on my shelf. Not far behind Doyle was HG Wells, a
hardcover that included the novel War of
the Worlds and several short stories. That particular book escaped my
possession sometime during the ensuing decades, but more than a foot of my current
shelf space contains more recent printings of Wells’ works. I didn’t catch
Wells’ social commentary at age 8, of course, but that provided a new level of
enjoyment on later re-reads.
As an aside, film versions of
Wells usually miss his points, too, though I’m not sure if the oversights are
deliberate. Of all the adaptations of The
Island of Dr. Moreau, for example, only the first (Island of Lost Souls [1932], released when Wells was still alive)
clearly makes his point that people, as well as the other creatures on the
island, maintain a veneer of civilization only through violence to their animal
natures and the imposition of arbitrary codes of ethics. Not one of the several
adaptations of The Food of the Gods
hints that Wells’ sympathies were with the giants – an unsubtle metaphor regarding
masses of petty little people trying to cut down those few who have outgrown
them. Neither film version of The Time Machine
(though I like the first one) has anything to do with social class, as does the
book. Perhaps the screenwriters felt the themes to be non-cinematic.
In any event, sci-fi has been
a staple of my reading material ever since I picked up Doyle so long ago. Not exclusively
by any means: on my bed table at this moment is Henry Kissinger’s On China, but right next to it is The Accidental Time Machine by Joe
Haldeman. In my DVD player is disc 2 of The
Ray Bradbury Theater collection. In every genre, trash outweighs treasure
by many tons, but the best scifi is very good literature by any measure, often
tackling themes about human nature (JG Ballard comes to mind) from which
mainstream authors shy. Scifi still accounts only for 6% of all fiction sold,
but lately has earned more cachet thanks to the success of books (and, perhaps more
importantly, movies) such as Suzanne Collins’ The Hunger Games and Orson Scott Card’s Ender’s Game.
While the classic authors of
scifi (most of whom were alive and at the top of their game) were very much
among the companions of my youth through their books, there was one glaring omission:
Alfred Bester. Not entirely. It’s hard to avoid Bester entirely: when working
for DC comics, he authored the original Green Lantern Oath. But I hadn’t read
his flagship novel from 1956 The Stars
My Destination until this past weekend.
It was a surprise. The novel demands
to be called trippy, even though it was published a decade before that
adjective was in common use. More unexpected than just the stylistic oddities,
however, is the very un-1950s anti-hero Gulliver (Gully) Foyle. One can’t help
wondering if Bester created Foyle as a rebellion against the restrictions he
faced in comics from the relentlessly moralistic Comic Book Code of the day, which
forbad portraying villains as sympathetic characters. Not that Foyle is sympathetic. He is reprehensible:
a crude violent worthless murdering rapist nobody. He is motivated solely by
his instinct for self-preservation and his quest for revenge against the crew
of the spaceship that deliberately failed to stop and rescue him when he was the
last survivor on a ship adrift in space. Even though by extraordinary luck he
lives, he can’t get past his rage at having been left to die. As utterly
horrible as the man is, the sheer fanaticism of his pursuit of a common man’s vengeance
in a future world dominated by a commercial aristocracy becomes somehow
fascinating. Nowadays we are less surprised by center stage villains – even Disney’s
new version of Sleeping Beauty is
titled Maleficent after the villain –
but in 1956 this was a novelty.
Bester tacitly raises
the point that the upside to obsession is the meaning it provides to a life
that otherwise might be devoid of one. In Moby Dick, another novel I
read well before I could understand it as more than an adventure/monster story,
Ahab’s quest for vengeance on the white whale, however destructive, illumines
his life. Without it he would be just another forgettable captain of a whaling
ship. With it, he becomes a mythic figure. Khan, on the other hand, would have
been better off forgetting it.
Trailer for The
Lost World (1925)