In their introduction, Amis and Conquest defend science fiction from the haters. After making an appeal to authority (reminding us that C. S. Lewis, Angus Wilson, and William Golding are all SF fans) they get to some more serious literary analysis. Novelist and James Bond fanatic Amis and poet and Sovietologist Conquest argue that while a good writing style would be nice (they suggest J. G. Ballard and Algis Budrys as examples of SF writers with a good style) it is not essential in SF, as what makes SF what it is is mythic themes (they present Jules Verne as an example here) or ideas (for this they offer the example of John W. Campbell, Jr.'s "Who Goes There," an SF story with "a brilliantly engineered main problem" resolved by an "unexpected but logical solution.") As for the development of character, another virtue supposedly absent in SF, Amis and Conquest follow the line of Edmund Crispin, who noted that science fiction is about the relationship of humanity to some novel "thing," an invention or alien or cataclysm or whatever. The character in such a story need not, maybe even should not, be too unusual or complex, because he represents all of mankind, acts as a sort of everyman. Amis and Conquest's examples here include, again, Verne, as well as H. G. Wells's The War of the Worlds, the narrator of which represents an ordinary Englishman.
I don't know to what extent I agree with everything Amis and Conquest have to say, but it is a thought-provoking little essay that makes me want to see the essays at the start of the other Spectrum volumes.
Let's read four stories from Spectrum 5 by writers we have already discussed at least a little here at MPorcius Fiction Log, Walter M. Miller, Jr., Raymond F. Jones, James H. Schmitz, and Tom Godwin. All four of these stories appeared in Astounding, which was sort of the flagship for SF that was about science and ideas and didn't necessarily focus on heroic or horrific adventures or prioritize literary style.
I loved Miller's 1954 story "I Made You," and liked his 1955 "The Triflin' Man" so I have high hopes for this one!
It is the year 2134, and Peruvian Manue Nanti wants to travel the world and see the sights: Notre Dame, New York skyscrapers, the pyramids of Egypt, the radioactive craters of Russia. But he needs money to do so. Solution: signing a five-year contract for a lucrative job on Mars!
On Mars Nanti works as a laborer, swinging a pick! To breathe the thin air of Mars, laborers like Nanti have artificial lung machines implanted into their bodies. The risk of using such a machine is that your body will likely forget how to breathe naturally, and your natural lungs will atrophy, and you won't be able to live without the uncomfortable machine, even back on oxygen-rich Earth. (The engineers have better machines and better working and living conditions and don't run this risk as severely.)
Life for Nanti on Mars is a nightmare--no women, no friends (everybody on Mars is a jerk), the work is exhausting (there is a vague and not really convincing explanation for why they use picks and shovels instead of bulldozers and backhoes on Mars) and the lung machine is like a torture device, the valves pulling painfully at the skin in which they are embedded every time you move or try to breathe naturally.
For most of its 21 pages "Crucifixius Etiam" reads like one of those stories in which the space program is a foolish waste of time and humans aren't fit to live off of Earth--beyond Earth, Earthmen lose their culture, religion, morality, etc. This is Barry Malzberg territory, and demonstrates that 1) Malzberg is not quite as innovative as he is sometimes considered, 2) pre-New Wave SF and Astounding in particular are not quite so technophilic and optimistic as sometimes considered! It is also one of those stories in which the government and bourgeoisie abuse the working classes (represented by non-whites like Nanti) and major government and industrial projects, like terraforming Mars, don't have a legitimate goal, but are a scam that serve, as one character in "Crucifixius Etiam" puts it, as "an outlet for surplus energies, manpower, money....if the Project folded, surplus would pile up--[causing a] big depression on Earth."
The ending of Miller's story could be considered a twist--a hopeful and life-affirming twist! When it is explained to Nanti that he and the other people stuck on the Hell that is Mars are building the first of 300 derricks and associated processing machines that will draw up subterranean frozen "tritium" and convert it to helium and oxygen so that in 800 years Mars will have an Earth-like atmosphere, he accepts his fate and believes his sacrifice is worthwhile. Nanti suffers now so that people in eight centuries can live on a beautiful healthy world! Miller doesn't come right out and say it, but I believe we are meant to see Nanti and his comrades as like Christ, sacrificing themselves for others, and like Moses, unable to enter the promised land to which they are leading humanity; Miller includes priests and rabbis as minor characters, nudging you, I believe, to make this interpretation.
Not bad--Miller's style is good and all the economic, religious, and technological stuff, whether or not any of it is really believable, is interesting and serves a human story. Anthologists Judith Merrill and Everett F. Bleiler and T. E. Dikty would see merit in "Crucifixius Etiam" and reprint the story (in Human? and their The Best Science Fiction Stories series, respectively) in 1954, over a decade before Amis and Conquest did.
I really enjoyed Jones's novel about disembodied brains, artificial life, and the perils of socialism, 1962's The Cybernetic Brains, so I am also looking forward to this one!
It is the Cold War. A bunch of physicists are gathered together by the U.S. government under conditions of strict security to watch a film. The film depicts a twenty-something demonstrating to government officials his anti-gravity device, a thing like a backpack that lets you levitate and fly around! But during the demonstration the device explodes, killing the young inventor! The assembled eggheads are told the young inventor was a paranoid with no friends who left no notes or blueprints describing his amazing invention, and they have been summoned to work on the top secret project of studying the wreckage and this genius misfit's library and lab with the goal of rediscovering the secret of anti-grav!
"Noise Level" is a smooth and pleasant read, though some may say it is too long (like 45 pages in my copy of Spectrum 5) and doesn't amount to much: it consists mostly of conversations and throws around concepts like Einstein's postulate of equivalence and metaphors involving whirlpools and signal to noise ratios. The point of the story is that people get too set in their ways to be able to think outside the box and that being more open-minded is the path to making major breakthroughs.
All the physicists, before seeing that film, thought that anti-grav was impossible. Some of them maintain that anti-grav is impossible and that the film is a hoax. But seeing the film convinces some of them that anti-grav is possible--they get to work on the problem and in a few weeks have a working prototype of an anti-grav vehicle that weighs one hundred tons. The twist of the story is that the film and wreckage and lab are all a government trick, just special effects and props designed to get the country's best physicists to abandon their preconceptions and free their minds so they can develop a technology that will allow us to explore the universe and give us a leg up on the commies. The sense of wonder ending is the revelation that all the things we think are impossible are in fact possible if we can first convince ourselves that they are possible, which will free our minds and give us a chance, through hard work of course, to make them a reality.
This story is alright, and it has many of the hallmarks of classic golden age SF: a bunch of scientists, a paradigm shift and a sensawunda ending, and the use of trickery and manipulation by an elite group on an inferior group for their own good. I can't help but find the lionization of elite trickery of the masses, which we see so often in classic SF (Asimov's Foundation stories and Heinlein's The Moon is a Harsh Mistress are my go-to examples) kind of sick and twisted, but at least this time the victims are a themselves a bunch of geniuses.
"Noise Level" was included in two anthologies published before Spectrum 5, one by William Sloane and one by Edmund Crispin, and was also selected by Harry Harrison and Brian Aldiss for a 1973 anthology of Astounding material.
I enjoyed Schmitz's 1943 horror tale "Greenface" and his collection of stories about female psychic space cops who manipulate people (or just shoot them, you know, whatever works), Agent of Vega, so I've got no qualms about reading this one.
Cord is a fifteen-year-old boy, a member of the two-thousand strong team preparing planet Sutang for colonization. Schmitz stories usually portray women in positions of authority, and as the story begins a seventeen-year-old girl is warning Cord that he had better start behaving or the Regent, the head woman in charge of the colony, will have him sent back to his home planet in disgrace. Don't think that Cord has been smoking crack and playing dice while neglecting his duties, dear reader--Cord is a junior biologist and when he is supposed to be following orders he has been capturing native fauna and studying them in his unauthorized private zoo. Cord is from planet Vanadia, a world settled relatively recently by humans, and he isn't as enamored of rules and regulations as the Terrans who make up the vast majority of the team's members. (I thought maybe Schmitz here was trying to remind us of how British people sometimes see Americans and Australians as unruly uncouth cowboys.)
One of Cord's jobs, apparently, is as a driver, so when the Regent comes by to make an inspection of the Colonial Team's work, Cord drives the vehicles she rides around the colony. One of these "vehicles" is a native animal, a thing like a giant lily pad, 25 to 50 feet across, with all kinds of tendrils and paddles underwater; people can climb aboard this creature, which the humans call "a raft," and direct its movement. (All you animal rights activists will be booking flights to Sutang when I tell you that the way one directs a raft is by shooting it with a heat ray pistol--don't get your granola in a bunch, treehuggers, the heat ray is--well, usually--set on low power!)
A dangerous situation arises related to the larger than average raft Cord and the Regent's party are riding (this raft has been christened "Grandpa") and it is Cord who saves the day using his knowledge of biology and his powers of observation and quick-thinking and quick-stabbing.
The real star of this story is the ecology of Sutang--Schmitz does a great job of coming up with and describing interesting alien life forms. The character of Cord, the slightly subversive teen-aged boy, is fun (he hopes that a disaster will occur so he can be a hero and save his position on Sutang.) A good story.
"Grandpa" has been anthologized many times, in books edited by Brian Aldiss, Arthur C. Clarke, Robert Silverberg, Martin. H. Greenberg, Gardner Dozois, and still more. A well-regarded classic with something for everybody--alien monsters, the glorification of science and the colonization of the galaxy, people shooting off guns and stabbing enemies with knives, and women who tell you what to do for your own good whom the author doesn't portray as nags but as people we are supposed to admire.
So far, the stories I have read from Spectrum 5 have been stories that have been widely anthologized, stories that editors and/or readers have been crazy about. But "Mother of Invention" has only been anthologized by Amis and Conquest, though it has also appeared in the Croat magazine Sirius in 1976 and a Baen collection of Godwin's work with a preface and an afterword by our hero Barry Malzberg. Maybe this one is weak, or maybe Amis and Conquest have found an overlooked gem? (It is also possible that this story's length, like 60 pages in my copy of Spectrum 5, has discouraged reprinting.) Well, let's find out what is up with this one.
"Mother of Invention" starts with a sort of comedy scene, in which a concatenation of factors--including a nagging wife!--leads to a mistake by a technician engaged in inspecting a space ship's "nuclear converter." This mistake, compounded with additional bad luck, leads to the five men who own the ship being marooned on a virgin planet they discover 30,000 light years away from civilization.
Aurora, the name they give this new world, has a very high percentage of carbon in its make up, and there are diamonds as big as your fist all over the ground and diamond dust in the air which plays havoc with the men's equipment as they search for the uranium and cadmium they need to repair their wrecked space ship. They are under a lot of time pressure, because in seven or eight months a star passing through this system (they erroneously thought this was a binary system--doh!) is going to annihilate Aurora.
Unable to find any uranium, and with their mining equipment ruined by the diamond dust anyway, the five adventurers decide to invent an anti-grav device. Through dogged persistence, and by keeping their minds open, they accomplish in the wilderness what people in well-appointed labs back on Earth were never able to. Then, like in an Edmond Hamilton story, they move Aurora itself away from the impending stellar collision and ride the planet back home.
Back in 2014 I read Godwin's novel The Survivors, AKA Space Prison. As here in "Mother of Invention," in The Survivors a bunch of people find themselves on a barren planet but through hard work not only escape but trigger a paradigm shift and usher in a new period of human history. "The Mother of Invention" is also like The Survivors in that it is quite bland. The five explorers in "The Mother of Invention" lack personality, motivation and relationships--there is more human drama and characterization in the jocular little prologue than the main story. (Maybe Amis and Conquest chose it specifically to prove their point about SF not needing characterization?) After Schmitz's vivid and fascinating Sutang, Godwin's Aurora is woefully dull. I gave The Survivors a marginal negative vote, but I'll say "Mother of Invention" is barely acceptable. Like Jones's anti-grav story, it is very much a classic SF tale about male scientists who, in response to an external impetus, invent a technology that will revolutionize human life, but Jones injects more surprise, fun, and human feeling into his story.
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| The first US edition of Spectrum 5 has a wacky collage cover--I think Joachim Boaz loves this kind of thing! |
Spectrum 5 includes eight stories; in our next episode I'll read the four stories in it by SF writers I don't think are quite as famous as Walter A Canticle for Liebowitz Miller, Raymond This Island Earth Jones, James Witches of Karres Schmitz and Tom "The Cold Equations" Godwin.
