Skip to content

The Brief History of the Dead

the-brief-history-of-the-dead

I’m reading Kevin Brockmeier’s The Brief History of the Dead, a novel whose first chapter “The City” was originally a short story in The New Yorker about existence after death. Sort of. A deadly virus has spread across the Earth, and the recently dead populate a city located in an Earth-like alternate reality–their posthumous existence depends on the memories of the living. As the living die, so the “after-living” gradually disappear entirely.

Whether as story or opening salvo in the novel, the first chapter operates as both puzzle and memento mori, though as puzzles go, it’s more about effect than traceable formulae. How “the rules” work in the tale’s “city of the dead” is mostly backgrounding for Brockmeier’s characters, like the blind man who arrives in the city having traveled through a desert of living sand. The dunes break “apart beneath his feet, surging up around him to lash at his face” as he gradually accepts his death. Trees like giraffes, spots like floating flower petals or wisps of paper, a girl who dies into an ocean the color of dried cherries, then swallows thousands of ball bearings as they suddenly fall from the sky, sinking to the ocean’s bottom before–snap!–arriving in the city. Brockmeier’s imagery is incredibly powerful without a trace of ornamentation, a powerful assemblage of ten dollar sentences crafted from two cent words.

“The City” opens with stories of deaths and tales of rebirths. With narrative ambiguity (as opposed to controlled mystery) in vogue, I half-expected one man, who commits suicide to reunite with his dead wife and child (killed by a land mine), to in fact not find them. He does, and with them, happiness. Until the city starts bleeding out. Brockmeier’s faintly Heideggerian premise is that the city is a temporary location for the recently dead, but only so long as they’re remembered by the living. “The living carry us inside them like pearls; we survive only so long as they remember us,” theorizes one reporter. It’s the old materialist notion reified, that existence is irreducibly physical, and life after death–which is to say, knowledge of other beings–is limited to social memory.

As the story unfolds, the city expands and shrinks, growing blocks or entire boroughs like mutant appendages as people arrive. In my notes I’ve scribbled “a roiling landscape,” fluid, capacious, accommodating yet perhaps mercilessly purposeless in the end. People persist for six or seven generations, working as taxi drivers or writers or businessmen or newsstand barkers, then disappear suddenly without explanation. Brockmeier overlays a skein of rumor and supposition to explore theories about what’s happening and why as the city begins to empty out (the killer virus is finishing its work in the “real” world). The land of the living becomes almost like Germany in the 1940s, the land of the dead an anxious rumor-riddled hinterland of refugees desperate for news from the war front.

Until the city is empty at last, and all that’s left is a blind man, who raises his hand to his chest and wonders if the heartbeat he hears is his own.

The Surrogates by Robert Venditti

the-surrogates

In an interview with Pop Thought, Alex Ness asks The Surrogates’s author Robert Venditti “To what extent is The Surrogates…a morality tale…?” Which is one of those questions where, well…you might as well ouija up Philip K. Dick and ask how much of A Scanner Darkly was a commentary on 1960s drug culture. After responding that he wasn’t writing didactically, Venditti adds “In order for there to be a moral, I’d have to know the answers to those questions. I don’t.” Fair enough, but what I’m betting Venditti really meant, because The Surrogates is hardly ethically ambivalent, was: maybe there is, maybe there isn’t, figure it out for yourself.

And there’s plenty of figuring to be done, even if, as sci-fi plots go, The Surrogates’s central conceit seems unremarkable at first. Instead of people lying about in comfy recliners neurally jacked into elaborate simulations Matrix-style, Venditti’s future America circa 2054 is one in which over 92% of the population employ “surrogates”–artificial bodies that allow their human puppeteers to interact with the actual world virtually: chair, head gear, and full sensory experience. As in cyberspace, your surrogate in the world can be anything you like, so males can be females, the old can be young, the overweight can be slender, etc. (Instead of worrying about sexism or racism, just change your appearance to sidestep your boss’s prejudices!) Yes, that is a bit of logic leap, since today’s futurists would argue even near-perfect simulations of reality are, certainly within the next 50 years, going to be vastly cheaper than offering in excess of 300 million people their own personal cybernetic proxies (once we figure out how to fiddle the brain appropriately, why go external?). And then you have to wonder why even half as advanced robotic tech wouldn’t be used instead to run the planet on automatic pilot, so-to-speak, allowing us to slip guiltlessly away to our own private Byzantiums.

Then again, probability didn’t put Phil Dick off of inserting nonsense like precognition and other sorts of pseudoscience in his fiction to highlight an ethical conundrum. Dick gets a pass because he’s keenly focused on the mundane, the everyday people he’s placing in prickly, often dreadful circumstances, ordinary folk testing the measure of their moral resolve.

Venditti’s The Surrogates shares that virtue and others. It’s a crime-noir tale about an anti-surrogate techno-terrorist that, riffing on hard-boiled patois and whodunit turnabouts, is in the end really the story of Harvey Greer, an aging investigator with the Central Georgia Metro Police Department, whose wife has descended into her own surrogate fantasyland (she’s essentially barricaded herself in her room and only interacts with Greer through a prettified simulacrum). Greer is middle-aged, overweight, and–like everyone else–employing a surrogate to live his life, though as the story get underway, he’s begun to question his derivative existence. Teamed with a younger, cheerier protege named Pete Ford, Greer shuttles between scenes like a gloomier version of Batman’s Commissioner Gordon (or perhaps an older, more depressed Rick Deckard), building toward his Howard Beale (”I’m mad as hell…”) moment which, counterintuitively, never comes. He’s like a man sobering up at the edge of the abyss, realizing his tools of self-redemption have all gone rusted out or missing.

The story opens as a young man and woman step out of the rain and into an alley for a quick tryst, but are interrupted by a masked figure (the techno-terrorist) who grabs their arms, speaks a single word (“live”), then discharges a lethal dose of electricity, killing them instantly. It’s a beautifully wrought mystery moment: Two young lovers in the act (what better way of living!) along with the fact–you don’t have it at this point, but get it a few pages later–that they were both surrogates, coupling like remote-control husks grinding lifelessly against each other.

That sense of bleakness, complemented by deliberately twitchy line work and grunge-pastel colors from the masterful Brett Weldele (who pulls off stylized dread to the tune of David Fincher’s bleach-bypass effects in Se7en), infects everything from Greer and Ford’s conversations to the action sequences in which Weldele uses his mastery of–not so much the human form as the “idea” of that form in motion–to create scratchy, sprung lines that leap between the panels. Weldele imagines Venditti’s world as scrunched-up faces and rain-lashed vistas colored over in grimy greens, yellows, blues, and oranges, supplemented by washed-out photographs of buildings and other structures to create a frazzled vibe that simultaneously crackles and haunts.

The Surrogates was a five-issue mini-series published by Top Shelf this last year, now collected in this special softcover trade with several extras including a wonderfully straightforward breakdown of how Venditti and Weldele work over a page (right down to the Photoshop tools). The book’s genesis is another tale of timing and luck. Venditti–originally a staffer for Top Shelf-turned his script over to editor Chris Staros for advice on marketing it to another publisher. As it happened, Staros and his co-publisher Brett Warnock loved the script so much they decided to snap it up and make it Top Shelf’s first, as they put it, “foray into mainstream comics.”

Mission accomplished, Mr. Staros, and Messieurs Venditti and Wendele–more please.

Star Trekking from Waterloo Station

london-imax

I had the vertiginous pleasure of seeing Star Trek last night at the London IMAX with Mike, his wife Lin, Orbit commissioning editor Bella Pagan, and her fiance John. Aside from wishing I’d snuck in a pair of wide-angle specs to placate my protesting neck, it was more or less what I’d expected. Lots of beautiful lens-flare-y special effects and topsy-turvy camera angles draped across a threadbare silly-science plot, sort of like a Hellenistic tapestry plucked from its vertical loom and laid across a wobbling matchstick trellis.

The first few minutes were probably the very best, the editing virtually spotless, the dramatic impetus plausibly compelling, and the emotional stakes raised to harrowing heights thanks to Michael Giacchino’s Lost-like synchronicity with Abrams’s trademark quick-switch juxtaposition of apocalyptic violence against intimacy and tenderness. Pathos threat high in that narrative preamble, for sure.

But then the film starts to wobble on its tracks, eventually juddering and careening clear off in a frenzied orgasm of cataclysmic astrophysical events, zero-sum action sequences, horribly scatterbrained science, and, fatally, preposterous characterization.

The absolutely worst line in the film? “You got it.” I won’t spoil the who, when, or where, but if you’ve seen the movie, you know what I’m talking about, and probably why I’m balking, especially if you hold any stock in the redemptive (however naive) bits of Roddenberry’s original vision.

I’ll be brief — this isn’t a review, so much as an allergic reaction laid out prose-style — but I thought Chris Pine (Kirk) did what he could with a tragically shallow part, so I can’t really savage the acting so much as mourn it. Shatner’s Kirk was partially a lunkheaded cowboy, but as often a brooding, pensive, even cerebral protagonist — a worthy rival for Nimoy’s phlegmatic Spock.

Robert Orci and Alex Kurtzman’s (the screenwriters) Kirk is simply a dumb, swaggering, bullying, egoistic pig without, and I mean this literally, a single redeeming intellectual or emotional value. Quinto’s Spock has every reason to hate him — he’s arguably the most dangerous (in all the wrong non-redemptive reckless ways) character in the film, every bit the clumsy, thuggish, groping villain implied by that inexplicable demonic leer in the movie posters. How he manages to eventually clamber into the captain’s chair on the bridge of the U.S.S. Apple Store (NCC 1701!) is arguably even less plausible than the fact that light (not to mention jury-rigged starships) somehow manages to escape the irrevocable pull of a singularity.

Okay, okay, rant off before I ramble for a thousand words more and burn the whole lousy reboot in effigy. I suppose they added seat-belts, and some actually pretty cool no-sound-in-space bits. Yeah, I suppose there’s that.

Something From the Archives

exeter-college-chapel

Mass

Seated against the bracing wood and plaster and stone,
the effluvium of incense and soaring halls of held air
settling like talc-breathed ideograms.
The doxologies, the guttural antiphons,
the airy viscera packed against a column of pews.
Crossed legs and folded hands,
strings of light on necks,
glinting from ears, clinging to fingers.
The tower of saints, floodlit,
diffusing porcelain hosannas.
Smiles and sighs and tired looks,
heads bowing left or right,
frowns, stony gazes, hands clasped,
thoughts anchored in repose,
the rumble of forms that rise and fall.

(Picture: Exeter College Chapel in Oxford, England.)

Speedy Delivery

duke-of-monmouth

The British Royal Mail national post service is remarkably fast and friendly. No joke. Never mind the fact that they drop off and pick up mail twice daily, or that the slowest ship times (say picking Amazon’s freebie “super saver delivery” option) all seem to be on par with US “next day air.” It’s the delivery staff–they’re too cheery.

We’re finally settling in as the second week winds up. We’ve got a real coffee maker, real Colombian mix to go with it, shampoo, towels, food in the cupboard, crusty bread and hunks of cheap brie, a roll of McVittie’s HobNobs (”Nobbly oaty biscuits”), a laundry hamper, a functional clothesline, and most importantly: a foam egg crate pad to take the knife’s edge off lying on a flat rectangular swath of stained cloth that’s not quite concealing an under-jungle of springs.

We’ve also got broadband, which means I can finally work without peddling to the city center and internally screaming like Malcolm McDowell in A Clockwork Orange as Buddy Holly and Louis Armstrong croon at concert volume, accompanied by the industrial whooshing sound of cappuccino makers firing like pistons in a Roald Dahl contraption. Okay, it’s not that bad, but definitely annoying in all-day doses. Whatever happened to quiet conversational cafes?

I took a few pictures in and around the flat, so if your entertainment threshold clocks somewhere below pulseless and you’re not allergic to Facebook, check out our pied-a-terre, right across from The Duke of Monmouth (pictured above).

Portrait of Chiang Mai Kitchen, beneath a Dilapidated Dentist

caffe-nero

Drizzly. Gray. Gloomy. Dribbling precipitate. You might say I’m in England. Or Seattle. Or by my measure, the coolest place on the planet (that’s not Budapest, Prague, Vilnius, or Tallinn, and anywhere I haven’t yet visited, which adds up to a whole lot of places). I think I’ll stay.

We’re still working out of coffee shops and bookstores, but we got an ominous pinging chime this morning on our mobile informing us British Telecom would be throwing the switch Thursday “by midnight.” In the meantime, I’ve settled in at Caffe Nero across from a Starbucks (yes, of course they do) and a moss-shingled Dentist’s office atop a Chinese restaurant on High Street. I’m also staring at a couple of crosshatched shop windows with ceiling bulbs illuminating a pair of mannequin-sized chipmunks garbed in seasonal wear, autumn jeans and button-ups with brown sweater vests and leather satchels slung across shoulders. I could tell you the store name if I read Kanji…wait, I just looked off to the right and there it is: “White Stuff.” How eccentric…and baffling.

Not much else to report today. The U.S. market apparently melted like a marshmallow in a reactor core while Jill and I had dinner and fantasized about ordering an egg crate mattress pad to let us have an uninterrupted evening of sleep.

I’m debating whether or not to throw the farm away on a couple tickets to David Tennant’s Hamlet. I think they’re going for around half a quadrillion dollars on eBay, so maybe I’ll settle for Kenneth Branagh doing Chekov’s Ivanov redone by Tom Stoppard, which of course wouldn’t be settling at all.

Across the Pond

oxford-university

After four months inhabiting a limbo-like swathe of farmland in northwest Iowa, we’re finally here, across the pond in Oxford, a bit bleary-eyed and still battling to cleanse our modest one-bedroom flat of its former occupant’s “dude”-ness, but here still, and happy to say it.

We arrived a week ago Monday morning to find BMI (British Midland Airways) had lost all four pieces of our luggage, roughly 50 pounds a piece or 200 pounds total in clothes, books, electronics, toiletries, and medicine. We slept in our clothes that night hoping the luggage would show up next morning. No such luck, thus we spent Tuesday bathroom accessorizing and clothes shopping. Turns out The Gap UK has the best prices on cheap clothes for guys, but then I’m the sort of fashionista who’d wear a paper sack if it came in a size 34 waist and 32 inseam.

The flat itself is fashionable in exactly the way you’d expect a hundred-year-old flat to be. It’s right off Abingdon Road and Sunningwell in southwest Oxford, straddling a nest of flats to the west and a couple of broad, sloping parks and sports fields and what we think is a “garden-share” where people can rent small plots and tend their own produce year round. It’s about a two mile hike north to the city center and Oxford University itself, a journey that takes just a couple minutes on a bike. We grabbed two solid steel frame city bikes with metal wire baskets bolted to the back, which puts a pragmatic ceiling on grocery shopping, since you have to “think with your basket” instead of your stomach.

Biking around the city’s certainly an experience. Everyone knows the Brits drive on the left–bikes too–which is tougher than it sounds when you’re trying to parse street signs, lane markings, hand signals, and where you’re supposed to stop in a traffic lineup (not to mention that it’s slightly surreal turning right from the left hand lane). You also have to keep your distance from the high curbs, because it’s easy to catch your pedals on the down-rotation. The space between cars and curb is only a few feet, so you’ve got to be on the ball, or used to it. I’m not even close. We’ll get there eventually, or end up sampling the socialized healthcare system early.

Can I say how much I’m already impressed with the British public news system? I’ll give it a year or more to get right and properly annoyed, but so far the BBC World Service is so much calmer than anything in the States (save for Jim Lehrer). I don’t mean less interesting or tedious. Just that it may yet be possible to have interesting, respectful, massively watched newscasts that don’t feel ratings-compelled to pander to the lowest common gladiator.

More dispatches shortly.

Field Notes From a Catastrophe

field-notes-from-a-catastrophe

Is it strange that Jim Hansen, director of the NASA Goddard Institute for Space Studies and a leading climatologist, should qualify his recent New York Review of Books essay-style review as “personal views under the protection of the First Amendment of the United States Constitution”? Is he concerned about government interference? Censorship? Or is invoking the First Amendment now standard form when a scientist feels disposed to share opinions on politically contentious issues?

Whatever the case, Hansen’s article “The Threat to the Planet,” in which he outlines the history of his role in the global warming debate and reviews three recent books on the matter, is soberly explicative and mandatory reading, wherever you stand on the issue. Hansen is probably the guy most responsible for raising awareness of the issue since the late 1980s. Being familiar with his background and research is certainly helpful.

I recently finished reading Field Notes from a Catastrophe: Man, Nature, and Climate Change, a science-minded travelogue by Elizabeth Kolbert, who’s a staff writer for the New Yorker (prior to 1999 she worked for The New York Times). Trekking to the Arctic and several colorfully named locales like Shishmaref, Alaska, or others like the Swiss Camp research station in Greenland, Kolbert–in terse, quintessentially journalistic passages–canvasses the essentials of recent environmental happenings and their biospheric consequences. In Shishmaref, since the 1990s, the sea ice has shifted so rapidly that the island–just 22 feet above sea level–has become vulnerable to storm surges which have disrupted its primary industry, seal hunting, making life on the island virtually untenable. In 2004, the U.S. Army Corps of Engineers completed a survey of possible mainland sites for relocation of the village. Kolbert reports that a full move will cost the U.S. government nearly $180 million.

In the book’s chapter on Greenland, she writes of the rapidly melting ice sheets: Greenland possesses about 8% of the world’s total ice, the melting of which has been responsible for a nine inch rise in sea levels over the last century.

Her approach throughout is cautious, elegant, and easy to follow, relaying only the elemental science and leaving the extrapolation to the specialists she’s interviewing. You’ll discover a few simple graphs and tables employed to illustrate statistical deltas and recent logarithmic shifts toward biospheric red zones. Possibly the most illuminating (and frightening) is the one Al Gore had such fun with in An Inconvenient Truth, namely that recent ice coring in Antarctica has revealed the concentration of atmospheric carbon dioxide is higher today in 2005 than it’s been in nearly half a million years. (Half a million years, in case you’re wondering, takes us back to the Pleistocene, when wooly mammoths and sabre-toothed cats were still around.)

As Kolbert puts it:

The Vostok record demonstrates that, at 378 parts per million, current CO2 levels are unprecedented in recent geological history. (The previous high, of 299 parts per million, was reached around 325,000 years ago). It is believed that the last time carbon dioxide levels were comparable to today’s was three and a half million years ago, during what is known as the mid-Pliocene warm period, and it is likely that they have not been much higher since the Eocene, some fifty million years ago. In the Eocene, crocodiles roamed Colorado and the sea levels were nearly three hundred feet higher than they are today. A scientist with the National Oceanic and Atmospheric Administration (NOAA) put it to me–only half-jokingly–this way: “It’s true that we’ve had higher CO2 levels before. But, then, of course, we also had dinosaurs.”

In 2005 we were at 378 parts per million atmospheric CO2. Conservative projections place us at well in excess of 500 million ppm CO2 by 2100. Dangerous anthropogenic interference, aka DAI–the point at which recovering from our contribution to the upswing becomes impossible–is estimated to occur at between 400 and 500 million ppm. We’re on the verge of crossing the Rubicon as I type this, in other words.

James Hansen calls Kolbert’s work “a good book to start with” before moving on to other more technically rigorous books like Tim Flannery’s The Weather Makers or Eugene Linden’s The Winds of Change.

Before Kolbert’s book, I’d actually recommend checking out An Inconvenient Truth, of course steeling yourself against director Davis Guggenheim’s irritable tendency to linger overlong on still shots of Gore looking solemnly and self-importantly out plane windows, and just absorbing the elemental science. It’s a terrific introduction to the basic issues and sore spots. No need to walk out alarmed or absolutely convinced, just leave more aware than you were going in.

Finally, consider this, perhaps the most intriguing paragraph in the James Hansen review linked above:

The reader might assume that I have long been close to Gore, since I testified before his Senate committee in 1989 and participated in scientific “roundtable” discussions in his Senate office. In fact, Gore was displeased when I declined to provide him with images of increasing drought generated by a computer model of climate change. (I didn’t trust the model’s estimates of precipitation.) After Clinton and Gore were elected, I declined a suggestion from the White House to write a rebuttal to a New York Times Op-Ed article that played down global warming and criticized the Vice President. I did not hear from Gore for more than a decade, until January of this year, when he asked me to critically assess his slide show. When we met, he said that he “wanted to apologize,” but, without letting him explain what he was apologizing for, I said, “Your insight was better than mine.”

Lorenzo Mattotti’s Chimera

chimera

Italian artist Lorenzo Mattotti is probably best known in the U.S. for his 2003 Eisner-winning Dr. Jekyll & Mr. Hyde (2003) an adaptation of the Robert Louis Stevenson novella and published as an oversize hardcover by ComicsLit. Prior to the Eisner, he was known for Fires (1987), a surrealist account of a young naval officer’s attempt to defend an island inhabited by magical creatures. His art has appeared in everything from Cosmopolitan, Le Monde, and The New Yorker, to Vanity Fair and Vogue. Comic artist and critic Rob Vollmar describes him as “a pioneer of a progressive modern strain of bande dessinateurs [who] present their work as an extension of the fine art tradition, as opposed to a rebellion from it.”

Chimera–a deeply dark and beautiful work of surrealism–is Mattotti’s newest book, and the sixth installment in publisher Fantagraphics’ Ignatz collection (after artist George Herriman’s Ignatz, the mouse of Krazy and Ignatz fame). Parts of it originally graced Kitchen Sink’s aborted anthology Mona #1 in 1999, but here it appears complete: 32 pages of two-color, jacketed, saddle-stitched illustrations on thick, cream-colored stock. The cover includes a third color–red–to drop-shadow the title and byline, probably to distinguish it from Mattotti’s thick, concealing line work. Like the title–Chimera, an imaginary creature constructed from unalike parts–what follows is a narrative phantasmagoria, an amorphous collage of line-etched visions and terrors.

First, the cover, a swirling lake of lines and scribbles: At the center of the ink-vortex, a coarse black rabbit’s head gazes forbiddingly at the reader with tiny almond eyes. The rest of the page is awash in lines tangling or plunging into each other, breaking along a horizon piled with dark hills whipped by cyclonic winds. Is the rabbit’s head emerging from the vortex or subsumed by it? Are those banshee faces in the motion-lines?

The only text in the book captions the opening page:

I heard tell of a thinker who lay beneath a tree. Whence he observed the sky and sometimes, the stones as well. Those who passed by saw the light in his eyes and they concluded that he had a secret. The thinker passed on, and people would go lie under the tree as he had, trying to discern his secret. But they would always leave disappointed. Driven by curiosity, I tried my luck as well. I saw the sky, I saw the stones, and I fell asleep.

Beneath the text, the top of a hill dominates a landscape of fields and distant trees. The central tree referenced by the narrator curves up from the tip of the hill, leaves fanning like a whale’s tail as the narrator reclines beneath. Whales symbolize passage, as in the biblical story of Jonah, the prophet swallowed by a whale and transported ark-like within its belly. Mattotti’s tree may thus represent a locus of psychogenic passage, a “border-place” where states of consciousness converge.

As the dream-images coalesce, Mattotti gradually thickens his line-work to lend it emotional weight. The opening panels are thin and wisplike, graceful and innocent, but gradually increase in width and iteration until by the end of the book, the light-dark balance has reversed, the final pages opaque charcoal-black smears with only jagged slivers of white slicing through.

Two children (male, female) daydream atop a hill, whorls of clouds becoming human forms that reach, godlike, down to earth. A massive form suddenly sprints across the terrain, a mirror in its hand, gazing with increasing intensity at its reflection, the gaze itself (perhaps representing the catalytic divide between self and “other”) eventually bleeding out like seed to raise something animate from the landscape. Two forms–male and female–stand below a weeping harlequin mask, appraising each other, the female turning in terror to flee and the sexually aroused male giving chase. Catching her, the two fuse together, and the landscape shifts to reveal the nude form of a gigantic woman. She scoops the product of the male/female coupling from between her legs and deposits it on the ground. Mattotti pans back, revealing a cradle and a child gazing up at the sky. Soon a cyclopean face emerges, howling, its mouth filled with jag-teeth. A symbol for loss of innocence? The fear and self-loathing that comes with self-awareness, culminating in rage, destruction, and despair?

As the end nears, the landscape thickens, a womblike force enveloping hunter and hunted. A stooping humanoid figure enters a black forest and possibly encounters something there; the terrible face that eventually appears from tangles of coal-black floats Cheshire-like in the scrub. Or is it the face of the figure? The human chimera? The monster in its native form and lair? And what is it that emerges at the end, stick slung over its shoulder, nothing but desiccated fields beyond? (Or was the stick in fact a shovel? What was the figure doing?)

And when the final panel arrives, it’s as if we’re awakening from deep sleep, straddling the border between fantasy and awareness, grasping for meaning even as it flees from us.

Thomas More’s Utopia as Proto-Science Fiction

thomas-more-utopia

I first encountered Thomas More’s Utopia in an undergraduate philosophy class, ‘introduction to’ or some such covering the discipline’s greatest hits. Make that over a decade ago, actually, which means I remember approximately zero percent (not counting the title and byline). An excerpted version from Jim Gunn’s The Road to Science Fiction series (Vol 1, “From Gilgamesh to Wells”) I’ve just read is included as an example of European proto-science fiction.

Consider the subtle irony in the Greek root components of the word Utopia, i.e. ou, “not,” and topos, “place,” apparently a pun on eu, “good,” and topos, “place.” Or the name of a traveler More encounters in the book: Raphael, “healed by God,” and last name, Hythloday, which in Greek means something like “speaking nonsense.” Or the term Abraxa (an alternate name for the land of Utopia) with its roots in Egyptian occultism and which, in old Jewish tradition, signified the highest heaven–nothing above it–also translatable as “no place.” Double meanings and puns aside, the science fictive significance, according to Gunn, is that the text was “the start of a new way of organizing an author’s ideas about how to improve human conditions.”

My own (disorganized) notes: The island is moon-shaped, suggesting a place of dreams and mysteries, a womblike respite, light within darkness. The water ringing the island is filled with hidden rocks, perilous obstacles set against would-be visitors seeking enlightenment. As with Plato’s cave, only natives can bring strangers across. Attacks by naval fleets (war machines, industry, aspects of science) are deflected. Illumination is unachievable by way of mechanistic violence.

Scientific concepts presented: breeding, imprinting, navigation. Also: “If they can but prevail to get these contrivances established by the show of public authority, which is considered as the representative of the whole people, then they are accounted laws.” Early recognition of governmental simulacra?

A possible problem (unless we discount Hythloday’s testimony–or we’re supposed to assume More is): “For they having rooted out of the minds of their people all the seeds both of ambition and faction, there is no danger of any commotion at home.” Lock up the poets and lobotomize the nonconformists? Drown the seeds of ambition to ensure a kind of intellectually sedate tranquility? Nothing, of course, would violate the letter of science fiction more.