Review: Null-ABC, H. Beam Piper and John J. McGuire, 1953.

It’s a world where department stores launch armed attacks on their competitors. Elections have gangs who beat up and occasionally kill the opposition. (And, if you don’t have your own gang, you can rent one.) Technology has stagnated. High school students assault their teachers regularly. And most of the population is illiterate.

Yes, there’s a Crisis in 2140. That was the better titled selected for the novel when it was republished as part of an Ace Double in 1957. It was originally serialized in the February and March 1953 issues of Astounding Science Fiction, and I suspect editor John W. Campbell gave it a title reminiscent of A. E. van Vogt’s Null-A series which ran in Astounding in the 1940s.

The work is part of a group of 1950s science fiction novels dealing with the theme of anti-intellectualism. They include Ray Bradbury’s Fahrenheit 451 and Fritz Leiber’s The Silver Eggheads (which I have not read). Like another such novel, James Gunn’s The Burning, it features a population that blames historical problems on intellectuals, and, in particular, has reacted against that basic intellectual tool: literacy.

There has always been, on the part of the Illiterate public, some resentment against organized Literacy. In part, it has been due to the high fees charged for Literate services, and to what seems, to many, to be monopolistic practices. But behind that is a general attitude of anti-intellectualism which is our heritage from the disastrous wars of the Twentieth and Twenty-first Centuries. Chester Pelton has made himself the spokesman of this attitude. In his view, it was men who could read and write who hatched the diabolical political ideologies and designed the frightful nuclear weapons of that period. In his mind, Literacy is equated with ‘Mein Kampf’ and ‘Das Kapital’, with the A-bomb and the H-bomb, with concentration camps and blasted cities.

Yes, in this society literacy is so rare – but still a necessary skill – that Literates have their own union, the Associated Fraternities of Literates. And men like Chester Pelton, owner of a department store, resent that their skills are needed. And he can do something about it. He’s a senator in the North American Confederacy.

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Eric S. Rabkin’s Science Fiction Lectures

As a consumer of the Great Courses lectures, I’ve looked at Eric S. Rabkin’s Masterpieces of the Imaginative Mind: Literature’s Most Fantastic Works for a few years. But somewhere in the back of my mind I had the idea — maybe from paging through something he had written, that he was a dry writer full of tedious literary theory.

I was mostly right.

However, amongst all the Freudian references (how can anyone still use the old fraud’s theories for any literature written before he published his work?), post-modernism, and symbolism (does no one see that the surface details of a story can be worth studying?), there are some things of value. Maybe even enough to justify its current selling price of $29.95.

For me the deck didn’t really get cleared for service until lecture six, “H. G. Wells: We Are All Talking Animals”. The idea is proposed that The Island of Dr. Moreau is told by an unreliable narrator. (Personally, I see it as Wells’ unintended satire on the folly of blank-slatism. The flesh, in other words biological drives and identity, can not be molded by the surgery of Moreau’s mini-island state.)

It’s sort of a semi-arid spell to lecture 14, “Mary Shelley: Grandmother of Science Fiction”, where Rabkin puts forth the idea, I think plausible, that Frankenstein is about the dangers of putting yourself outside of the human community. Doctor Frankenstein choses to exile himself. His creation has no choice.

“Hawthorne, Poe, and the Eden Complexion” among other things talks about how Poe used the rhetoric of science (passive voice, precise and objectively quantified details) and romanticism.

“Wells — Industrialization of the Fantastic” actually convinces me that there are several Christian symbols in The War of the Worlds. (We are increasingly entering an age where people have to have even basic biblical allusions explained. In my English major days, a professor rightly said every one of us should have read the King James Bible so we knew the sources of allusions and phrases. If you were studying medieval lit, you had to read large chunks of the Catholic Vulgate.)

“The History of Utopia” actually mentioned in passing a couple of titles I hadn’t heard of and made Yevgeny Zamyatin’s We sound more interesting than it is (though it’s an important predecessor to more famous dystopias). However, I don’t buy the assertion that Thomas Hobbes’ Leviathan was a response to Thomas More’s Utopia.

“Science Fiction and Religion” is a good (and too brief) look at an important topic.

“Asimov and Clarke — Cousins in Utopia” provoked the thought that Judaism was a more important influence on Isaac Asimov than I thought. His Three Laws of Robotics (which he actually credited to John W. Campbell, Jr.) is rather rabbinical. And I certainly agree that Asimov was a believer in technoutopia. That seems to me a manifestation of the Jewish belief they should work to perfect the world. The theme of machines to beneficially manage our affairs is there in Asimov’s robot stories. But (and Rabkin doesn’t mention this) Asimov’s essay “By the Numbers” endorses the idea of rule by impersonal, bureaucratic computers.

“Cyberpunk, Postmodernism, and Beyond” is very wrong-headed. The influence of the spy and noir genres — John Le Carre and Dashiell Hammett– seem as important to William Gibson as postmodernism not to mention the fact that Samuel R. Delany’s Babel-17‘s opening paragraph is rather similar to Neuromancer (and Gibson is a Delany fan). Claude Shannon’s information theory and digital technology, the idea that information can be easily recorded, edited, combined, analyzed, and synthesized, I contend is more important than literary theory to cyberpunk. On the other hand, Rabkin does make the intriguing observation that the plot and images of Neuromancer closely follow T. S. Eliot’s “The Love Song of J. Alfred Prufrock”.