The Detached Retina. Brian Aldiss

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СКАЧАТЬ came to his most devastating question. He had heard, he said, that Dali was unkind to animals. Was that true?

      Do you remember how your music-hall moustache curled in scorn?

      ‘Dali cruel to ze animal?’ you exclaimed. ‘Nevair!’ And to emphasize the point you seized up your ocelot by the scruff of its neck and hurled it into the swimming pool.

      That indeed is the way to discomfit the English.

      We SF writers, in our own humbler way—for we live in Penge and Paddington and Pewsey, not Figueras—the very names shout the difference—we also try to discomfit the English. It is what SF is designed for, what Mary Shelley and H. G. Wells used it for.

      Of course, we never discomfited the English very much; we have no luck at all in that respect.

      I suppose you know that while you were posturing on your death bed, in a leg-over position with mortality at last, Salman Rushdie was having trouble here with his latest phantasmagoria, The Satanic Verses. It’s a fantasy which now and again makes fun of the Christian God and of Mohammed. The English dutifully bought their copies at Smith’s and Waterstone’s, to display them prominently so that friends would think they had read the book, and maintained a calm almost indistinguishable from catatonia. Not so the Moslem community in Britain (or in Bradford, which is near Britain). The Moslems descended on W. H. Smith with flaming brands, in the manner of those exciting final scenes in a Frankenstein movie. It’s the Spanish temperament, I suppose. The British are full of phlegm. Sometimes it makes you spit.

      Far more worthy of expectoration was the medieval behaviour of the Ayatollah Khomeini in pronouncing the death sentence on Rushdie for his novel. Even in World War II we never witnessed such behaviour. The situation is far more bizarre than even Rushdie’s mind could think up—bizarre and horrifying.

      It was my misfortune to appear on the BBC TV programme ‘Kilroy’ which discussed Khomeini’s death threat. I felt very strongly that both the freedom of speech and Rushdie must be protected—the former on principle, the latter from his foolishness. The majority of those appearing in the Kilroy-Silk bear-pit were Muslim. The atmosphere was thunderous. Many, though not all, of the Muslims present agreed vociferously with the Ayatollah that Rushdie should be killed. Some of these men held high positions in the Muslim community in Britain. When asked directly if they would murder Rushdie themselves, the men fought shy, knowing the television cameras were upon them. Two women had no such qualms. Both said they would murder Rushdie themselves.

      To have to listen to such madness was almost unbearable. Fact and fantasy were again confused. No one in the vociferous belt could—or would—distinguish between a novel and a theological work. These people and millions like them, had surrendered their consciences into the keeping of the mad old man in Teheran. The most recent similar case we experienced was the fever of the Cultural Revolution under the Great Helmsman (you didn’t meet him, did you, Dali?), when two million people stood in Tienanmen Square and waved their Little Red Books.

      Rushdie began his writing career with Grimus, once categorized as SF. I tried to give it the award in a Sunday Times SF Competition, but it was withdrawn. Later, I tried ineffectually to bestow the Booker Prize on D. M. Thomas’s White Hotel, rather than on Midnight’s Children. No one then imagined that Rushdie’s name would become more widely known over the face of the globe than any author since Rosetta wrote his Stone.

      In the matter of freedom of speech, writers must be for it. On the whole I’m also for blasphemy—it proves the god spoken out against is still living. You can’t blaspheme against Baal or the Egyptian goddess Isis.

      Some of the bourgeois like being épated. As I enjoyed Henry Miller’s writings when he was forbidden, so I enjoyed your carefully executed shockers when they were disapproved of. To my mind, some of them have a long shelf life. Longer than yours.

      Your old friend Luis Buñuel proceeded you into the realms of darkness. He too did his share of shocking us out of apathy, and would have recognized in the bigotry of the Ayatollah the intolerance he mocked in the Roman Catholic Church in Spain. With Buñuel, if you remember, you made that celebrated surrealist film, L’Age d’Or. It certainly opened a large door in my consciousness.

      But it’s a silver age. ‘The New Dark Age’, as a headline in our beloved Guardian calls it today (1 February 1989). Singing yobs are in vogue, Dali. Pre-pubescent voices. Tribal drumming. Over-amplification. Your exit was well-timed.

      And for SF too it’s a silver age. True there is some sign that a few of the younger writers are impatient with the stodginess of their elders. (During the time of President Reagan, patriotism became a way of life and patriotism is always a blanket excuse for stifling the critical faculty, as if there were no other use for blankets.) Paul di Filipo and Bruce Sterling are names that spring to mind in this connection, and the group of writers who centre round the magazine New Pathways, with their subversive artist, Ferret.

      You weren’t particulary patriotic. When the Civil War hit Spain, you sensibly refused to take sides—though you had a good precautionary word for General Franco—and went to live in Italy, continuing to flirt with psychoanalysis and sunlight. When Europe sank down on its knees in the fury of World War II, you hopped over to the New World, where the Americans embraced your flamboyance and dirty mind with open purses. Orwell blamed you for those two desertions. Silly of him, really—such an English chap, he should have remembered the words of another Englishman, ‘Patriotism is the last refuge of a scoundrel’.

      Those words were quoted in 1973 in the pages of Analog. (Did you ever see Analog, Dali? In its better days, the covers might have appealed to you.) They were quoted by the late Robert A. Heinlein in a guest editorial. He referred to Johnson’s cautionary remark as ‘a sneering wisecrack’. Johnson never sneered. Heinlein then compounded his philistinism by referring to Johnson as ‘a fat gluttonous slob who was pursued all his life by a pathological fear of death’. Several readers cancelled their subscription to Analog on the spot.

      You see what I’m getting at? It is a mark of civilization that one criticizes one’s own country. Hemingway said that a writer should always be against the government in power. Whatever their faults of exhibitionism, your paintings spoke out against the mundane, the dreary, the received. Like the other surrealists, you were up in arms, though you preferred yours covered in mink and diamonds.

      American SF writers have not been slow to write about their Vietnam War. The British have had little to say about their adventure in the Falkland Islands at the start of this decade. A thousand pardons—as a Spaniard you probably think of those shores as Las Malvinas. Our neat little war!—won through the bravery of the common man and because the French sold the Argentinians dud Exocets.

      We captured the Falklands from you Spaniards back in Johnson’s time. And what did Johnson have to say about that victory, in his ponderous, humorous fashion?

      … What have we acquired? What, but a bleak and gloomy solitude, an island thrown aside from human use, stormy in winter, and barren in summer; an island which not the southern savages have dignified with habitation; where a garrison must be kept in a state that contemplates with envy the exiles of Siberia; of which the expense will be perpetual, and the use only occasional …

      How the words ring on!

      Garry Kilworth has gone to Hong Kong. Perhaps we shall have a similar devastating bulletin from him in the next Yearbook. SF in England has settled down to comfortable squalor, relatively unmoved by dirty needles, inner city decay, and the prospect of union with Europe. At least you preserved the clean contorted rocks of Figueras and the drypoint desert as background. Your air was clear.

      You СКАЧАТЬ