The Detached Retina. Brian Aldiss

Чтение книги онлайн.

СКАЧАТЬ of the decade are two novels by my collaborator on this series, Harry Harrison. Both his Bill, the Galactic Hero and The Technicolor Time Machine make ingenious fun of all the clichés of the genre—the former with particular reference to the novels of Heinlein and Asimov.

      It was hardly to be expected that changes which infiltrated every facet of life should not have their effect on the way the writers wrote as well as what they wrote about. The mood became dispassionate, hard-hearted at least on the surface. To be ‘cool’ was the height of fashion.

      In the mid-sixties, London was the height of fashion. For a few years—which now seems as remote as the Ming Dynasty—London was the place where culture lived and thrived as it had done in Paris in the twenties. An electricity was generated. We all felt it. The time and the place acquired a label which was instantly mocked: Swinging London. But the phenomenon needed a label, however absurd.

      Behind the ballyhoo, the hippies, the Flower Power, and the youth cult, many dark things lurked. Writers have always been abnormally aware of dark things. They did not forget them as they made hay with the rest while the sun shone.

      This go-where-you-please, do-your-own-thing, turn-on-freak-out mood found particular embodiment in the pages of a British SF magazine, New Worlds.

      New Worlds was the oldest-established British magazine. Under its editor E. J. Carnell it had achieved regular publication and modest success but, as the sixties dawned, its sales were dwindling and illness afflicted the dedicated Ted Carnell. Also, it must be said, its formula was growing somewhat threadbare. Although most of its fiction was by British writers, many of them copied American models of some vintage and assumed a Transatlantic tone of voice. Not infrequently, the stories were rejects from the more profitable American market.

      It seemed as if only a miracle could save New Worlds and its companion Science Fantasy, also edited by Carnell. He handed over editorships to Michael Moorcock and Kyril Bonfiglioli respectively. Moorcock had already made a name for himself as a writer of fantasy and his hero Elric was well established, although not taken too seriously (least of all by the genial Moorcock himself). Kyril Bonfiglioli was a hitherto semi-respectable antiquarian-book-and art-dealer and bon viveur residing in Oxford.

      Bonfiglioli was an important influence in the life of several new authors, among them Johnny Byrne, who went on to write Groupie with Jenny Fabian (a real sixties-flavour book) and to work on the TV series Space 1999; Thom Keyes, who went on to write One Night Stand, which was filmed; and Keith Roberts, who became editor of Science Fantasy when Bonfiglioli changed the name to SF Impulse, and did much of the excellent artwork as well as contributing stories. The best known of these stories were those which formed the novel Pavanne; in that book and others since, Roberts has shown himself master of the alternate-world story, pitching his tone deliberately in a minor key. He is represented by ‘Manscarer’, a story of artists in an over-populated world, which was first published in New Writings in Science Fiction, the paperback magazine started by Carnell when he left New Worlds; NW in SF still continues, with even greater success, edited by Kenneth Bulmer who, like Carnell before him, has shown himself generous, reliable and discerning.

      SF Impulse faded out, but New Worlds went from strength to strength. Aided by a dedicated editorial team, including such lively men as Charles Platt, Mike Moorcock kicked out the old gang and installed the new. Galactic wars went out; drugs came in; there were fewer encounters with aliens, more in the bedroom. Experimentation in prose styles became one of the orders of the day, and the baleful influence of William Burroughs often threatened to gain the upper hand.

      The revolution was inevitable. The bathwater had become so stale that it was scarcely to be avoided if the baby sometimes went out with it. When an Arts Council grant was secured for New Worlds and it became glossy and filled with illustrations, it was the only SF magazine in the mid-sixties which looked as if it belonged to the mid-sixties. All the others seemed like fossils. Life was where New Worlds was.

      Of course, individual issues were often disappointing. But the ritual of a magazine, its layout, its expectations, its continuity, its hazardous pact with readers and authors, elevates it to a sort of protolanguage which speaks as strongly as its actual fiction content. The ritual suggested that the future had arrived with a flutter of colour supplements and mini-skirts and was securely nailed to New Worlds’ editorial desk. The rather twitchy hedonism of New Worlds had no need to look ahead, and the galaxy began in Ladbroke Grove.

      In the decidedly more sombre mood of the seventies, all this may sound silly. Naturally, it was easy to hate New Worlds, which often opted for trendiness rather than depth—though trendiness in those days was almost a philosophy in itself. But the feeling that the future has happened is not as perverse as it seems. Our Western culture has in many ways fulfilled the targets established in the early Renaissance: to take control of our world through observation and understanding and application. Enormous benefits have accrued to us. The life of the average man in the West, as regards both his physical and his mental horizons, has been much enhanced by the impetus of that aspiration. Now the bills for our astonishing performance, centuries long, are coming in. We see that progress and pollution, medical discoveries and over-population, technical development and nuclear escalation, improved communications and terrorism, social care and public apathy are sides of the same coin. Further advances are increasingly hard-won; moreover, the Oil Crisis in the early seventies rang like a tocsin through the West, reminding its citizens that the hour grew late and Toynbee’s Civilization Number Twenty-Two was losing autonomy. Our alternatives grow fewer. New Worlds was the first SF magazine in the world to abandon the idea that technological progress could be extrapolated for ever; as such, it may be honoured for having been truly prodromic.

      Hardly surprising, then, that it often radiated a hard shiny surface of scepticism, the cool of slight desperation. Boiling eggs to Mozart—the whole comedy of misapplication—was New Worlds’ thing. The dominant figure here was J. G. Ballard, with his postlapsarian guilts and a genuine power to embody the landscapes of subtopia in skeletal fiction. It is possible that New Worlds ultimately damaged Ballard’s development by overlauding the sadistic side of his work; but he is and remains a genuine original and an acute observer. Ballard threw away the old pack of cards. His new ones may not be to everyone’s taste, but they are his own. He has the courage of his convictions, and his best stories remain the best. If he often seems to use other authors as models—Jarry, as in the piece we anthologize here, Kafka, Greene, Conrad, Burroughs—the benefit of a post-Renaissance period is that we are heirs to all styles, and Ballard moulds each to his own purpose.

      Moorcock rightly seized upon Ballard, but also forged his own fictional hero, Jerry Cornelius. Cornelius is in fact neither hero nor anti-hero, but a sort of myth of the times. He can be male or female, white or black. Moorcock encouraged this ambiguous aspect by persuading other writers to chronicle the adventures of Cornelius; is Norman Spinrad’s Jerry, in the typically cool and comic account of the ‘The Last Hurrah of the Golden Horde’.

      Spinrad was one of a number of American writers who found the English cultural climate more congenial than the American one. His chief contribution to New Worlds was Bug Jack Barron, serialized at inordinate length; its use of four-letter words, together with a modicum of sexual intercourse, oral sex and other pleasures, led to a banning of New Worlds by W. H. Smith and the denunciation of Spinrad in Parliament as a degenerate—the sort of accolade most writers long for. Barron is a powerful novel about the role of television and government, powerfully over-written.

      Among other expatriates who drifted through was Thomas M. Disch, a distinguished writer whose stories move easily between being flesh, fowl, and good red herring. Disch’s greatest contribution to New Worlds was the novel Camp Concentration. A friend of his, John Sladek, settled in London, and has become one of SF’s leading comedians and parodists. Pamela Zoline, СКАЧАТЬ