Arthur C. Clarke answers C.S. Lewis with speculation of his own: “What if science can take the place of religion? What if evolution, the striving ever upward, can replace these primitive superstitions, and offer a transcendence that is real? What if it is not only good, but necessary, for us to venture into space? What if that venture is the source of our salvation, the very thing that will overcome our quarrelsomeness and wickedness? Why must C.S. Lewis and H.G. Wells assume the meeting between man and alien will be warlike? Why assume the creatures of space are devils? Well, even if they look like devils, what if the meeting were… wondrous!”
By itself, the condescension betrayed by the paragraph with the Wayback Machine looks like atheism, but combined with the other spiritual and magical ideas in the book such as poltergeists, telepathy, precognition, and such as the transcendence of mankind into the galactic Overmind, aka the Pleroma, Childhood’s End takes on a Gnostic mood and theme.
I say Childhood’s End is Gnostic, a Christian heresy, because I do not see the attitude or mind-set of any other religion represented. Why is that? I speculate there are two reasons:
First, Arthur C. Clarke, whether he likes it or not, whether he admits it or not, is culturally from a Christian background, and, whether he questions them or not, shares the assumptions and axioms of that background.
His readers, by and large, are likewise. They might not enjoy the story or understand it if its mental background were too different from our shared cultural assumptions. (Albeit, later on in the history of science fiction, we do see authors trying to incorporate the cultural assumptions of Oriental religions into their fiction, at times with great success. No, I do not mean Zelazny’s Lord Of Light, which has more to do with the American Revolution than it has to do with the clash of Buddhism and Hinduism in the wars of King Ashoka. I mean A Wizard Of Earthsea and The Left Hand Of Darkness, which are Taoist in mood and theme, and Neverness by David Zindell, which incorporates elements of Tibetanism.)
Second, Arthur C. Clarke’s answer to C.S. Lewis would not have been an answer unless it shared the framework of the question. I do not mean the Christian framework, I mean the general topic of human destiny, the role of evolution and transcendence.
Clarke could not help but give a Gnostic answer to the Christian challenge because, within the framework of Western assumptions about man and life and afterlife, there is no other answer. There is nothing new under the sun, (so says Solomon in Ecclesiastes). Logic allows only for minor variations on certain themes and ideas in human thinking. So if you ask a question about man’s relation with God and the ultimate destiny of the race, there are really only three answers Western philosophy will give: (1) There is no God, and the ultimate destiny of the race is extinction, (the answer of H.G. Wells and of every pessimist who ever trod the planet); (2) There is a God, and the ultimate destiny of the race is salvation or damnation as the grace of God shall provide, (the answer of C.S. Lewis and of every Christian who ever ate bread); (3) Man shall be God, and the ultimate destiny of the race is transcendence or extinction, salvation or damnation, as the power of Man shall provide, (the answer of Arthur C. Clarke and of every Gnostic since the Second Century).
By sticking with the Christian assumptions about ultimate destiny, but rejecting the Christian answer, Arthur C. Clarke has no choice but to pen a naturalistic and science-fictional version of an old Gnostic myth. In the Western mind, if heaven is not in heaven, then heaven is on Earth. In the Western mind, if you cannot find the long lost Golden Age of Eden by crossing the Jordan of baptism, then you must find it by building the Tower of Babel. The Assumption of the Slans at the finale of Childhood’s End would not make the reader’s breath catch with wonder if Communion with the Overmind were not an image of Eden, a cure for the pain of the world as promised by the Holy Grail.
These are Western assumptions. I submit that an answer from a student of Confucius or Lao Tzu would be different. Confucius would be more concerned with good government and right action than with questions of ultimate destiny, and a Taoist might remark that the Way of Heaven is not to be broken, not even that breaking we do when we analyze something, and is not a road that leads to a destination. Certainly a Buddhist, who believes the world is an eternal torture-wheel of pain, would not share the assumption that life is a story with a beginning, middle and an end, and so he would merely smile at the question of what Fate or Dharma has in store at the end of the world. Likewise, for the Hindu, after the age of Kali Yuga, destruction, comes the age of Brahma, renewal. The finale of an Oriental version of Childhood’s End would have had the Overlords reducing mankind back into primitive Cro-Magnon ape-men, and brought in the Monolith from 2001: A Space Odyssey to reset the process.
It is not merely Oriental assumptions about eschatology that are not addressed in this book, but also Occidental pagan ones. The mood and theme, had Childhood’s End been written to the taste of a Norse pagan, would differ.
In the shocking ending of the wondrous book The Worm Ouroboros, Mr. E.R. Eddison, who perfectly captures the Norse spirit, has the gods reward the heroic virtues of his grand and warlike heroes, not with a paradise of endless life and endless peace, but with a Valhalla of endless life and endless war. If Arthur C. Clarke had been writing for a Viking audience, the finale of his book would have been that the Children of Men, the Supermen, would be drawn up into heaven as Einherjar, and the Overmind would have been the One-Eyed One, the Hanged God, the Lord of Ravens. Accompanied by the horrifying and beautiful singing of the Valkyries, the spirit beings of the supermen, having put away all of the fears and scruples of the under-men, the Nithlings, would have stormed away across the heavens, while trumpets roared, streaming like warrior angels toward the doomed home stars of the Kzinti and the Klingon and the brutal Eddorian, conquering and to conquer, setting whole galaxies afire, to fight the wars of the star-gods forever!
Now, THAT would have been a way cool ending. But it would not have answered C. S. Lewis, it would not have been within our shared cultural framework of thinking.
Clarke is clearly not a Gnostic. For one thing, he scorns religion, orthodox and heretical alike. But his famous book Childhood’s End clearly is Gnostic, for the same reason Robert Heinlein’s famous book Stranger In A Strange Land is clearly Gnostic. Both heed and repeat the lie of Satan, that old serpent, that red dragon who deceiveth the whole world; and his lie is that by eating of the forbidden fruit we shall become as Gods, or, as Michael Valentine or Valentinus Smith would say, “Thou Art God”.
Western humanist transcendentalism always reflects a Gnostic theme, because there is no other rebuttal to Christian thought available to any man who accepts non-Oriental and non-pagan assumptions about destiny, eschatology and transcendence; there is no other, aside from Gnosticism. Either you glorify Man with the Gnostic and call God a liar, or you glorify God with the Christian and call Man to repent.
Saving Science Fiction from Strong Female Characters
1. Foes in the Culture War
Anyone reading reviews or discussions of science fiction has no doubt come across the oddity that most discussions of female characters in science fiction center around whether the female character is strong or not.
As far as recollection serves, not a single discussion touches on whether the female character is feminine or not.
These discussions have an ulterior motive. Either by the deliberate intent of the reviewer, or by the deliberate intention of the mentors, trendsetters, gurus, and thought-police to whom the unwitting reviewer has innocently entrusted the formation of his opinions, the reviewer who discusses the strength of female characters is fighting his solitary duel or small sortie in the limited battlefield of science fiction literature in the large and longstanding campaign of the Culture Wars.
He is on the side, by the way, fighting against culture.
Hence, he fights in favor of barbarism, hence against beauty in art and progress in science, and, hence the intersection of these two topics, which means agains
t science fiction.
Different reviewers no doubt mean slightly different things when they speak of the strength of a female character: but the general meaning is that the strong female character is masculine.
Masculine in general means direct in speech, confident in action, coolheaded in combat, lethal in war, honorable in tourney or melee, cunning in wit, unerring in deduction, glib in speech, and confident and bold in all things.
Hence, a strong masculine character in a story is one who can pilot a jet plane in a thunderstorm while wrestling a Soviet-trained python in the cockpit. He can appease a mob, lead a rebellion, give orders, follow orders, seduce a countess, fight with a longsword, build a campfire, repair a car engine, write a constitution, comfort the grieving, (usually with a brisk slap in the face and a curt command to snap out of it), receive confession, sway a jury, suture a wound, and escape from a sinking submarine with a knife clutched in his teeth. In a science fiction story, a strong masculine character can also pilot a starship; in a fantasy story, he can resurrect the dead. See the cover of any lurid men’s magazine to see a concise summary of the essential characteristics.
Of the classical virtues, fortitude and justice are essential to masculinity, as is magnanimity: a real man neither complains nor says “I told you so.”
Much more rarely do reviewers speak of strong female characters as having the virtues particular to women.
Feminine in general means being more delicate in speech, either when delivering a coy insult or when buoying up drooping spirits. Femininity requires not the sudden and angry bravery of war and combat, but the slow and loving and patient bravery of rearing children and dealing with childish menfolk: female fortitude is a tenacity that does not yield even after repeated disappointments and defeats. And, believe you me, dear reader, a woman in love has a very clear-eyed view of the faults and flaws of her man, and if her love is true, she does not yield to despair or give up on him. The female spirit is wise rather than cunning, deep in understanding rather than adroit in deductive logic, gentle and supportive rather than boastful and self-aggrandizing. The strong feminine character is solid in faith in all things.
Hence, a strong feminine character in a story is one who can overcome the prejudice against her family’s humble origins to win the heart of the proud Mr Darcy. She can appease an angry mother-in-law, reconcile a feud, arrange cooperation without seeming to take or give orders and without anyone feeling left out or overruled, lure a Lothario to his destruction, unman a Benedict with her wit, build a family, repair a broken heart, restore loyalty, comfort the grieving, (usually with a sympathetic ear and a soft promise of better days ahead), receive confession, sway a jury, suture a wound, and escape from an arranged marriage to find true love. In a science fiction story, a strong feminine character can also halt a planetary war; in a fantasy story, she can resurrect the dead, and then marry him. See the cover of any woman’s trashy romance novel to see a concise summary of the essential characteristics.
Note that men in fantasy stories tend to revive the dead by going to the underworld like Orpheus or Aragorn, and wrestling Cerberus like Hercules. They get revived like Gandalf the White, by being sent back by angelic higher powers. Women tend to pull Tam Lin off his horse as he is being led to hell. They get revived by love’s first kiss, which is more powerful than angels.
Of classical virtues, temperance and prudence are essential to femininity, especially that temperance of the sexual appetite called chastity, and that prudence not to excite the sexual appetite outside courtship nor to invite flattery, which is called modesty. A real heroine does not manipulate good men by their affections, nor copulate out of wedlock.
This leads us to two immediate and controversial questions. First, is there a difference between masculine and feminine strengths and virtues? Second, should there be a difference?
To speak of masculine and feminine is not the normal way of speaking of things. Modern political correctness requires one to speak incessantly and indefinitely of whatever is the topic without ever naming the topic, because certain words and ideas are taboo, the source of black magic. The theory of black magic is that if a word has a connotation the social engineers do not like, by avoiding the word, thought and psychology can be sculpted or habituated to a more perfect form. It is the theory that calling black-skinned men not born in Africa and who may or may not be Americans by the term ‘African American’ rather than by the term ‘Black’ will somehow abolish race hatred. It is the theory that linguistic mannerisms and queer verbal tics can save mankind from our sinful nature, rather than, say, the Enlightenment of Buddha or the Blood of Christ.
Likewise, to speak of the sexes is thoughtcrime. We are to speak only of ‘gender’ which is a word that properly only refers to parts of speech, or, among anthropologists, social roles rather than spiritual and biological realities. Hence there is no word in the vocabulary of Political Correctness to speak of masculine or feminine things. The theory here is that by eliminating verbal reference to reality the offensive reality will softly and suddenly vanish away like a Boojum.
Hence, the Politically Correct theory is, first, that there are no differences between masculine and feminine strengths and virtues, and, second, that even if there were, it would not be pleasing to the amateur social engineers to acknowledge that fact; and indeed, it may be an offense against women to do so, and unwitting treason to the cause of radical egalitarianism.
The theory is borrowed without change from Marxism, except that instead of capitalist Jews being the evil and sadistic oppressors, the husbands and fathers and sons are the evil; and the women are the saintly and utterly innocent victims instead of the proletarians. The theory here is that that every pretense of any difference, however slight or obvious, between the sexes will be used by the ruthless oppressors as a ruthless excuse to exploit the weak and helpless women. Hence the theory of women as weak is built into the very bones of feminism.
By this theory, anyone admiring femininity in women or masculinity in men can be presumed to be motivated by savage and unforgivable yet unadmitted racism, but as if the female sex were another race, not the opposite and complimentary sex of the same race. This type of make-believe racism is called ‘sexism’, of which few stupider words exist in the modern lexicon. (One would think ‘sexism’ would be rule by copulation, an inventive form of government yet to be tried.)
As a rule of thumb, it is safe to assume that Political Correctness is not merely false but is as lunatic as a man who hops energetically on his cracking skull, both legs kicking wildly aloft, screaming that his hat is a pogo-stick. The Political Correctoids seem to regard it as all the more admirable the more defiantly their words defy reality. Like the White Queen in Alice, they seem to admire not merely believing lies, but believing impossibly false and utterly outrageous lies.
But in this case, we should hasten to admit that the Politically Correct lies, like most good lies, contains a grain of truth to them. Masculine nature tends to be adversarial and domineering where the feminine tends to be yielding and conciliatory. Left to ourselves in a Hobbesian state of fallen nature, sexual alliances between men and women tend toward situations of mutual exploitation where the women get the worst of it; without the institution of marriage, the mating dance becomes a sexual melee, and the more callous masculine nature of the sex who cannot get pregnant and hence is less dependent on his mate, has freer latitude to use and abuse the other sex, not to mention being more violent in the passions and more prone to violence considerably.
The institution of polygamy is an attempt devised by men to check the excesses of this free-for-all by enforcing standards of chastity, but this institution is blatantly unfair to women, rendering them little more than slave chattel.
Monogamous matrimony as practiced in the West, that is, in Christendom, is an attempt devised by heaven to check the excesses of polygamy, by rendering the bride and bridegroom equal in chastity and voluntary in vow. Even so, women were not afforded the equal ri
ghts to vote and own property until quite recently, even in the West. Hence, we must admit that there is a real problem of feminine inequality that Political Correctness attempts to solve. We can merely reject with jovial contempt their means of solving it: one does not rectify deeply rooted historic injustices by means of euphemisms and nonsense-words.
Let us therefore at the outset acknowledge that the majority of strengths and virtues are the same in both sexes. It is not more admirable or less to lie or steal or cheat in a man than in a woman. We here are concerned with those few areas where the strengths and virtues differ, which are the areas that Political Correctness pretends do not exist.
I propose that women can commit the same vices as men, but they do not commit them in the same way; and likewise practice the same virtues, but not in the same way.
For example, when men in a locker room, or on a battlefield, use the name of the Lord in vain, and no one hears them but their team mates or brothers in arms, the vulgarity may have the positive effect of stirring up emotions ranging from team spirit to desperate anger which aids the will to win. It is the same vice as if a woman swears, but the rough nature of the masculine task mitigates some of the roughness of their tongue. A man who is crude can also inspire fear because he fears neither God nor men.
Contrariwise, when women in the kitchen or the nursery use the name of the Lord in vain, and the children they are nursing and teaching hear them, the vulgarity has the negative effect of deadening the emotions of the youngsters and making them vulgar and indifferent to vulgarity. Youngsters indifferent to vulgarity with very few exceptions cannot have a reverent or respectful attitude toward man or God. This absence of respect infiltrates to every compartment of their lives; they are mean to the poor, callous to women, negligent of duties, contemptuous of authority, and so on. The point of vulgarity is to desecrate the image of man in the eyes of man: filthy language is meant to make us seem like filthy yahoos to each other. It is the same vice as if a man swears, but the delicate nature of maternal and educational tasks, not to mention the greater need for consensus-building in the circle of women, gives this vice a darker and longer-lasting stain.
Transhuman and Subhuman: Essays on Science Fiction and Awful Truth Page 27
