Certainly if the very same novel had been written by yours truly, or John Shirley, or even Stephen King, a hyper-literary house like New York Review Books wouldn't touch it with a fork. Consider the attitude of the American literary establishment to even the rare works of Norman Mailer that wandered off the reservation and into the borderlands of “SF.”
I must confess that I cannot be entirely neutrally objective about Norman Mailer—not that many other critics seem to be able to manage that either. I count Mailer among my literary inspirations and models, for I believe him to have been the last of the great twentieth century American so-called “mainstream” or “literary” novelists to fully engage in his own ways what I also believe, and thanks in no little part to his influence, is also, in its own manifold ways, the true literary mission of science fiction. That is, to explore the evolutionary feedback relationship between consciousness in all its depths and the external realities —political, cultural, sensory, media, technological—in which it finds itself, in all their interacting complexities.
And, as we shall see shortly, his final novel The Castle in the Forest is strangely connected to my novel The Iron Dream, to the point where I was commissioned to write a sidebar to the review of it in the German literary magazine Bucher. And the ire aroused in me by a line in his obituary in Rolling Stone written by the feminist critic Camille Paglia brought to mind a review of Ancient EveningsI had written for this very magazine when it came out to less than sympathetic reviews elsewhere, which in part was the impetus for this essay. Wrote Paglia:
“Though I find some of his writing atrocious (such as Ancient Evenings, his seven hundred page Egyptian novel)....”
Serendipitously, shortly after his death, I saw a retrospective series of Mailer interviews on television. In one of them chronologically close to the end of his life, he was asked which of his many novels he considered his best, and Norman Mailer replied “Ancient Evenings.”
How could this be possible? How could a novel that pretty much received killer reviews at the time in the journals where he would wish to be praised nevertheless be deemed by the writer near the end of his long creative life to be his best?
Ancient Evenings was generally condemned as a failed historical novel set in ancient Egypt, blatantly inaccurate and metaphysically foolish.
What I wrote at the time was that these ignorant worthies just didn't get it, while anyone familiar with, say, Roger Zelazny's Lord of Light or Creatures of Light and Darkness would realize from page one that Ancient Evenings is not an historical novel set in ancient Egypt. Ancient Evenings is a fantasy novel set in Norman Mailer's free-form dream of ancient Egypt and as such a masterpiece, at the very least the equal of Zelazny's Hugo winners in the same vein.
Non-genre “SF.”
The establishment literary critics of the day could not see it, or if they could, they could not forgive even a favorite son like Norman Mailer for stooping to such stuff, let alone be equipped to judge it on its own literary merits. Whereas it probably would have easily been a Hugo contender had it been published in an SF line as a first novel by an unknown.
And strangely enough, or perhaps not so strangely at all, at the very end of his Egyptian fantasy, Mailer, in a very brief flight of far-forward vision, seemed to be barely hinting, or at least so I took it, at embarking on some future essay into actual science fiction.
I was even moved to write him a letter encouraging him to do so, using something like the literary argument above. He never replied—I don't know whether he even got it or whether it was just a note in a bottle—and he never did it.
But in his last novel The Castle in the Forest, Norman Mailer did something quite new under the literary sun. He used the first-person voice of a demon, a sardonic and deeply philosophical demon that Mark Twain could love, to tell the exhaustively researched story of the childhood and early adolescence of Adolf Hitler, to give us the boy that was the father to the man.
This, of course, is why the German literary magazine asked me to write that sidebar, which I titled Channeling Hitler. In The Iron Dream, I used the narrative voice of an alternate Hitler to write his fantasy of the Third Reich in an alternate world where he was a writer of heroic science fantasy. This device explicated the psychopathology of Hitler and Nazism. In The Castle in the Forest, Mailer uses the voice of a minion of Satan to explicate the familial psychopathology as it evolved the boy who became the man.
Aside from the fact that it is a demon telling the story, The Castle in the Forest is a classical realistic subspecies of the historical novel; the psychological historical novel, Freudian more often than not, which views history through character, and character as molded by childhood family drama. One can argue with such an explanation of the being of Adolf Hitler, but not with the thoroughness and brilliance with which Mailer presents it.
Like any good historical novelist, Mailer uses the gaps in the known facts—and in the biography of Hitler there are many of them—to inject his own extrapolations and, like a good science fiction novelist, turn what could otherwise be mere reportage into literary art.
But just as the fictional voice of my adult fictional Hitler cannot be taken for my own, the fictional narrative voice of The Castle in the Forest should not and hopefully cannot be taken as a device to simply give Mailer's narrative voice the necessary omniscience. It does do that, for it probes deeply into the psyches and very souls of Hitler's parents and siblings. But Mailer's demon is a character himself, not a mere mouthpiece for the author, with his own doubts, desires, regrets, fraught personal relationship with Satan—Himself a minor speaking character with a complex personality—and low opinion of God and his angelic hitmen.
In a sense, The Castle in the Forest is two interwoven novels, an historical novel and a fantasy, but only from the crabbed and obsessive taxonomological viewpoint of those who insist in tranching up fiction in genre categories.
In a larger and more illuminating sense, The Castle in the Forest, though not a science fiction novel at all, is certainly a novel in the spirit of speculative fiction, a novel that uses the techniques of fantasy to illumine the tragic drama of history, that delves the depths where consciousness makes destiny, where external events mold the human spirit.
And is that not what the rapidly exfoliating technosphere and devolving biosphere and their effects on the mutating human consciousness is forcing so-called “literary” fiction to deal with in the twenty-first century or sink like a stone into cultural irrelevance? And is that not what the dying of genre science fiction as commercially viable will both free and force the best of us to once more dare?
Genre science fiction is dying.
The genrefication of speculative fiction is dying.
Long live non-genre speculative fiction!
The genrefication of fiction itself is dying and good riddance.
Long live the fictions of Prome-theuses Unbound!
I do believe that Norman Mailer knew this in his heart of hearts, and I do believe, as with Philip K. Dick in The Transmigration of Timothy Archer, with The Castle in the Forest, he found a full flowering of that freedom at the very end of a fruitful life's journey
Hail and farewell.
Copyright (c) 2008 Norman Spinrad
[Back to Table of Contents]
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Department: SF CONVENTIONAL CALENDAR
by Erwin S. Strauss
The first weekend in October is one of the busiest weeks of the year for science fiction get-togethers. Plan now for social weekends with your favorite SF authors, editors, artists, and fellow fans. For an explanation of con(vention)s, a sample of SF folksongs, and info on fanzines and clubs, send me an SASE (self-addressed, stamped #10 [business] envelope) at 10 Hill #22-L, Newark NJ 07102. The hot line is (973) 242-5999. If a machine answers (with a list of the week's cons), leave a message and I'll call back on my nickel. When writing cons, send an SASE. For free listings, tell me of your con 5 months out. Look for me at cons behind the Filthy P
ierre badge, playing a musical keyboard.—Erwin S. Strauss
SEPTEMBER 2008
5-7—CopperCon. For info, write: Box 62613, Phoenix AZ 85082. Or phone: (480) 949-0415 (10 AM to 10 PM, not collect). (Web) casfs.org/cucon. (E-mail) [email protected]. Con will be held in: Tempe AZ (if city omitted, same as in address). Guests will include: Guest list to be announced. Traditional late-summer event, to reminisce about WorldCon.
12-14—ConChord. [email protected]. Marriott, Northridge CA. A. Adams, A. Savitsky, Paul Estin. SF folksinging.
12-14—Nan Desu Kan. ndkdenver.org. Tech Center Marriott, Denver CO. Mignogna, Patton, S. Yun, T. Yune. Anime.
19-21—MountainCon, Box 896, Centerville UT 80414. (801) 294-4054. mountaincon.org. Library. K. Sorbo, R. Herd.
19-21—Anime Weekend, Box 13544, Atlanta GA 30324. awa-con.com. Renaissance Waverly. R. & E. DeJesus, C. Horn.
19-21—MikomiCon. mikomicon.org. Cal State U., Northridge CA. K. Sa, Fred Perry, Quarter Circle Jam, Adella. Anime.
26-28—ConJecture, Box 927388, San Diego CA 92192. conjecture.org. Crowne Plaza/Red Lion Hanalei. David Drake.
26-28—ConText, Box 16391, Columbus OH 43216. (614) 868-8366. Ramada, Sinclair Rd. Huff, Guran. For written SF.
26-28—Foolscap, Box 2461, Bellevue WA 98111. foolscap.org. Marriott, Redmond WA. E. SF on paper (written & art).
26-28—JumpCon. jumpcon.com. Chattanooga TN. E. J. Almos, M. McConnell, Boxleitner, Beltran, Furlan, Jason Carter.
26-28—TsubasaCon, Box 340902, Columbus OH 43234. tsubasdacon.org. Huntington WV. Ultraball, Jen Quick. Anime.
27-28—AuroraCon, Box 210050, Anchorage AK 99521. Vic Mignogna, Brett Uhner, Colleen Clickenbeard. Anime.
OCTOBER 2008
2-5—Con on the Cob, 372 Alpha Ave., Akron OH 44312. (330) 734-0337. [email protected]. Holiday Inn West.
2-5—ShriekFest, Box 920444, Sylmar CA 91392. Raleigh Studios on Melrose, Hollywood CA. Horror film.
3-5—Archon, Box 8387, St. Louis MO 63132. (636) 230-9481. Collinsville IL. L. Hamilton, Kovalic, the Zelliches, Milan.
3-5—SiliCon, 1009 E. Capitol Expwy. #415, San Jose CA 95121. siliconventions.com. Doubletree. “Salute to Fanac.”
3-5—VCon, 1330 Graveley #302, Vancouver BC V5L 3A2. vcon.ca. Rothfuss, Snellings, J. Ernest, Dr. J. Matthews.
3-5—FenCon, Box 701448, Dallas TX 75370. fencon.org. Crowne Plaza, Addison TX. Benford, Waldrop, R. Musgrave.
3-5—FlatCon, Box 109, Minier IL 61759. flatcon.com. [email protected]. Interstate Center, Bloomington IL.
3-5—Eastern Media Con, Box 60623, Staten Island NY 10306. [email protected]. Newark NJ. Adult media.
3-5—TrickConTreat, 2304 N. Redmond Ave., Bethany OK 73008. (405) 436-2446. trickcontreat.com. Oklahoma City OK.
3-5—FIlk Continental, Am Rosenhag 24a, Berlin D-12623, Germany. +49 30-49766569. Freusberg. SF folksinging.
3-6—ConFlux, Box 603, Belconnen ACT 2616, Australia. conflux.org.au. Marque Hotel. Sharyn November, Jack Dann.
10-12—AlbaCon, Box 2085, Albany NY 12220. albacon.org. Crowne Plaza. Anne & Todd McCaffrey, Barclay Shaw.
10-12—SitaCon. sitacon.com. Utica NY. “Central NY's First Anime Con Returns.”
10-12—Anime USA, Box 4583, Crofton MD 21114. animeusa.org. Hyatt, Crystal City (Arlington) VA (near DC). Seitz.
10-13—GaylaxiCon, c/o Box 656, Washington DC 20044. gaylaxicon2008.org. Near DC. For gay, etc., fans & friends.
11-12—DeryniCon. derynicon.remuthcastle.com. Holiday Inn W., Harrisburg PA. Katherine Kurtz. Deryni & Adept.
AUGUST 2009
6-10—Anticipation, CP 105, Montreal QC H4A 3P4. anticipationsf.ca. Gaiman, Hartwell, Doherty. WorldCon. US$190+.
[Back to Table of Contents]
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Department: NEXT ISSUE
OUR NEW FORMAT
You're sure to notice something a little different about next month's December issue—we have switched to a new format with fewer but larger pages. The reason for the change is nothing to be alarmed by. Paper and production costs have presented Asimov's and our sister publication, Analog, with a choice: increase subscription rates and single-issue costs to retain the old format, or adopt a slightly different size and retain our current prices. Naturally, we felt it was of best benefit to all to choose the latter. As you'll see below, the award-winning content inside our magazine will always remain of the same high standards.
DECEMBER ISSUE
December is an issue inspired by the myriad pleasures of music, as evidenced by David Ira Cleary's cover story. A washed-up grunge band seek to spread a message of peace through their music, despite the evident risks to life and flannel-bedecked limb, in an area of civil unrest. Their earnest protest songs don't quite come off as they've planned and they must come to terms with unintended effects on both the members of their band and their listeners, all the while threatened by a horrifying new method of chemical terrorism, “The Flowers of Nicosia.” Featuring a fabulous new cover by the inimitable J.K. Potter.
ALSO IN DECEMBER
Melanie Tem and Steve Rasnic Tem return with “In Concert,” a wistful tale of an elderly woman who somehow manages to establish mental contact with a lost and possibly doomed astronaut; Tim Sullivan takes us “Way Down East” with a crew of lobster fishermen hired to set sail with a verystrange cargo on a day-trip that will change all of their lives forever; Kathryn Lance and Jack McDevitt bid a hesitant Richard Wagner “Welcome to Valhalla"; Steven Utley proves that “Perfect Everything” probably isn't such a great boon at all; and Geoffrey A. Landis celebrates the auspicious anniversary of one of literature's great classics, “Still On the Road” after all these years.
OUR EXCITING FEATURES
Robert Silverberg continues his appreciation of Murray Leinster's vast talent in his “Reflections” column, “A Logic Named Will"; Peter Heck brings us “On Books"; plus an array of poetry you'll enjoy. Look for our December issue at your newsstand on October 7, 2008. Or you can subscribe to Asimov's—by mail or online, in varying formats, including downloadable forms, by going to our website,
COMING SOON
new stories by Nancy Kress, Brian Stableford, Judith Berman, Bruce McAllister, Chris Beckett, Kristine Kathryn Rusch, William Barton, Carol Emshwiller, Larry Niven, Michael Cassutt, Damien Broderick, Steven Utley, Will McIntosh, and many others....
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Visit www.dellmagazines.com for information on additional titles by this and other authors.
Asimov's SF, October-November 2008 Page 37
