May 7, 2008...3:13 pm
The Speed of Dark and Mundane SF
Looking back through the history of this great tradition, sf had constantly engaged itself in a struggle against ignorance to gain knowledge. Throughout its struggles, people gave it a solid form and purpose until sf became a genre accepted by the public at large. The tradition of sf began with hard science, which aided in the development of thought, culture, and technology by imagining and predicting changes that would bring progress. Later, it became a medium for people to stretch their imaginations out as far as space and the unknown would allow. Towards the end of the twentieth century, sf became an open forum for philosophical discussions that ranged from the effects of technological changes on society to examining the human condition. Now in the twenty-first century, it appears that sf had broken off into two categories: one category contains materials that have come to be known as stereotypical mass-market sf, which, some believe, are churned out for the sole purpose of generating book sales; the other category includes authors who are struggling to restore a sense of purpose and legitimacy to sf as literature. In this sense, it appears that sf has entered its own form of postmodernism-the strict boundaries that define different genres have begun to blur. Some sf authors have begun to employ writing styles that traditionally belonged to authors of mundane literature, and vice versa. Elizabeth Moon does exactly this in her award-winning novel, The Speed of Dark: by using sfnal elements to achieve her themes, she effectively creates a story that revises sfnal traditions.
Moon employs the traditional element of technology to explore the concept normalcy. Lou Arrendale, a thirty-five year old man, and his co-workers are all autistic. They belong to a generation of autistics who were left behind-generations born after were able to reap the awards of medical science that treated their autism while they were still in the womb. In short, they are much better adapted to living a normal life. Although Lou and his friends received an “early intervention [that] could ameliorate the symptoms,” their “limitations were real” and “immutable” (Moon 165). Their autism presented many painful obstacles despite the fact that they were made to be functioning and contributing citizens of society. In one example, Lou and his friends has pizza every Tuesday at their usual pizza parlor. They avoid going on Thursdays to avoid Hi-I’m-Jean, a waitress who treats them like freaks. In another example, Lou accompanies Marjory to the airport to pick up a friend. As Lou passes through airport security, he is suddenly harassed by a security guard: “‘If you don’t have a ticket, what are you doing here? …Spit it out…. Or do you stutter like that all the time?’” (Moon 35). Unfortunately, these outright forms of discrimination are things that Lou and his friends constantly have to with through their daily lives.
By any other standard, Lou appears “normal” and sometimes a genius. He lives on his own, he is able to drive, he buys his own groceries, cooks his own food, has friends, appreciates beauty, loves classical music, and excels in fencing. His mathematical brilliance and exceptional ability to analyze patterns allows him to work as a bioinformatics specialist in an influential pharmaceutical corporation. Furthermore, he feels human emotions despite his inability to comprehend all social nuances. When Lou faces the problem of whether or not to ask Marjory out for a date, he wonders if his autism is preventing him from be able to tell whether or not she has feelings for him. Readers may recognize that these emotions are telling of his humanity and not just something that happened to “normal” people. In allowing Lou and his friends take part in an intervention that treats some of the symptoms of autism, Moon is able to explore the concept of what is normal and not normal by using the sfnal element of technology.
Moon’s novel revises sf traditions by bringing the focus back to a level in which readers can easily comprehend and relate. Instead of incorporating sfnal elements like wormholes, deep space, inhabiting other planets, and the like, her novel focuses on life on Earth, which harkens the concept of Mundane SF. Founded by Geoff Ryman, he explains that “being a Mundane boils down to avoiding old tropes and sticking more closely to what science calls facts” because he “[believes] that for the most of us, the future is here on Earth” (Trent). Aside from the possibility of curing autism, the setting and situations that Moons presents will feel very familiar throughout the novel; this encourages readers to contemplate on her themes. Readers can relate to Lou, despite his being autistic, because the discrimination he faces, his struggle with the emotions and ideas pertaining to “normalcy,” and his identity crisis are all things they can relate because those are problems that occur in the here and now. This relationship between the text and the reader is not hindered by fantastical sfnal elements, which causes the readers to suspend a great part of reality.
Moon further uses technology in her novel to show the dangers in exploiting it for the sake of achieving quick solutions by juxtaposing the autistics with Mr. Crenshaw. Mr. Crenshaw, the boss, threatens Lou and his friends to take part in an operation that will alter their brains, which effectually cures them of their autism, at the expense of losing their jobs. The important issues emerge when each one of them responds differently to this opportunity. Chuy never takes part in the operation as he is happy with himself. Dale is the first to decide to participate in the operation; he painfully admits his desire to live a life in which people would treat him like any other person, not someone who is sick and inferior. Lou decides to learn about his brain and the treatment before going through with it. In the process, he discovers that he values his ability to overcome life’s challenges, that meeting those challenges had fortified his character and made him wiser, and that autism is an integral part of his identity as it has made him who he is. Lou learned that by partaking in the operation, he will run the risk of losing his identity: “Yet if I lose the memory of what this is like, who I am, then I will have lost everything I’ve worked on for thirty-give years” (Moon 291). Through Lou’s questioning his dilemma, readers become aware of the dangers of “quick fix” solutions. Lou’s and his friends’ worth as human beings becomes apparent, while Mr. Crenshaw’s monstrosity shows through. His choice in forcing his autistic employees to take the treatment is made solely to achieve his own selfish goals: if his employees were no longer autistic, then the company would no longer have to spend money providing for supportive facilities. Furthermore, the medical research can later develop a treatment for all “normal” employees to limit their focus, which will increase work efficiency. In essence, it will make those employees a bit autistic. His idea of a quick solution to problems will obviously put many lives at risk.
Once again, Moon’s novel recalls the theory of Mundane SF. This theory wonders why sf stories have moved away from Earth and preferred to continue their exploration in space and other planets and questions the usefulness in doing so. Ryman asks, “What is so un-wonderful about Earth” (Trent). Moon’s novel shows that there are many situations and issues that are relevant to our lives that can be explored. Even though Mr. Crenshaw is a cardboard cutout of the greedy businessman who has no regard for human life, the fact remains that people like him exists in reality who can cause real harm to real people. In The Human Condition, Hannah Arendt states, “‘The future man… seems to be possessed by a rebellion against human existence as it has been given, a free gift from nowhere (secularly speaking), which he wishes to exchange for something he has made himself’” (Trent). Arendt addresses the issue of people who do not care about the repercussions of their actions; she stresses the dangers in taking the things we have for granted and easily trading them off for things we create. Through Mr. Crenshaw’s plot and plight, readers see that that is a perilous thing to do. Moon’s novel then refines Brian Aldiss’ claim that sf is “the search for a definition of man and his status in the universe” by exploring within humanity itself (Sandner).
Another reason why Moon’s novel revises sfnal traditions is because it is reflective of Slipstream theory. According to Delia Sherman, the purpose of slipstream is not to “create a new category of fiction, but to establish a better way of reading border-crossing texts” (Kelly 349). Moon’s novel does not focus on the advanced technology that cures autism, which would have made the novel seem more traditionally sfnal. Rather, it focuses on Lou’s anguish at being threatened to losing his identity. It follows his journey to self-discovery and his choice to live life with or without autism. Without the existence of this technology in the story, Moon’s novel would closer resemble mundane literature. Unlike traditional sf, which had a more solid form and purpose, this novel contains elements taken from two different genres.
Finally, Moon suggests that it can be morally correct to use technology so long as it is done responsibly. At the end of the novel, Lou decides to commit himself to the operation. Without Mr. Crenshaw forcing him to take the treatment, Lou comes to make that decision for himself: “…I think I am beginning to want to because maybe, if I change, and if it is my idea and not theirs, then maybe I can learn what I want to learn and do what I want to do” (Moon 326). He recognized that he is all right the way he is and that he does not have to do the operation, but he wants to be able to control and use his mind to his full capacity instead of being limited by his mind. Lou understands that his life experiences and his ability to continually rise and overcome challenges are what makes him grow as a person and as an individual. Just like the way he learn how to ride a bicycle himself, like his overcoming the fear of water and learning how to swim, he believes he is able to meet the next challenge and better himself. At the conclusion of the novel, Lou is rewarded by achieving his lifelong dream of becoming an astronaut. He lets it be known that it is only the beginning for him because he is free.
Even though Lou gets to become an astronaut and travel throughout space, Moon shows that the real adventure and challenges begin with people’s character, mind, and heart. Ryman explains that “Mundanity is not just about a near future, but also a far future, one in which there are new wonders to take the place of the old ones” (Trent). There people who are engaged in trying to better the world they live in and some who are trying to better it for others. A plethora of challenges exists on Earth that need dire attention. Some of these challenges include social, political, economical, governmental, racial, class, and gender problems to name a few. Every little improvement people make in bettering this world is another achievement at creating a newer and better Earth. As that occurs, people will see “new wonders” beginning to “take the place of the old ones.” Moon’s novel certainly proves that it is not some sudden exploration out in deep space that will better the Earth, but efforts that start within. While Moon cautions against the dangers of technology, she also puts forth the hope that if technology is applied responsibly, then there can certainly be a better Earth.
Moon refines the sf tradition by implementing sfnal elements to explore her themes in The Speed of Dark. This book, which won the Nebula Award for best novel, stands on its own in a long line of sf legacy. While present-day sf appears to lack definitive boundaries, Moon’s novel certainly reflects the concerns of the sf community today. In light of Mundane sf, her novel supports the idea that if any productive actions to improve life are going to be taken, they must start by addressing issues in the real world. Geoff Ryman posits that “literature destroys innocence,” but it will also destroy ignorance (Trent). Whether sf will go the way of Slipstream, Singularity, Mundane SF, all or none of these, or even find a new path altogether, it does not bar the fact that sf has the power to destroy ignorance and bring enlightenment through its instinctive sense of exploration. As Lou suggests, even the darkness of ignorance, of the unknown, of fear and danger is everywhere, the speed of light, of enlightenment and knowledge, always catches up.
© 2008
Works Cited
Moon, Elizabeth. The Speed of Dark. New York: Ballantine Books, 2002.
Trent. “‘Take the Third Star on the Left and on til Morning!’ by Geoff Ryman.” Weblog post. Mundane-SF. 16 Sep. 2007. 7 May 2008 <http://mundane-sf.blogspot.com/2007/09/take-third-star-on-left-and-on-til.html>.
Sandner, David. (2008, Spring). Definitions of Science Fiction. ENGL373: California State University, Fullerton.
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