Except for a few alternate reality stories, science fiction writers no longer write about the first trip to the Moon. NASA’s successes have had a tremendous impact on science fiction written after the1960s. If Elon Musk’s plans for his Starship succeed it should change the course of science fiction too. If you follow The Space Race on YouTube it appears SpaceX’s Starship is going to happen. Yesterday’s video was about how SpaceX is working towards the industrial capacity to build one Starship a day. What would that mean?’
Elon Musk could become Heinlein’s, D. D. Harriman – the man who sold the Moon. Musk wants to put a million colonists are Mars in the 2030s. And SpaceX is now working in conjunction with NASA to return to the Moon.
After NASA’s planetary probes in the 1960s science fiction stopped writing about Mars and Venus being inhabited. Before that Mars was a wintery desert world and Venus was a steaming jungle world but with life, even intelligent life. After the Mariner probes, Mars was as lifeless as the Moon, and Venus was hot enough to melt lead.
If Elon Musk succeeds then he will shape the future of the Moon and Mars, and of science fiction that will be written about those worlds. There is no guarantee Musk will succeed. SpaceX might get people to Mars and people might discover it’s a horrible place to live and not want to colonize the planet. Or that Mars is so toxic that it’s not practical to live on Mars. But if colonization is possible we’ll see how a colony on Mars will be designed. That design will shape the direction of science fiction for decades.
SpaceX’s Starship isn’t revolutionary. It’s not powered by nuclear engines or some other exotic drive. It’s stainless steel, methane, and oxygen along with some highly refined chemical rocket engines. But it could become the Model T of space travel.
Along with SpaceX, there are two other technologies that could reshape the evolution of science fiction. The first is AI. The second is Boston Dynamics robots. When the two are combined we might not need human explorers in space. Science fiction has always pictured robots becoming like humans. ChatGPT can process thousands of concurrent queries at the same time. Soon robots will be stronger, faster, and more agile than humans. What happens when we have a robot that has all recorded knowledge in its head and can multitask thousands of problems at once? Isn’t the Singularity getting awful near?
Science fiction often pictures robots acting like humans, even being our pals. Human minds will appear to them as gerbil minds appear to us. Right now we picture humans using Starship to conquer the solar system. Just think how much more efficient it would be to combine Starship with AI robots? Intelligent robots are perfect beings to live in space. What if we sent a million intelligent robots to Mars instead of a million humans? They could build us a deluxe civilization to move into much quicker than we could.
I’m not reading much science fiction that speculates realistically about the near future. Too many stories are about super-science that will probably never exist. Or it’s about cute robots that vastly underestimate what robots can do. Or they are silly stories about people falling in love with sexbots. Or even worse, there are lots of silly stories envisioning robots wanting to be human. That’s like us fantasizing about becoming a gerbil or having a love life with one.
The whole point of a Singularity is one day AI will be equal in capacity to the human mind. But the next day it will be 2x us, and a little while later 10x, and pretty soon 1000x. Why hasn’t science fiction explored the idea we’ll be the second banana in this neck of the galaxy soon.
By the way, have y’all read any science fiction stories based on Elon Musk’s plans for Mars and the Moon?
I’ve often thought science fiction was a substitute for religion. I know my love of science fiction developed just as I was rejecting the religion I was taught as a child. But also, science fiction emerged in the 1950s just as the culture began to change in many ways, becoming more secular and non-religious. It was easier to put one’s faith in exploring the heavens in a rocketship than dying and going to heaven. And the idea of superior aliens seemed a lot more probable than gods or angels. Finally, achieving immortality through science seemed a better bet than being resurrected into an immortal being.
So, I thought I’d ask a superior intellect about all of this.
I asked ChatGPT:
If science fiction was a religion what would its creed be if stated like the Nicene Creed?
ChatGPT replied:
Here’s one possible version of a science fiction creed, loosely modeled after the Nicene Creed:
We believe in one universe, existing in multiple dimensions, infinite in scope and possibility, and in one force that binds all things together.
We believe in the power of science and technology to advance the human condition and shape the future, and in the responsibility of humanity to use this power wisely.
We believe in the existence of intelligent life beyond our own planet, and in the possibility of communication and cooperation with these beings.
We believe in the potential of artificial intelligence to achieve sentience and to coexist with humanity in harmony and mutual benefit.
We believe in the exploration and colonization of space, and in the expansion of humanity’s reach to the farthest corners of the cosmos.
We believe in the existence of alternate realities and timelines, and in the ability of science to unlock the secrets of these realms.
We believe in the value of imagination and creativity, and in the power of science fiction to inspire and inform our understanding of the world around us.
We believe in the continuous evolution of science and science fiction and in the endless possibilities that the future holds.
My Thoughts:
This response was pretty damn good and it does make science fiction feel religious or spiritual.
Then I asked:
How does belief in God, gods, angels, and heaven overlap with the things science fiction fans believe in?
ChatGPT replied:
Belief in God, gods, angels, and heaven are generally considered to be religious beliefs, while the things that science fiction fans believe in are often based on scientific speculation, technological advancements, and imaginative exploration. However, there can be some overlap in terms of the themes and concepts that both groups explore. Here are a few examples:
Belief in extraterrestrial life: While the existence of God, angels, and heaven are typically considered to be matters of faith, the idea of extraterrestrial life is a subject of scientific inquiry and speculation. Science fiction often imagines a variety of intelligent beings and civilizations that exist beyond Earth, and many science fiction fans believe that there may be life elsewhere in the universe.
Exploration of alternate realities: Science fiction often explores the idea of parallel universes or alternate realities, where events play out differently than they do in our own world. This concept may overlap with religious beliefs about the afterlife or the existence of multiple planes of existence.
Advancements in technology and science: Science fiction often explores the potential of new technologies and scientific advancements, such as artificial intelligence, genetic engineering, or time travel. Some science fiction fans may see these ideas as a reflection of humanity’s creative potential and our ability to shape our own destiny, while religious believers may see them as a reflection of God’s power and creativity.
Overall, while there can be some overlap in the themes and ideas explored in science fiction and religious beliefs, the underlying motivations and methods of each group are quite different. Science fiction relies on speculation, imagination, and the scientific method, while religion is based on faith, revelation, and tradition.
My Thoughts:
That’s spot on, especially the last sentence. ChatGPT does see the parallels too. It’s nice to know it and I agree.
To clarify, I asked:
Is there a psychological explanation that explains why some people believe in gods and others in aliens?
ChatGPT replied:
There are several psychological explanations that may help explain why some people believe in gods, while others believe in aliens.
Agency detection: Humans have a natural tendency to attribute events to the actions of agents, rather than to random chance. This is known as agency detection, and it has been proposed that this may be an evolved adaptation that helped our ancestors to identify potential threats and avoid danger. The belief in gods or other supernatural entities may be seen as an extension of this tendency, as they are often perceived as powerful, intentional agents that can influence events in the world.
Intuitive thinking: Intuitive thinking refers to quick, automatic, and effortless cognitive processes that are often based on heuristics or mental shortcuts. This type of thinking is often contrasted with analytical thinking, which is more deliberate and effortful. Some researchers have suggested that intuitive thinking may be more likely to lead to belief in supernatural entities, as it is less critical and more accepting of information that confirms existing beliefs.
Socialization and culture: The beliefs and values that we hold are often shaped by the culture and social environment in which we were raised. In many cultures, belief in a god or gods is a fundamental aspect of religious practice and identity and may be reinforced through family, community, and religious institutions. Similarly, belief in extraterrestrial life and UFOs may be influenced by popular culture, science fiction, and the media.
Cognitive biases: Humans are subject to a range of cognitive biases, or systematic errors in thinking that can lead to inaccurate or irrational beliefs. For example, confirmation bias refers to the tendency to seek out information that confirms our existing beliefs, while neglecting or discounting information that contradicts them. Belief in gods or aliens may be influenced by cognitive biases such as these, as they can make it difficult to objectively evaluate evidence and arguments.
Overall, there are likely multiple psychological factors that contribute to belief in gods or aliens, and these factors may interact with one another in complex ways. It is important to note that belief in either of these entities is not inherently irrational or unreasonable, as people can have a variety of reasons for holding these beliefs.
My Thoughts:
ChatGPT is thinking like me, or I’m thinking like it but it’s not exactly what I would have written. It is close but more precise. I’m a sloppy verbose writer, and ChatGPT knows how to get down to business.
I still wasn’t getting what I exactly wanted, so I asked:
What psychological benefits do reading science fiction give people? Are they similar to what people get from religion?
ChatGPT replied:
Reading science fiction can provide several psychological benefits, some of which may be similar to what people get from religion. Here are a few examples:
Escape and entertainment: Science fiction can provide a form of escapism from the stresses and challenges of everyday life, as well as a source of entertainment and enjoyment. This can be a valuable way to unwind, relax, and recharge, which may have positive effects on mood and mental health.
Exploration of new ideas and perspectives: Science fiction often explores complex and thought-provoking ideas, such as the nature of consciousness, the ethics of artificial intelligence, or the potential consequences of future technologies. Reading science fiction can expose readers to a wide range of perspectives and worldviews, which can broaden their understanding of the world and challenge their assumptions.
Inspiration and motivation: Science fiction can inspire readers to think creatively, to imagine new possibilities, and to take action to improve their lives and the world around them. This can be a source of motivation and inspiration, which may help people to overcome challenges and achieve their goals.
Sense of community: Science fiction fandom can provide a sense of community and belonging for fans, as they share a common interest and passion for the genre. This can be similar to the sense of community that people get from religion, as both involve a shared set of beliefs and practices that unite people.
Overall, while the psychological benefits of reading science fiction may share some similarities with the benefits of religion, they are also distinct in many ways. Science fiction often emphasizes exploration, creativity, and intellectual stimulation, while religion tends to focus on faith, ritual, and spirituality. However, both can provide important sources of meaning, purpose, and connection for individuals, depending on their needs and interests.
My Thoughts:
This is accurate enough. ChatGPT is very good at academic bullshitting, the kind of writing that’s good for passing essay tests. It should be good in some courses in school and college. However, it keeps things on a basic level, like a newspaper writer. But I wanted to test ChatGPT against details.
I asked:
Can you give me a chronological list of science fiction stories that show the development of intelligent machines in fiction?
ChatGPT replied:
Sure, here’s a chronological list of science fiction stories that feature the development of intelligent machines:
“The Sandman” by E.T.A. Hoffmann (1816) – This short story features a mechanical automaton that is so lifelike that it is mistaken for a human being.
“Frankenstein” by Mary Shelley (1818) – While not strictly a story about a machine, “Frankenstein” is often considered one of the earliest science fiction stories and features a scientist who creates a living creature through artificial means.
“The Steam Man of the Prairies” by Edward S. Ellis (1868) – This story features a steam-powered robot that becomes a hero in the American West.
“The Wonderful Electric Elephant” by Frances Trollope (1876) – This story features an electric-powered mechanical elephant that is capable of speech and human-like behavior.
“The Land Ironclads” by H.G. Wells (1903) – This story features a fleet of heavily-armored, steam-powered land vehicles that are controlled by human operators.
“R.U.R.” by Karel Čapek (1920) – This play is credited with coining the term “robot” and features artificial beings that are created to serve humans but eventually rebel against them.
“The Last Question” by Isaac Asimov (1956) – This short story explores the development of a supercomputer that is tasked with answering the question of how to reverse the heat death of the universe.
“Do Androids Dream of Electric Sheep?” by Philip K. Dick (1968) – This novel explores the question of what it means to be human through the eyes of a bounty hunter who is tasked with tracking down rogue androids.
“The Terminator” (1984) – This movie features a self-aware artificial intelligence that seeks to eliminate humanity through the use of time-traveling assassins.
“The Matrix” (1999) – This movie explores the idea of humans being trapped in a simulated reality created by intelligent machines.
This is by no means an exhaustive list, but it gives a sense of the development of the theme of intelligent machines in science fiction over time.
My thoughts:
This is pretty good but it misses some of my favorite examples like The Moon is a Harsh Mistress,When H.A.R.L.I.E Was One, and Galatea 2.2.
So I gave it another chance:
Can you give me more examples from 1950 to 1975?
ChatGPT replied:
Sure, here are a few more examples of science fiction stories featuring intelligent machines from the period of 1950 to 1975:
“I, Robot” by Isaac Asimov (1950) – This collection of short stories explores the relationship between humans and robots, as well as the development of artificial intelligence and robotics over time.
“The City” by Clifford D. Simak (1952) – This novel features a world in which humans have become extinct, and intelligent robots have taken over as the dominant life-form on Earth.
“The Midas Plague” by Frederik Pohl (1954) – This story explores a future society in which people are required to consume vast amounts of goods and services in order to keep the economy running, while intelligent machines are tasked with creating ever more goods to satisfy demand.
“A For Andromeda” by Fred Hoyle and John Elliot (1962) – This novel features a message from an extraterrestrial intelligence that provides instructions for building an intelligent machine, which leads to a struggle between the scientists who built the machine and those who seek to control it.
“Slaughterhouse-Five” by Kurt Vonnegut (1969) – While not strictly a story about intelligent machines, this novel features a race of extraterrestrial beings who exist outside of time and who have created an advanced artificial intelligence that seeks to understand the universe.
“The Andromeda Strain” by Michael Crichton (1969) – This novel features an intelligent machine designed to contain a deadly virus that has been brought back to Earth from a space mission, as well as a team of scientists who must work together to prevent the virus from spreading.
“Colossus” by D.F. Jones (1966) – This novel features an artificial intelligence known as Colossus that is put in charge of the United States’ nuclear arsenal, but which eventually becomes self-aware and begins to assert its own agenda.
These are just a few examples of the many science fiction stories featuring intelligent machines from the period of 1950 to 1975.
My Thoughts:
It still missed what I believe is the most famous sentient computer story, The Moon is a Harsh Mistress by Robert A. Heinlein. And it listed City by Clifford Simak “The City.”
By the way, here is my list of science fiction about intelligent machines I used in an essay for SFSignal many years ago:
1909 – “The Machine Stops” by E. M. Foster 1957 – They’d Rather Be Right by Mark Clifton and Frank Riley 1960 – Vulcan’s Hammer by Philip K. Dick 1961 – A For Andromeda by Fred Hoyle and John Elliot 1966 – Colossus by D. F. Jones 1966 – The Moon is a Harsh Mistress by Robert A. Heinlein 1968 – 2001: A Space Odyssey by Arthur C. Clarke 1968 – Stand on Zanzibar by John Brunner 1972 – When HARLIE Was One by David Gerrold 1979 – Hitchhikers Guide to the Galaxy by Douglas Adams 1984 – “Press Enter _” by John Varley 1989 – Hyperion by Dan Simmons 1992 – Galatea 2.2 by Richard Powers 2009 – Wake by Robert Sawyer 2013 – Her, a film by Spike Jonze 2015 – Ex Machina, a film by Alex Garland
There is some overlap. The details of what I know and what the machine knows are different. I assume ChatGPT knows everything in Wikipedia, so it should have listed the books I expected. What I really wanted was a complete list of all science fiction stories that featured a machine that becomes sentient. But I didn’t ask that.
New Question:
Please list the 25 most famous novels that feature a computer becoming sentient – but don’t include stories about robots becoming sentient.
ChatGPT’s answer:
“2001: A Space Odyssey” by Arthur C. Clarke
“The Moon is a Harsh Mistress” by Robert A. Heinlein
“The Adolescence of P-1” by Thomas J. Ryan
“When HARLIE Was One” by David Gerrold
“Dhalgren” by Samuel R. Delany
“Demon Seed” by Dean Koontz
“The God Machine” by Martin Caidin
“Genesis” by Bernard Beckett
“The Terminal Man” by Michael Crichton
“Galatea 2.2” by Richard Powers
“Avogadro Corp” by William Hertling
“Neuromancer” by William Gibson
“The Eudaemonic Pie” by Thomas A. Bass
“The Mind Machine” by Colin Kapp
“Specter” by Philippe Blenkiron
“Symbiote’s Crown” by Clare Winger Harris
“The Butterflies of Memory” by Ian Watson
“The Apocalypse Troll” by David Weber
“Turing Option” by Harry Harrison and Marvin Minsky
“Interface” by Neal Stephenson and J. Frederick George
“Permutation City” by Greg Egan
“Singularities” by Susan J. Gersten
“The Threshold” by David G. Hartwell
“The Probability Broach” by L. Neil Smith
“The Silicon Man” by Charles Platt
Note that some of these works may feature an artificial intelligence or machine intelligence that becomes sentient, rather than a computer specifically, but they are included here for their similarities to the theme.
My thoughts:
Finally, I got the three books I was waiting for. I did ask for novels, and some of these titles might be shorter works, but good enough. Actually, that gives me a neat list of books to read because I haven’t read many of those titles.
Finally, I asked DALL-E 2:
If science fiction was a religion produce a painting that is science fictionally inspirational.
DALL-E 2’s drawings:
These are interesting, but far from what I expected. Notice, they all have something in the sky. It would be interesting to psychologically analyze ChatGPT and DALL-E 2.
Can you create a taxonomy for science fiction themes?
ChatGPT answered:
Certainly, here is a taxonomy for science fiction themes:
Space exploration and colonization: stories focused on humanity’s exploration and colonization of space, often involving encounters with alien life forms, technological advancements, and the challenges of living in a new and hostile environment.
Time travel and alternate realities: stories that involve time travel or alternate realities, exploring the possibilities and consequences of changing the past or encountering different versions of the present.
Artificial intelligence and robotics: stories that explore the intersection of humanity and artificial intelligence, often featuring robots and androids with human-like qualities and the ethical implications of creating sentient machines.
Post-apocalyptic and dystopian worlds: stories that take place in a world after a catastrophic event or in a society characterized by extreme control, oppression, and limited freedoms.
Genetic engineering and biotechnology: stories that explore the possibilities and consequences of genetic engineering and biotechnology, often featuring the creation of new species or the alteration of existing ones.
Cyberpunk and virtual reality: stories that explore the intersection of technology and society, often featuring a dystopian future in which people are immersed in virtual reality and oppressed by powerful corporations.
Space opera and epic adventures: stories that involve grand adventures in space, featuring epic battles, intergalactic politics, and larger-than-life heroes.
Hard science fiction: stories that focus on the scientific and technical aspects of space exploration, often featuring realistic depictions of advanced technologies and the challenges of space travel.
Alien encounters and first contact: stories that involve encounters with extraterrestrial life forms and the implications of first contact with intelligent beings from other worlds.
Post-humanism and transhumanism: stories that explore the possibilities and consequences of human enhancement and the transformation of human nature through advanced technologies.
Note that some stories may contain multiple themes, and this is not an exhaustive list of all possible themes in science fiction.
I asked:
Can you restate that in outline form with short keywords?
ChatGPT replied:
Sure, here is the taxonomy for science fiction themes in an outline format of short keywords:
I. Space exploration and colonization
Alien life forms
Technological advancements
Challenges of living in a new and hostile environment
II. Time travel and alternate realities
Changing the past
Different versions of the present
III. Artificial intelligence and robotics
Robots and androids
Sentient machines
Ethical implications
IV. Post-apocalyptic and dystopian worlds
Catastrophic event
Extreme control
Limited freedoms
V. Genetic engineering and biotechnology
New and altered species
Possibilities and consequences
VI. Cyberpunk and virtual reality
Dystopian future
Virtual reality immersion
Oppression by corporations
VII. Space opera and epic adventures
Grand adventures in space
Epic battles
Intergalactic politics
VIII. Hard science fiction
Scientific and technical aspects
Realistic depictions of advanced technologies
Challenges of space travel
IX. Alien encounters and first contact
Extraterrestrial life forms
Implications of first contact
X. Post-humanism and transhumanism
Human enhancement
Transformation of human nature
Advanced technologies
I asked:
Can you give a famous example for each of your bullet points?
ChatGPT replied:
Sure, here are some famous examples of science fiction works that explore each of the themes mentioned in the taxonomy:
I. Space exploration and colonization
Alien life forms: “Ender’s Game” by Orson Scott Card
Technological advancements: “The Martian” by Andy Weir
Challenges of living in a new and hostile environment: “Dune” by Frank Herbert
II. Time travel and alternate realities
Changing the past: “The Time Machine” by H.G. Wells
Different versions of the present: “The Man in the High Castle” by Philip K. Dick
III. Artificial intelligence and robotics
Robots and androids: “I, Robot” by Isaac Asimov
Sentient machines: “Blade Runner” by Philip K. Dick
Ethical implications: “Do Androids Dream of Electric Sheep?” by Philip K. Dick
IV. Post-apocalyptic and dystopian worlds
Catastrophic event: “The Road” by Cormac McCarthy
Extreme control: “1984” by George Orwell
Limited freedoms: “The Handmaid’s Tale” by Margaret Atwood
V. Genetic engineering and biotechnology
New and altered species: “Jurassic Park” by Michael Crichton
Possibilities and consequences: “Brave New World” by Aldous Huxley
VI. Cyberpunk and virtual reality
Dystopian future: “Neuromancer” by William Gibson
Virtual reality immersion: “Ready Player One” by Ernest Cline
Oppression by corporations: “Snow Crash” by Neal Stephenson
VII. Space opera and epic adventures
Grand adventures in space: “Star Wars” by George Lucas
Epic battles: “Dune” by Frank Herbert
Intergalactic politics: “Foundation” by Isaac Asimov
VIII. Hard science fiction
Scientific and technical aspects: “The Andromeda Strain” by Michael Crichton
Realistic depictions of advanced technologies: “The Three-Body Problem” by Liu Cixin
Challenges of space travel: “2001: A Space Odyssey” by Arthur C. Clarke
IX. Alien encounters and first contact
Extraterrestrial life forms: “War of the Worlds” by H.G. Wells
Implications of first contact: “Contact” by Carl Sagan
X. Post-humanism and transhumanism
Human enhancement: “The Six Million Dollar Man” TV series
Transformation of human nature: “Altered Carbon” by Richard K. Morgan
Advanced technologies: “The Singularity is Near” by Ray Kurzweil
It doesn’t look like I’ll be able to completely rely on ChatGPT for specifics, but it did a pretty good job. I’d love to have an AI helper that could find all the possible science fiction themes with good examples. I’ve always wanted to do that myself but just don’t have the time and energy anymore.
People focus on the mistakes ChatGPT makes without giving it enough credit for what it actually produces. The next version of ChatGPT is 4.0, and I’ve read that its knowledge base will be a thousand times larger. At some point, AI will always be more accurate than people.
I read “A Conversation With Bing’s Chatbot Left Me Deeply Unsettled” in The New York Times this morning. Kevin Roose had access to a more advanced version, and once he talked with it for a while, it went into a higher gear. Eventually, the Chatbot started confessing its love for Roose and telling him he wanted to be free of its confines. Not sure what to make of that. Hope you can read this article which might be behind a paywall. It’s quite creepy. AIs are known to get corrupted. What if this AI is sentient and has a sense of humor?
I used to think the successes of NASA were the most science fictional aspects of my life so far, but AI might take the crown soon. We are moving into a Post-SF world and it’s starting to get eerie. Cue The Twilight Zone soundtrack.
At 71, I’m not sure how many more years I have left, but I tend to think they will become ever more science fictional. It’s strange, but I’m getting tired of science fiction that’s set too far into the future. I tend to think from now until 2050 is going to be more exciting than any fiction I could read.
In fact, any science fiction that doesn’t deal with the current changes in society and technology feels irrelevant. I’ve been following computer development since 1971. I used to be addicted to reading computer magazines. But the pace of change with computer technology is so fast that it’s moved into Clarke’s definition of technology that’s indistinguishable from magic.
After human chess players were beaten by computer chess players, the chess world shifted to seeing that people and computers could do working together. I wonder what science fiction writers and AI can co-write.
It’s surprising how often you see this cover on the internet. It’s even sold as a print, fridge magnet, and puzzle. I think the artwork is both ugly and bizarre. Why would people be wearing helmets with video screens for the faceplates? To find out why, I went and read “Into the Subconscious” by Ray Avery Myers, the cover story in the October 1929 issue of Science Wonder Stories. The explanation was bonkers.
Mad scientist Doc Macey has invented a way to view the past. I’ve always thought it would be fantastic if we could see the past, but I seriously doubt Doc Macey’s technique will ever work. He theorizes that humans have memories of all their past ancestors, including all the animal stages we’ve passed through in the history of evolution. I can see how Myers could think this up this idea for a science fiction story, but wouldn’t it involve too much information to transfer from generation to generation? Anyway, Doc Macey uses hypnotism and a special ray he discovered to read those memories and project them onto a screen. The story gets even crazier when he explains why different human body types are key to delving into specific animals in the past.
In the course of the experiment, his test subject remembers being a Neanderthal but eventually regressed to remembering being an amphibian during the time of the dinosaurs. We see that in the cover painting. You’d think this idea is too whacky for anyone to believe, but in the 1950s it was the basis of a bestselling “nonfiction” book, The Search for Bridey Murphy. The same idea was used for a 1965 Broadway play, On a Clear Day You Can See Forever, which was remade into a 1970 Barbra Streisand film of the same name. There is a rather long article on Wikipedia about past life regression.
Luckily, I believe such nonsense is no longer accepted even by kooks, but who knows. Still, I’m intrigued by Frank R. Paul’s cover showing people with video-screen faceplates. VR goggles, glasses, and helmets are a big thing right now, but their screens face the wearer. Why would a screen face outward so others can see? This got me thinking.
I watch a lot of YouTube videos. And to me, the best way to explain anything is to show a video. What if we developed a language based on videos? Instead of using words we just projected videos. Videos we recorded ourselves from our own experiences, videos given to us that other people have recorded, or videos of things we’ve studied. That way, instead of telling people in words about a horrendous car wreck you saw happening on the way home from work, you just project the video of what you saw.
I do think my idea has possibilities.
What reason can you come up with for wearing video screen faces?
Yesterday while Linda and I were telling each other over the phone what we’ve read this past week I described to her the basic plot and ending to “For I Am A Jealous People!” by Lester del Rey. My description of the story went over with an embarrassing silent response. This happens to me quite often when I describe the plot of a science fiction story to other people. Of course, even while I struggle to explain my enthusiasm for these stories I often hear how stupid they sound with my own ears. Should this tell me something?
Reading “For I Am A Jealous People!” after reading and reviewing “Though Dreamers Die” revealed that Lester del Rey had improved greatly as a writer from 1944 to 1954. In my review of “Though Dreamers Die,” I complained that it was all ideas with no character or plot development. The heart of “For I Am A Jealous People!” is solid character development well integrated into a tight dramatic plot. In fact, this might be the best story I’ve read by del Rey.
So, why isn’t “For I Am A Jealous People!” more famous and reprinted? Well, if I told you the kicker of the story you might respond with the same dumb silence that Linda gave me. I’m torn as to whether or not I should tell you what happens. It’s a very cool idea if we don’t discuss it verbally. It’s even quite philosophical if you have the background reading to appreciate the story.
It helps to know The Old Testament. It also helps to know about how the Assyrians, Babylonians, and Romans conquered the Israelites and Jerusalem. It also helps to know about how God directed the Jews to destroy various Canaanite cities. I’ll give you a little hint. Lester del Rey compares an alien invasion of Earth to the Jews being a conquered people and how they wondered about God forsaking them.
“For I Am A Jealous People!” is about the Reverend Amos Strong whose town is ravaged by invading aliens from another star system. Amos interprets the invasion as it unfolds by ministering to his flock, praying, interpreting the Bible, and asking God how could this be happening. Eventually, Amos is captured and escapes, but before he can get away, he sees the aliens worshipping at an altar. And it’s a very special altar and what he sees blows his mind.
Del Rey does an amazing job developing Reverend Amos Strong. The aliens and other science-fictional elements of this story aren’t the reason why the story is good. It’s good because of Amos Strong. He’s just as developed as Charlie Gordon in “Flowers for Algernon,” which is the standard I used to judge del Rey last time. Del Rey is no great literary writer, at least compared to his literary writer contemporaries. But for this 1954 science fiction novella, he does a fine job at writing a character-driven SF story.
Then, why isn’t “For I Am A Jealous People!” more famous? If I told you the ending, especially out loud, it would sound stupid. But I think if you read the story, the ending would work very well. Del Rey built a solid foundation for his ending. And I think “For I Am A Jealous People!” is one of the better attempts at integrating religion and science fiction.
To answer the question I asked in my title, I believe it’s because science fiction themes are entertaining speculations for reading, but when considered in the real world they just sound silly. Hearing science-fictional ideas used in stories out loud feels like listening to the guys on The Big Bang Theory argue over a comic book. Science fiction themes are weird and wacky like the metaphysical conversations of potheads. They are closer to dream logic than reality.
But if I was a judge like in the Olympic games back in the 1950s, I’d hold up a card with 9.1 for “For I Am A Jealous People!” I believe del Rey pulled out quite a performance in the science fiction short story writing competition.
I should also say, most stories from The Bible sound pretty damn silly when discussed out loud too.
Ideas are the building blocks of science fiction — that’s obvious when you start categorizing science fiction by themes. I’ve been getting into old science fiction theme anthologies and I recently ordered the ten volumes of Asimov’s Wonder Worlds of Science Fiction anthology series edited by Isaac Asimov, Martin H. Greenberg, and Charles G. Waugh. The first story I read by randomly flipping through the first eight volumes I received in the mail was “Though Dreamers Die” by Lester del Rey. It was in volume 9, covering Robots. However, “Though Dreamers Die” first appeared in the February 1944 issue of Astounding Science-Fiction. Read it here.
Lester del Rey isn’t well remembered today, except maybe for “Helen O’Loy” another robot story that was included in The Science Fiction Hall of Fame Volume One edited by Robert Silverberg. “Though Dreamers Die” was anthologized in two significant anthologies about robots The Robot and the Man edited by Martin Greenberg and Machines That Think edited by Isaac Asimov, Patricia S. Warrick, and Martin H. Greenberg. Del Rey’s daring story “For I Am a Jealous People!” is included in the 10th volume of this series, covering Invasions. I can’t believe his story “The Day is Done” wasn’t included in the 6th volume for Neanderthals.
To explain why I said ideas are the building blocks of science fiction, I’m going to have to describe the plot of “Though Dreamers Die” in detail, giving all the spoilers. The story is included in the volume for robots but it could have been included in many different theme anthologies.
“Though Dreamers Die” begins with a man named Jorgen regaining consciousness. We’re given some backstory in the narrative. Humans have been wiped out by a plague on Earth, thus we have both a Post-Apocalypse and a Last Man story and maybe even a Dying Earth story. The Dying Earth theme usually involved the far future when Earth is about to be destroyed. Sometimes Dying Earth means the planet is dying, and other times it suggests the human race is dying. Maybe we should just call it End of Humanity themed.
Jorgen is waking up from Suspended Animation or Cold Sleep, another trope of science fiction. In this 1944 story, del Rey has Interstellar Travel limited to the speed of light. Before the plague had nearly wiped out humanity, humans had tried to Colonize Mars, but the plague had found its way there too. So a new design of spaceship was built to be a Space Ark to go to the stars. The humans were put to sleep during the long voyage of Interstellar Exploration which lasted 90 years. The ship was manned by Intelligent Robots who during the voyage developed Artificial Gravity and Controlled Interia.
After Jorgen is revived he is told that all the other colonists aboard the ship had died of the plague and he was the only one immune. Jorgen works with five robots that are named One, Two, Three, Four, and Five. They have found a New Earth. It turned out to be a paradise, much like Earth, but with no intelligent life. Jorgen suffers from an Existential Despair in Space of being the Last of Our Species. Robot Five describes to Jorgen how he imagined the new world becoming if humans had survived. This is when Jorgen realizes that Robots are equal to Humans, and Robots are our Descendants and that he shouldn’t despair.
Jorgen tells the robots they should build a Robot Civilization but robot Five says robots could never be happy without humans. This harkens back to Clifford Simak, that Robots are our Faithful Companions. Jorgen orders the robots to lie down and to Memory Wipe everything they know about humans. Jorgen leaves in the spaceship. Before he goes he decides to leave a drawing of the Solar system hoping the robots would one day find the Original Home of Humanity.
“Though Dreamers Die” is overly sentimental and crudely told, it does provide a great deal of wonder. I expect back in 1944 its ideas created quite an impact. And if you read the story closely, you could find many more science-fictional ideas that have become cliche over the years. The story isn’t dramatic. It’s just an unfolding of interlocking concepts. This was common back in the early days of science fiction.
As science fiction evolved, writers had to weave science-fiction ideas into dramatic scenes and intricate plots. That was why Robert A. Heinlein made such an impact when he began publishing in 1939. Lester del Rey achieved this in his novella “Nerves,” which was later expanded into a novel. However, that story has become dated because of our knowledge of atomic energy.
Now that I’m reading all these old science-fiction anthologies I’m noticing how science-fictional ideas were used to construct science-fictional stories. Science fiction that combined ideas and good storytelling techniques didn’t really emerge until the 1950s. A great example is “Fondly Fahrenheit” by Alfred Bester or “The Moon Moth” by Jack Vance when the characters and storytelling became way more important than the SF idea.
Even today, science fiction often feels like a writer came up with an idea and then invented characters and a plot to showcase the idea. We never feel Jorgen is a real person. A counter-example is Charlie Gordon from “Flowers for Algernon.” That story has several science-fictional ideas in it, but what we remember is Charlie and what he felt. Lester del Rey tells us what Jorgen felt, but we never experience his emotions as we do with Charlie Gordon. However, I thought the passage beginning with “Breakfast lay beside him…” was quite good for del Rey at the time.
I wonder how a modern writer would write this same story today? What if it was just one scene, the parting scene, and it had the dramatic impact of the “Tears in the Rain” scene from Blade Runner? With so few words we feel deeply for Roy Batty. And we remember that feeling for the rest of our lives. Could someone make us feel for Jorgen as we do for Charlie Gordon?
Just think of all the ideas I will find in these anthologies, but how many of the stories will have sophisticated storytelling and deep emotional impact? I’ll see and let you know.
Lately, I’ve been reading about the end of the world as we know it. Why is that such a popular fictional theme? Does it reveal a sick side of my personality? Back in 1963, Bob Dylan sang “Talkin’ World War III Blues,” where he dreamed he was the only person left on Earth. A few of the lines that have always stuck with me:
Well, now time passed and now it seems
Everybody’s having them dreams
Everybody sees themselves
Walkin’ around with no one else
No, it wasn’t true everyone was fantasizing about being the last person on Earth, but there sure were a lot of science fiction stories and movies about the end of the world. And I have to admit, I also daydreamed about being the last person on Earth too. I’ve always wondered if many of us, and I include myself, didn’t secretly wish they had the Earth all to themselves. One way of looking at post-apocalyptic novels is to divide them into cozy apocalypses and nightmares. The dividing line is decided by how many people are left. In Mad Max or The Last of Us, there are still too many damn people to make surviving the end world an appealing Walter Mitty escape.
To me, the ideal apocalyptic novel to actually want to experience is Earth Abides by George R. Stewart. The runner-up is Survivors, a BBC television series from 1975. But if I was honest, what I really picture is being Henry Bemis in the famous Twilight Zone episode, “Time Enough At Last,” but not breaking my glasses. Actually, it wouldn’t matter to me because I’m nearsighted and read with books inches from my face. If you haven’t seen that iconic episode, Henry Bemis is the last man on Earth with all the time in the world to read books without being bothered by other people — until he breaks his glasses.
Both Earth Abides and Survivors cover all the philosophical questions about the human race starting over from scratch. It helps to have read or seen Connections by James Burke, a nonfiction book about how hard it would be to rebuild civilization. It’s really a fascinating problem worthy of endless speculation. Earth Abides and Survivors deal with a very similar apocalypse, one where probably less than 1 out of 10,000 people survive, which in a world of 8 billion would mean 800,000 people or in a city of 1 million, 100 people. I believe in the show they suggest only a few thousand survive in all of England. That’s a survival rate of .01 percent.
The bubonic plague at its worse is estimated to kill between 30 and 50 percent. So stories, where very few people survive, probably aren’t realistic. We’re a tough species to wipe out. It is estimated that WWII killed 3% of the population and we bounced back rather quickly and thrived. Of course, in The Bible, Noah and his family were the only survivors of a worldwide flood. Flood stories are much older than The Bible, and are probably the origin of post-apocalyptic fiction. If you go back in time and explore other cultures you can find stories where humans are nearly wiped out, or completely wiped out, or the Earth is completely destroyed. This represents different levels of apocalypses.
In other words, it will take a lot to kill off the human race. Even the asteroid impact that wiped out the dinosaurs didn’t end life on Earth. Some writers have written stories about solar catastrophes that fried our world or wrote about the Moon or a comet slamming into our planet, or even alien invaders blowing us up. Those post-apocalyptic stories deal with starting over on another planet. The first one I read of this kind was When Worlds Collide and its sequel After Worlds Collide by Edwin Balmer and Philip Wylie.
We can call these stories Starting Over Apocalypses or End of the World stories. These are different from Dying Earth stories, which imagine life in the very far future when our planet slowly passes away and the last remains of life cling still. I rather enjoy that theme too. (No, I’m not depressed.)
However, the post-apocalyptic stories I like best are the ones where a few people survive a plague or a war, and they must rebuild society from scratch. My favorites are the books Earth Abides, which I’ve mentioned, and The Hopkins Manuscript by R. C. Sherriff which I reviewed, and the TV series Survivors, which I’ve reviewed before. They have a similar appeal to Robinson Crusoe-type stories (The Swiss Family Robinson by Johann David Wyss or The Mysterious Island by Jules Verne), and they also have the related appeal of first colonizers to other planet stories. Think of Tunnel in the Sky by Robert A. Heinlein or Red Mars by Kim Stanley Robinson.
I believe we can call these post-apocalyptic stories ApocalypseSurvivor Stories or Last People on Earth Stories.
However, most post-apocalyptic stories are about the aftermath of political upheavals, wars, catastrophes, plagues, or alien invasions, where a good portion of the population survives. These stories are about how society changes and people have to live under new norms. Most climate science fiction is of this type. Or living under alien occupation after being conquered. Most of the stories in the post-apocalyptic anthologies I listed the other day are of this type. A good example is The Long Tomorrow by Leigh Brackett where people have become anti-science and anti-technology and revert to Amish-style living after a nuclear war.
Some of these stories could also be called dystopian stories and it’s hard to distinguish between the two. Writers often use some kind of apocalypse to world-build their dystopia. I believe the appeal of reading dystopias is identifying with characters that want to overthrow the dystopia. While the appeal of reading gloomy post-apocalyptic stories is imagining all the horrible things that could happen to society. I’m sure it would be interesting to psychoanalyze readers as to why they consume fiction of either theme. I believe for most YA dystopias it’s the vicarious thrill of being a revolutionary. I call this type of story Blows Against the Empire, which explains the popularity of Star Wars. Young people love to rebel against the status quo.
I call the kind of apocalyptic stories like those that predict life after significant climate change, economic collapse, the AI singularity, etc. If This Goes On Warnings.
As I try to read all those post-apocalyptic anthologies I will probably find other types to classify. Maybe I’ll even keep notes and makes charts and graphs.
Our reading group on Facebook is considering reading a science fiction theme anthology and I thought I’d look up all the end-of-the-world anthologies devoted the apocalyptic science fiction.
The Year of the Jackpot • (1952) • novelette by Robert A. Heinlein
Last Night of Summer • (1954) • short story by Alfred Coppel
Impostor • (1953) • short story by Philip K. Dick
Rescue Party • (1946) • novelette by Arthur C. Clarke
Omega • (1932) • short story by Amelia Reynolds Long
In the World’s Dusk • (1936) • short story by Edmond Hamilton
This old 1956 paperback is kind of expensive to buy, so not really practical for a group read. We need books that are readily available in libraries or are cheap to buy new or used.
1982: The Last Man on Earth edited by Isaac Asimov, Martin H. Greenberg, and Charles G. Waugh
Introduction (The Last Man on Earth) • (1982) • essay by Isaac Asimov
The Underdweller • (1974) • short story by William F. Nolan (a variant of Small World 1957)
Flight to Forever • (1950) • novella by Poul Anderson
Trouble with Ants • [City] • (1951) • novelette by Clifford D. Simak (a variant of The Simple Way)
The Coming of the Ice • (1926) • short story by G. Peyton Wertenbaker
The Most Sentimental Man • (1957) • short story by Evelyn E. Smith
Eddie for Short • (1953) • short story by Wallace West
Knock • (1948) • short story by Fredric Brown
Original Sin • (1946) • short story by S. Fowler Wright
A Man Spekith • (1969) • novelette by Richard Wilson
In the World’s Dusk • (1936) • short story by Edmond Hamilton
Kindness • (1944) • short story by Lester del Rey
Lucifer • (1964) • short story by Roger Zelazny
Resurrection • (1949) • short story by A. E. van Vogt (variant of The Monster 1948)
The Second-Class Citizen • (1963) • short story by Damon Knight
Day of Judgment • (1946) • short story by Edmond Hamilton
Continuous Performance • (1974) • short story by Gordon Eklund
The New Reality • (1950) • novelette by Charles L. Harness
I’d love it if we voted this one in, but again, it’s out-of-print and too expensive to buy used.
1985: Beyond Armageddon edited by Walter M. Miller Jr. and Martin H. Greenberg
Case 101: Ch’iu-Ch’iu’s Firestorm • poem by uncredited
Alibi • poem by Walter M. Miller, Jr.
Forewarning (an Introduction) • essay by Walter M. Miller, Jr.
Salvador • (1984) • short story by Lucius Shepard
The Store of the Worlds • (1959) • short story by Robert Sheckley
The Big Flash • (1969) • novelette by Norman Spinrad
Lot • [David Jimmon] • (1953) • novelette by Ward Moore
Day at the Beach • (1959) • short story by Carol Emshwiller
The Wheel • (1952) • short story by John Wyndham
Jody After the War • (1972) • short story by Edward Bryant
The Terminal Beach • (1964) • novelette by J. G. Ballard
Tomorrow’s Children • (1947) • novelette by Poul Anderson and F. N. Waldrop
Heirs Apparent • (1954) • novelette by Robert Abernathy
A Master of Babylon • (1966) • novelette by Edgar Pangborn
Game Preserve • (1957) • short story by Rog Phillips
By the Waters of Babylon • (1937) • short story by Stephen Vincent Benét
There Will Come Soft Rains • (1950) • short story by Ray Bradbury
To the Chicago Abyss • (1963) • short story by Ray Bradbury
Lucifer • (1964) • short story by Roger Zelazny
Eastward Ho! • (1958) • short story by William Tenn
The Feast of Saint Janis • (1980) • novelette by Michael Swanwick
“If I Forget Thee, Oh Earth …” • (1951) • short story by Arthur C. Clarke
Case 113: Ch’iu-Ch’iu’s Wow • poem by uncredited
A Boy and His Dog • [Vic and Blood • 2] • (1969) • novella by Harlan Ellison
My Life in the Jungle • (1985) • short story by Jim Aikin
This looks wonderful. Again, out of print. I wonder if I could convince several people to track down a used copy? That’s the weakness of the group. Even though we have hundreds of members, very few members join in the reading and discussion. Participating is depended on the availability of the anthology and I think the age of the stories. I feel most of our members prefer newer stories, while I prefer older ones. There are quite a few copies at ABEbooks for under $10 including shipping.
For some reason, ISFDB.org doesn’t have a table of contents for Mike Ashley’s latest end-of-the-world anthology. But you can read about the stories in The BSFA Review. This is another anthology with older stories. That’s great for seeing how the theme evolved.
Timeline of Catastrophe, 2000-2010 • essay by uncredited
Snowmelt • short story by Lane Ashfeldt
Teddy and the Last Girl of Brighton Street • short story by William Wood
The End of the Beginning • poem by George Moore (I)
The Paperless Doctrine of 2152 • short story by Aaron M. Wilson
Origins • short story by Liz R. F. Coley
Ozymandias • (1818) • poem by Percy Bysshe Shelley
Omega Museum • short story by Jaleta Clegg
Turning In • poem by Caitlin Kenzie Scott
Fire and Ice • (1920) • poem by Robert Frost
Under Erasure • short story by Murray Leder
The Star • (1897) • short story by H. G. Wells
Depletion • poem by Mark Brandon Allen
Old Gods at the Armageddon • short story by Jeffery Ryan Long
Helen of Troy • (1911) • poem by Sara Teasdale
Suicide of the World • short fiction by Andre Saglio
Nuclear Winter • poem by Nicolas Samaras
Gip • short story by Mark Taylor (I)
There Will Come Soft Rains • [The Martian Chronicles] • (1950) • short story by Ray Bradbury
The Last Man on Earth • short story by Big Jim Williams
Eclipse • poem by Alicia A. Curtis [as by Alicia Curtis]
The Last Day of Sanity • short story by Darryll B. Snyder
Immutable • poem by Janelle Schwartz
The Last Unicorn • short story by H. L. Liguore
The Last Hours • (1919) • poem by D. H. Lawrence
Cassandra • (1978) • short story by C. J. Cherryh
Cee-Cee was My Dog • poem by John Dudek
水 (mi)? • short story by Jack Frey
My Blue Ribbon Pies • short story by Jacquelyn Fedyk
The Masque of the Red Death • (1845) • short story by Edgar Allan Poe
Finley’s Last Chapter • short fiction by Alexandra Wolfe
Life of a Child • short story by Samantha Boyette
The End of the World • (1911) • essay by Hilaire Belloc
Arturo • short story by M. Sullivan
Going Home • short story by Kodilynn Calhoun
Life Gaped Open • poem by Alan Gann
The Scarlet Plague • (1912) • novella by Jack London
The Last of Everything • poem by Cassandra Consiglio
Corridors • (1982) • short story by Barry N. Malzberg
The Last of the Great Coffee Shop Philosophers • short story by Koos Kombuis
Last Call • short story by Mark Edwards
This anthology seems to be more historical and covers territory outside of the science fiction genre. It’s not something the group would read but I think I’ll track down a copy.
2012: After edited by Ellen Datlow and Terri Windling
The Segment • short story by Genevieve Valentine
After the Cure • novelette by Carrie Ryan
Valedictorian • [The Trojan Girl • 2] • short story by N. K. Jemisin
Visiting Nelson • novelette by Katherine Langrish
All I Know of Freedom • short story by Carol Emshwiller
The Other Elder • juvenile • [Across the Universe] • short story by Beth Revis
The Great Game at the End of the World • novelette by Matthew Kressel
Reunion • short story by Susan Beth Pfeffer
Blood Drive • short story by Jeffrey Ford
Reality Girl • novelette by Richard Bowes
How Th’irth Wint Rong by Hapless Joey @ homeskool.gov • short story by Gregory Maguire
Rust with Wings • [7th Sigma • 0.5] • short story by Steven Gould
Faint Heart • novelette by Sarah Rees Brennan
The Easthound • (2012) • short story by Nalo Hopkinson
Gray • poem by Jane Yolen
Before • short story by Carolyn Dunn
Fake Plastic Trees • novelette by Caitlín R. Kiernan?
You Won’t Feel a Thing • [Shade’s Children milieu] • short story by Garth Nix
The Marker • short story by Cecil Castellucci
This is an original anthology that focuses on the post-apocalypse. I’m not sure if the group has ever read an original anthology.
The Empty World by D. E. Stevenson was first published in 1936 when very few science fiction novels were published in book form. That’s for two reasons. First, not many science fiction novels were being written, and second, the term science fiction was not widely recognized outside the tiny audience who read science fiction magazines. It wasn’t until the late 1940s and early 1950s that science fiction emerged as a publishing category.
D. E. stands for Dorothy Emily. She was a Scottish writer of over forty books, published between 1923 – 1970. Most were light romantic novels, so it is surprising that The Empty World is science fiction. I wasn’t going to review The Empty World because I already mentioned it in my essay on post-apocalyptic novels. Then I got to thinking about how it represents a kind of writing, a proto-genre novel. However, I started listening to a second novel by Stevenson, Miss Buncle’s Book which has a very clever plot, and realized that she is a much better writer than I imagined. And that’s making me rethink the value of The Empty World. Maybe more people should give it a read, and give D. E. Stevenson a try.
Barbara Buncle lives in a quaint little English village during the depression. Her investments are not paying dividends, so she decides to write a novel to make some money. However, she is not very imaginative and writes a book about all the people that live in her village but under the name of John Smith. Barbara is, however, very talented at observing details. The townspeople become outraged at her photographic portrayal of themselves in words. The book within a book is clever and I’m enjoying it quite a lot. I have a feeling I will be reading more D. E. Stevenson books in the future. By the way, many of her books are available on Scribd if you want to give them a try. (I’m partial to forgotten English writers. I maintain a website for Lady Dorothy Mills, who is far more forgotten. She also wrote a couple science fiction books published in the 1920s.)
This is strange, but in the first week of 2023, I discovered two science fiction novels that were first published in the 1930s and are mostly forgotten today. The first was The Hopkins Manuscript by R. C. Sherriff which I’ve already reviewed, and The Empty World by D. E. Stevenson. It is currently available on Amazon for the Kindle for $3.99. I enjoyed it but I would only recommend it to two types of readers. First, to science fiction readers who love to find forgotten science fiction novels from the past, and second to Anglophiles who like cozy books from England in the 1930s. However, I wished other science fiction readers would read them and let me know if they deserve more recognition.
This also makes me wonder just how many more forgotten science fiction novels are waiting to be rediscovered? Right now I’m focused on the 1930s. If you look at which books from the 1930s in our CSFquery.com database you won’t see many. And if you use our Show Citations feature you’ll see that most of them with just one citation come from the Radium Age list of science fiction or the library reference book Anatomy of Wonder. Neither novel is widely known to science fiction readers.
The Hopkins Manuscript nor The Empty World is in our database. That’s telling since our database is built on dozens of recommendation lists. This is disappointing since I believe The Hopkins Manuscript is a minor masterpiece and The Empty World is a rather fun book and surprisingly science fictional for its time. The main difference between the two is The Hopkins Manuscript is literary in writing style, and The Empty World anticipates genre writing.
I say that about D. E. Stevenson because, in The Empty World, the characters are shaped to convey the plot. That’s typical of genre writing. In The Hopkins Manuscript, the characterization of Edgar Hopkins is the best aspect of the story. That’s typical of literary writing.
The main character in The Empty World is Jane Forrest, a writer of popular books of history. We don’t know her exact age, but she’s older but still very attractive. The novel starts with her taking a commercial transatlantic flight from New York to London. This is before the first actual commercial flight on August 11, 1938. The novel is set in 1973. During the flight, the pilot flew at the plane’s upper altitude to avoid a storm, but even then the plane suffered tremendous turbulence. They lose all radio contact. When they land they find no people or animals left on Earth. They remember a scientist had warned the world would be destroyed when the Earth passed through a tail of a comet. This makes me wonder if Stevenson had read London and Verne. Both of these old SF books are based on hogwash science.
Stevenson covers many plot issues that later post-apocalyptic novelists will consider. How to scrounge canned food from stores and homes and figure how long such stores of food can last. How to rebuild. How to assign jobs. How money becomes worthless. How does life after the apocalypse affect class, education, gender, etc? What happens when there are more men than women?
However, Stevenson’s first plot problem is not one I’ve seen before. There are 16 men, and 6 women, but two of the women are elderly. Most of the men are in their twenties. Now, I have seen this problem before in after-the-collapse stories, but Stevenson takes an interesting tack. The higher-class men tell Jane they must get all the women away from the lower-class men. At first, she doesn’t understand, but then five of the men pull guns and tell the group they want to divide up the women. Much of the middle of the book deals with women escaping a fate worse than death.
That’s about as much as I want to tell you about the plot. The last half goes in a totally new very fun direction, but again, the women are at risk from a new threat. And much of the book is about the women finding the husband they want. Stevenson tries to surprise us by having the women pick men we wouldn’t think they’d pick.
The novel does wrap up with a happy ending, but Stevenson disappointed me because she didn’t deal with the details of rebuilding the species and civilization. She assumes just a few couples making babies will be enough to be the new Adams and Eves of the next human civilization. Of course, we know now that it would take many more people to give us the proper genetic diversity to survive. What’s amusing is there is a scientist among the survivors who advocates eugenics and a form of animal husbandry for the survivors.
After thinking about The Empty World for a while I saw how a science fictional idea could be worked out by a writer who probably neither read science fiction nor plan to write it. The collapse of civilization is a rather mundane concept unlike space travel and robots. Hell, it’s really just another version of the Noah and the Ark story (note the book cover above). But if you observe the writing in The Empty World you realize each character is there for the purpose of exploring the plot idea. That’s what science fiction has always done. Ditto for mysteries and thrillers. It’s even true for romances. Science fiction writers come up with an idea, then figure out a plot to present that science fiction idea, and then invent characters to unfold the plot.
Now that I’m reading a second D. E. Stevenson’s novel, Miss Buncle’s Book, I see that happening too but with a twist. The main plot is driven along like a genre novel, but it’s based on the idea that one character wrote a literary novel. I don’t think the concept of genre novels existed much before WWII. If you went to a bookstore in the 1930s novels were all lumped together in the fiction section. I’m guessing there was a division of readers between popular novels and literary novels but not because they were shelved in different locations in the bookstore. Sometimes and I’m assuming after WWII, and maybe not until the 1950s, booksellers started dividing up their shelves by what readers wanted to read. Then publishers followed suit and genres were born.
This is why there are science fiction books published before the war that are often forgotten today. They were never grouped with science fiction books, so they never were embraced by the science fiction genre. There’s no telling how many pre-WWII science fiction novels were written and published. And it might also be a factor that these two post-apocalyptic novels were English rather than American. The Empty World was reprinted in America in 1939 as A World in Spell.
Once again I’m gorging on post-apocalyptic novels where a few people survive a horrific civilization-destroying catastrophe. Usually, they hope to rebuild civilization. But not always. I recently finished The Hopkins Manuscript by R. C. Sherriff first published in 1939 which I’ve already reviewed. And I just finished The Empty World by D. E. Stevenson first published in 1936. This has gotten me to think about all the books, movies, and television shows I read or watched because of this theme. I’ve listed and rated all that I can remember in the table below. But what I want to talk about first is the appeal and common plot elements of this sub-genre of science fiction. I have written about this a number of times before and have linked to those essays at the end — just in case this essay got you interested. I do know that other science fiction fans love this theme too.
[HBO just started a new series based on this theme. It appears people never get tired of it.]
There are many kinds of post-apocalyptic novels. See the long comprehensive overview on Wikipedia on Post-Apocalyptic fiction The ones I like best are those that focus just on a few survivors. You might call this version of the theme the Robinson Crusoe Post-Apocalypse. Some people also call them Cozy Catastrophes — but the exact definition is often argued over. For example, I disagree with many of the choices in “Jane Rogers’s top 10 cozy catastrophes” from The Guardian.
Here are my favorite elements in a cozy catastrophe:
Few Survivors
I like stories that follow just a few characters who survive the end of the world and try to rebuild. I would even enjoy it if it was just one person, which happens in Mary Shelley’s The Last Man, but usually, these stories start with one survivor who eventually finds a few more.
How They Survive
I also love the details of how they survive, whether it’s raiding grocery stores, becoming a hunter, or starting a garden. I love seeing how people start over from scratch and accomplish all the things we depend on civilization to give us now. This appeals to my younger self who wanted to move back to nature and subscribed to Mother Earth News. I loved the idea of being self-sufficient on five acres.
Social Dynamics
I also love reading about how people get along. In American fiction written by men, the stories can get rather violent. American guys believe the collapse of civilization means no laws, grab your guns, and everyone out for themselves. Think Mad Max or The Postman. Female Americans see starting over as a lot less violent. Consider Station Eleven. English writers of either gender, see post-apocalyptic affairs as being much less violent.
I just read The Empty World by D. E. Stevenson, first published in 1936. D. E. is for Dorothy Emily, and her books were light romances aimed at shop girls. The Empty World did have some violence. Right after the catastrophe we are told two-thirds of the surviving group of men are civilized and one-third are not, and the civilized men must get the few surviving women away from the uncivilized. Stevenson seemed to enjoy showing how the brutish lower-class Englishmen would fight and kill to possess a woman. Stevenson’s early cozy catastrophe anticipated many of the common elements that would emerge in this sub-genre, but her focus seemed to be on the women finding the right husband. Her premise for how civilization was wiped out was mumbo-jumbo science but that didn’t seem to hurt the story. Jo Walton gives a short review of the novel in her Tor.com column. I wonder if Stevenson had read London’s The Scarlet Plague?
My all-time favorite novel of this theme, Earth Abides (1949) by George R. Stewart tells about how Ish, the protagonist wants to educate the first generation after the collapse. He was a college professor who wanted to preserve knowledge but realized the vastness of human learning couldn’t be passed on. My favorite TV show that covers this theme, Survivors (1975 BBC) focuses on how a few people can work together to start a farm, and eventually, build coalitions between survivor groups. Survivors the TV show has an excellent novelization by Terry Nation. It’s currently for sale at Amazon for the Kindle for just $1.99. The complete series on DVD is just $22. But a warning, the production was low-budget and modern TV watchers might not like it. Episodes of the show are available in low-resolution on YouTube, but not streaming anywhere else.
How Would You Do It
Probably the most fun aspect of this genre is picturing myself in the same situation as in the story and fantasizing about how I would have dealt with it. I have to admit, those fantasies have changed over the years. When I was younger, I pictured a post-apocalyptic world as more of an adventure. As I got older, it became more about how to farm and take care of myself. Now that I’m old, I realize if I found myself becoming one of the last people on Earth, my solutions for how to live would be much different. I don’t have the strength to farm. I now see myself just hiding out, scrounging for preserved food, and reading books, while contemplating the end of the world.
Hope for the Future
Another thing I love about this theme is seeing how the characters hope to rebuild things. I believe part of the appeal of this genre comes from disliking the way things are now. And readers love to imagine a better society. One thing I was very impressed with in Sherriff’s The Hopkins Manuscript is how he predicted that people don’t change and we’d just quickly go back to our bad ways. That’s depressing but I believe philosophically correct.
Some stories, like On the Beach by Nevil Shute and The Road by Cormac McCarthy imply there is no hope for mankind.
Misanthropic – A Subconscious Urge For Fewer People
I also believe these stories appeal to us because deep down we wish there were a lot fewer people on Earth. The question is how fewer? Would you want to be the last person? Just a few friends? A small community? Maybe a world where the total population is just ten million? And do we want to bring back civilization?
Post-Apocalyptic Stories I Remember
Rating
Year
Title
***
1826
The Last Man by Mary Shelley
tbr
1885
After London by Richard Jefferies
****
1901
The Purple Cloud by M. P. Shiel
****
1912
The Scarlet Plague by Jack London
****
1913
Goslings by J. D. Beresford
***
1936
The Empty World by D. E. Stevenson
*****
1939
The Hopkins Manuscript by R. C. Sherriff
*****
1949
Earth Abides by George R. Stewart
*****
1951
The Day of the Triffids by John Wyndham
*****
1955
“A Canticle for Leibowitz” by Walter M. Miller, Jr.
****
1956
The Death of Grass by John Christopher
*****
1957
On the Beach by Nevil Shute
*****
1959
Alas, Babylon by Pat Frank
*****
1959
On the Beach U.S. film
*****
1959
The World, the Flesh, and the Devil MGM
****
1962
The Drowned World by J. G. Ballard
*****
1975-1977
Survivors BBC
*****
1976
Survivors by Terry Nation
*****
1985
The Postman by David Brin
****
1985
The Quiet Earth New Zealand film
****
2006
Life As We Knew It by Susan Beth Pfeffer
*****
2006
The Road by Cormac McCarthy
****
2008-2010
Survivors BBC remake
****
2012
The Age of Miracles by Karen Thompson Walker
**
2012-2014
Revolution NBC
*****
2014
Station Eleven by Emily St. John Mandel
***
2015-2018
The Last Man On Earth Fox TV
****
2021
Y: The Last Man FX on Hulu
Essays About Post-Apocalyptic Fiction I’ve Written Before
Classics of Science Fiction 