“…is it that we have advanced so in these few years? Or that men have retrogressed? No, it is this curse of mechanization that destroys imagination.”
The Last Poet and the Robots (1934) is just plain awful as
stories go, and nowhere near the quality of A. Merritt’s earlier stories The Moon Pool (1918) and The People of the Pit (1918). The story is typical of much pulp science
fiction of the early 1930s, and displays many of the weaknesses of that
literature. Yet though these stories are
almost completely lacking in narrative, characterization, conflict, or
believability, they make up for it with intriguing and entertaining ideas—if
half-baked.
The science
is almost always ludicrous and uninformed, but one can see the beginnings of elements
we take for granted in the science fiction entertainments of today: death rays, unlimited power sources, bizarre
aliens, untrustworthy robots, mad scientists, cosmic disasters, and the like. Reading these stories also provides an interesting
depiction of the assumptions and anxieties people of the early 20th
century had about their future. These
developed in the context of a temporary peace between two devastating world
wars.
Perhaps
it was the nature of publishing in pulp magazines that affected the quality of
the Merritt’s work. H.P. Lovecraft once
commented that the style and content of his fiction had been strongly and
negatively influenced by pulp magazine publishing over time. Merritt’s 1934 story is very comparable to
Lovecraft’s The Challenge from Beyond
(1935)—this was the ‘round robin’ story that Lovecraft co-wrote with Merritt
and a couple other pulp writers. The
grandiosity and absence of any other real character is also reminiscent of
Donald Wandrei’s Raiders of the Universes,
(1932).
The Last Poet and the Robots—also known as Rhythm Of The Spheres—resembles a fable
in structure and owes some of its poetic elements to Lord Dunsany, especially
the ending. Briefly: a brilliant Russian poet and scientist and 10
of his handpicked comrades live in an underground ‘Paradise’ that Narodny the
poet has fashioned using futuristic technology.
They amuse themselves with high culture and creative arts while their
fellow humans on the surface succumb to Robot tyranny.
But a
threat from outer space arouses Narodny’s bemused interest, and he frees the
people of earth from Robot domination so that they can prepare more efficiently
for war with the “Wrongness from Space”.
He does this by overturning mechanization,
seen as a hindrance to the human creative spirit. In the end he returns to his beautiful cavern
to watch what ensues.
In
his fiction, Merritt is occasionally concerned with “isms” of various kinds—of
which there were several in early 20th Century America. In the last post there was discussion of
dualism and Manichaeism in The Moon Pool,
as manifested in ‘the dweller’ and its physical and spiritual impact on its
victims. This is the understanding that
good and evil are inextricably mixed, yet always at war with each other. In The
Last Poet and the Robots, it is atavism
that is on display.
Atavism
has slightly different meanings depending on whether the perspective is
biological or sociological. Biologically
speaking, it refers to the tendency of an organism to revert to an evolutionarily
earlier form through genetic mutation or disruption of its normal development. Sociologically, atavism is the tendency of a culture
to assume the qualities, perspectives, and habits of mind of an earlier stage
in its development. H.P. Lovecraft’s
emulation of 18th Century style in some of his writing is a form of atavism.
Merritt
has both types of atavism in view. He
describes Narodny, his protagonist as
“…indifferent
to the whole civilization man had developed and into which he had been
born. He had no feeling of kinship to
humanity. Outwardly, in body, he
belonged to the species. Not so in mind…he
considered mankind a race of crazy half-monkeys, intent upon suicide. Now and then, out of the sea of lunatic mediocrity,
a wave uplifted that held for a moment a light from the sun of truth…He knew
that he was one of those waves.”
This
being pulp science fiction—a thought experiment, not an actual narrative—there are
no other real characters to challenge
Narodny’s conceit or grandiosity. (Was
this also Merritt’s conceit?) There is also an echo of the eugenics movement
here, still quite popular in Merritt’s day.
Narodny considers himself a superior being, along with the ten others he
selects to dwell with him in the artificial paradise he has created
underground. Three of them are fellow
Russians, two are Chinese, and three are women, (German, Basque and Eurasian
respectively); there is “a Hindu who traced his descent from the line of
Gautama”, and “a Jew who traced his line from Solomon.”
Perhaps
in the 30th Century, when this story takes place, genealogical research
is highly advanced. Merritt appears to
be attempting inclusiveness in an early attempt at diversity and cultural
sensitivity. Yet conspicuously absent from the line-up is anyone from America
or Africa. Why is this?
And what
do the chosen do all day underground?
With various mechanisms they recreate dramatizations of important historical
events as well as the world’s principle art and musical masterpieces of the
past. Narodny and his friends are all
atavists, so ‘The Past’ does not include anything after the 19th
Century. Basically, they are watching glorified
public television all day, for eternity.
Their more or less godlike immortal, intellectual and asexual lives
continue peacefully for many years until …“a devastating indescribable
dissonance invaded the cavern.”
In
Merritt’s story, Earth is in danger of attack from the “Wrongness of Space”,
but the population on the surface is enslaved to robots and unable to unite
against the cosmic menace. (More back
story would have helped put all this in context.) Human civilization is evidently still relatively
intact on the Moon. Narodny enlists the
aid of some struggling rocket pilots in capturing a few robot test subjects,
and later has them implement a weapon Narodny has designed.
Powered
by “green fire” the weapon produces musical
vibrations, which as everyone knows, are fatal to robot mechanisms. Follow the logic: “Originally the robots are the children of
mathematics. I ask—to what is
mathematics most closely related. I
answer—to rhythm—to sound—to sounds that will raise to the nth degree the
rhythms to which they will respond.”
The weapon
is administered to the principle cities of Earth, destroying the robots and a
large number of humans as well.
Civilization collapses but reorganizes, hopefully in time for the
arrival of the “Wrongness of Space”.
The Last Poet and the Robots shares some similarities with two
of Merritt’s earlier stories, The Moon
Pool and The People of the Pit. In all three there is the notion of
emanations or vibrations affecting from some distance the behavior and safety of
people—or robots, for that matter. There
is also the presence of a mysterious power source. In The
Moon Pool it is a transfiguration of ordinary moon light by way of unknown
or forgotten technology. In The Last Poet and the Robots, it is “green
flame”, a power source developed a thousand years from now.
What
is striking about The Last Poet and the
Robots is the intellectual distance and coldness Narodny has towards the
human race. It is not their welfare he
is so concerned about, but that the “Wrongness of Space” will disturb his
music, deep underground. “Well, let us
see what men can do”, he says at the end, “There is always time—perhaps.”
No comments:
Post a Comment
Thank you for your interest in The R'lyeh Tribune! Comments and suggestions are always welcome.