One
of the pleasures of reading speculative fiction from the early twentieth
century is to discover the origins of many of the images and ideas we take for
granted in contemporary science fiction.
Near the beginning of Clark Ashton Smith’s Marooned in Andromeda (1930) are these words describing the journey
of the ether ship Alcyone:
For
five years he had driven the great vessel further and further away from the
earth and the solar system, which had long ago dwindled into points of telescopic
light—for five years he had hurled it onward at more than the speed of cosmic
rays, through the shoreless, bottomless night, among the shifting stars and
nebulae.
In
another Captain Volmar story, The Red
World of Polaris, the commander of the Alcyone
reflects on his “…unearthly vaulting ambition which had led years later to his
first intersidereal voyage and then to his present project of circumnavigating
the known universe.”
So it
seems no accident, several decades later, that William Shatner would intone the
famous words which introduce the original Star
Trek episodes: “Space: the final
frontier. These are the voyages of the
starship Enterprise. Its five year mission: to explore strange new
worlds…” The original Star Trek series
ran just three seasons, from 1966 to 1969, before suffering an untimely death at
the hands of its inept network executives.
Interestingly,
the crew of the Alcyone did not
exactly “boldly go where no man has gone before”. They complained of the loneliness, tedium and
anxiety of prolonged space travel, so much so that the first of the Captain Volmar
stories begins with a mutiny among crew members. To be fair, the Alcyone had nowhere near the elbow room or amenities of a
Federation starship.
Boomers
may recall another popular TV show from the 60s, involving the mostly misadventures of the Space Family
Robinson, on board the Jupiter II, in Lost
in Space. That show also ran for just
three seasons, from 1965 to 1968. In
retrospect, many of the episodes seem played for camp, but at the time it was
an engaging show, always ending with some terrifying loose end—typically with Dr.
Smith screaming—which connected it to the next week’s show. For the time period, the monsters and the special
effects were cool. As a kid, I would
delight in spotting the monsters that were shared with an earlier show produced
by Irwin Allen, Voyage to the Bottom of
the Sea.
Old
fans of Lost in Space—and we would be
getting old about now—may remember
the two part episode called “The Keeper”, in which an intergalactic zoologist
attempts to add Will and Penny to his menagerie of weird alien creatures. He uses a glowing staff to hypnotize his
specimens and keeps them in glass cages on board his spaceship. The Keeper’s collection is a horror show of
leering, threatening monsters. He
manages to capture the two youngest children while the rest of the family tries
desperately to rescue them. In part two,
Dr. Smith and the Robot sneak on board the Keeper’s ship and accidentally
release all the alien creatures.
A similar
encounter is the focus of Clark Ashton Smith’s A Captivity in Serpens (1931), also known as The Amazing Planet. The
story has the distinction of being the longest work of fiction that Smith ever
wrote. Captain Volmar and his crew
discover an interesting “Mercurian” world, a planet whose orbital pattern
leaves one side in perpetual sunlight and the other in eternal darkness. The Alcyone
lands in a narrow longitudinal belt of vegetation in the penumbra of the sun’s
glare, and Volmar and first mate Roverton leave the ship to explore the planet’s
unusual biosphere.
As in
the other Captain Volmar stories, Smith delights in describing strange flora
and fauna. The categories are quite indistinct,
with mobile vegetation and creatures that are odd blends of insect, mollusk and
vertebrate life forms. This is the most
entertaining aspect of Smith’s science fiction, his nearly hallucinogenic
visual descriptions of weird terrain, architecture and biology.
Volmar
and Roverton are captured by technologically advanced aliens from a nearby
planet in the Serpens system, and taken to what is essentially a zoo or
biological laboratory. There they endure all sorts of vaguely scientific
torments and privations as “lab animals”.
As in the Lost in Space
episode above, attention is given to describing the other more bizarre specimens
in this alien zoo. Much of the remainder
of the story details Volmar and Roverton’s attempts to escape their insect-like
captors.
An
earlier passage in A Captivity in Serpens
is remarkable for its anti-chauvinist stance on extra-terrestrials. Describing the perceptions of the aliens,
Captain Volmar comments:
“Anyway
they are probably so conceited as to believe that their own world is the only
one capable of producing highly evolved and intelligent life-forms…I remember,
back in my boyhood, before space-travel became an actuality, how many of our
own astronomers and other scientists argued that the earth was the only world
in all the universe that was inhabitable by any kind of organic life.”
Is
this the beginning of changes in attitudes that led to the formation of the “Prime
Directive”?
A Captivity in Serpens was the second and the last of the
Captain Volmar stories published in Smith’s lifetime. Ronald S. Hilger, in his prefatory remarks to
the 2004 collection The Red World of
Polaris, describes how Smith was frustrated with the restrictions and
expectations placed upon him by the editors of Wonder Stories Quarterly, who wanted more action and less
preoccupation with literary quality.
Sadly, disputes over payment for his work, combined with the deaths of
both his parents later in the decade, brought Smith’s career as a short story
writer to an end. However, he continued
to write poetry and devoted his later years to macabre sculpture.
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