Archives for posts with tag: Arthur C. Clarke

Sometime during my freshman year at university (1985-86), I read an editorial in the San Francisco Chronicle suggesting that the current generation should be the last generation of humans on earth. This intrigued me because it seemed obvious to me we’d already done enough damage and perhaps the other species here could make a better go of it once we cleaned up our mess and got out of the way.

I made mention of this to a few people. My mother, if I recall rightly, found the idea distasteful to say the least. She hadn’t read much science fiction at the time, a lot of which probably influenced my agreement with the writer’s sentiments.

In the intervening years, I’ve occasionally tried to find the editorial in question, with no success. Recently, though, I read a letter to the New Yorker which made reference to the Voluntary Human Extinction Movement. Ah. That would be the group. It’s not hard to believe that the whole thing could be just one person who occasionally sends out a newsletter.

So I’m thinking about this in the context of compassion and doing right by the earth and those halcyon days when our population was only three or four billion. The image below is from the July 1975 issue of Mad magazine. Current population, 45 years later? 7.7 billion.

Mad Magazine, July 1975

Occasionally I hear people talk about healing the earth. Usually in the form of a platitude on a bumper sticker or t-shirt. This makes the person with the platitude feel better, If this is a form of virtue signaling (I’ve always been a little unclear on that concept), I’m still okay with the sentiment, regardless of whether it leads to concrete action. What gets me is the response one sometimes hears, that the Earth has been through worse and will heal itself.

This may be true, but we’re wiping out species at an astounding rate and can’t seem, as nations to stop being cruel (the US rolling back rules on national park exploitation, for example). And, it’s an attitude that absolves corporations and municipalities from their responsibilities as stewards of the earth and as stewards of various populations. Flint, Michigan and its drinking water issue – several years later, still not solved, for another example. The attitude that the earth will heal itself doesn’t absolve us of turning the oceans, once teeming with life, into garbage dumps, fished out. In his recollections of the Kon-Tiki expedition, Thor Heyerdahl shares over and over again how easy it was to survive in the middle of the Pacific Ocean on the fish that were in abundance. I think he’d be horrified today of the state of large swaths of that ocean.

What is it about these times that sets it all up as a zero sum game?

I keep saying it: No one gets out alive as an individual. This much we know, but do we have to take half or more of the earth’s species with us? We seem to have no restrictions on the amount of cruelty we’re willing to exert on other people, species – yes, a lot of us are good, but as a species, we prove ourselves incapable of making the place better for the next generation. Or even to maintain a baseline for this one. The number of people who are going to die as current trends continue – fires, lack of insects, dropping levels of protein in rice, dropping levels of ice – it’s something we seemed to be inured to. It’s okay to leave what’s left to the next species to come up. We’ve proved ourselves unworthy.

Is voluntary human extinction an instance of compassion for the rest of the planet? There’s a cynical part of me that says absolutely, because I’m not sure we’re likely to contribute anything meaningful in the greater universe, should we make it off this planet before wiping it out entirely. I’ve had friends argue that the art we create shouldn’t be lost. I hate to think that so much won’t be appreciated by later generations, but there’s so much that’s not appreciated by this generation. First world problem, that.

And anyone advocating this must be able to examine the question: How would I feel to be the last one remaining, the one left to turn out the lights on Homo Sapiens? I’d like to believe I could lie down having done the job well. But the thought also terrifies me.

I recently grabbed an e-book of Arthur C. Clarke‘s classic SF novel Childhood’s End on a whim. I remember being fascinated by the final sequence and it’s one that has stuck in my head since I was about 14.

The story holds up even if the prose doesn’t so well. The characters and their motivations are often flat. The rigid gender roles and racism are especially striking. While they may be reflective of the early 50s when it was written, they’re jarring now.

The plot is possibly well known. Aliens (‘Overlords’) come to Earth and stop humans in their tracks just as the space age begins. You won’t go into space, they’re told, but we’ll end the wars and the cycle of poverty. All of this in advance of an epochal change in humanity.

Weaving around the lives of four characters, Karellen, the Overlord supervisor; George and Jean Greggson, a couple whose children are the first exemplars of the change in question, and Jan Rodericks, a doctoral student of mixed heritage who manages to stow away on an Overlord ship to their home planet, the novel offers multiple perspectives on humanity’s last days and decades.

From the opening conflation of Earth’s first proposed journey to Mars with the arrival of the Overlords, we’re at every moment on the verge of something great that is subverted by the overarching history playing out.

As I came to the end, I was most struck by how Clarke’s story reflects how all of our predictions for business or security or war in any coming period are subverted by how reality plays out – think of our headlines about how we might support the world’s population or protect the wildlife we have left. What we thought the future would hold a decade ago or half a century ago bears no resemblance to the present we have.

Dutch edition of Childhood’s EndThe failures of the book also include an awful lot of exposition used to get across the science necessary to the plot, but these are overshadowed by the poignance that interweaves the lives of these characters. Kerallen tells us that his race has overseen the apotheosis of several other races at the behest of what he calls the Overmind, but that the Overlords will themselves never achieve the same. George experiences a double loss, that of his children to the the change that overcomes the last generation of humans and that of the possibilities with his own wife.

‘George looked down at her with sympathy, but nothing more. It was strange how much one could alter in so short a time. He was fond of her: she had borne his children and was part of his life. But of the love which a not clearly remembered person named George Greggson had once known towards a fading dream called Jean Morrel, how much remained?’

When Jan prepares to leave Earth, he sends his sister a letter in which he expresses how little holds him to the people he know, who will all be dead when he returns in 80 years. With this storyline, Clarke cleverly engineers both a witness to the Overlords position in the cosmos and a human narrator for the end of the story. If you’ve never read it, I don’t want to give anything away, and if you have read it, I urge a rereading.

The organ is the strongest instrument on Still Life, dominating large sections of most of the tracks. Interestingly, the opening track, Pilgrims, is lyrically of a piece with the closing epic, Childhood Faith In Childhood’s End. While the latter takes its theme most obviously from the Arthur C. Clarke novel to which its title refers, the former, with lyrics such as ‘The time has come, the tide has almost run / and drained the deep: I rise from lifelong sleep’ does as well. Pilgrims ends beautifully without a resolution and the title track picks up with a gentle vocal backed by simple organ chords which are maintained until the third verse when the rock and roll kicks in. Lyrically Still Life extends a metaphor of marriage to encompass death, decay, and despair. I guess it’s a little late to suggest that Hammill’s poetry is not of the light and fluffy variety. (Here’s a live version from 2011.)

vdgg-slThat said, but this album has a much greater pop sensibility than its predecessors. It helps that two of the five songs clock in at less than 8 minutes and two more at less than ten. Yes, I’m stretching the definition of ‘pop’, I know.

La Rossa is the most distinctly metal song on the album, though the musical styling seems very much at odds with the lyrical content (yeah, I know, what else is new) in which the narrator tries to harness his desire for an object, but knows he must succumb.

My Room (Waiting For Wonderland) opens side two with soprano sax, drums, and vocals. However, the gentleness of the delivery belies the harshness of the lyrics which describe (perhaps, as always with this band) a person succumbing to depression, loneliness, and anxiety. Possibly the most cohesively beautiful thing they’ve done to date.