Collected Essays. Brian Aldiss
to be world-wide; and for 1905, before the First World War, this was an acute perception. By the late 1940s, after a second World War, Orwell saw that a countervailing paradox was required. His way to happiness on Earth lies in the subversive message which Julia slips Smith in the corridor, a note saying merely I LOVE YOU. And utopia, far from being worldwide, has shrunk to a shabby little room over a shop, with a willing girl, a double bed, and plenty of privacy.
Thus have our expectations diminished over the century.
Such a utopia needs no dialectic. Its strength is precisely that it does not require words. For the true enemy in 1984 is ultimately words themselves, those treacherous words that will serve any vile purpose to which they are put. Even Julia’s message has a taint to it, since its three words hold the most important one in common with that other well known three-worder, the much-feared Ministry of Love: indeed in Smith’s case, one leads almost directly to the other.
In place of words came objects, and the inarticulate life of proledom, personified in the old washerwoman singing under the lovers’ window as she hangs out her washing. It is a distinctly nostalgic substitution. As Smith says, referring to a paperweight he has bought, a piece of coral embedded in glass, ‘If the past survives anywhere, it’s a few solid objects with no words attached to them, like that lump of glass there’. Words are the allies of doublethink.
In a television broadcast made over the Christmas period, 1982, the novelist Anthony Burgess claimed to have read 1984 thirty times. He said of it that it was one of those rare books which tells us what we need to know, which informs us of what reality is.
Like all of Orwell’s novels, with the brilliant exception of Animal Farm, 1984 is not a masterpiece judged purely as novel. Judged as a vehicle for putting over what Orwell wished to tell us, for conveying that pungent mixture of squalor, nostalgia, disillusion and analysis of betrayal, it is brilliant.
Although 1984 does not on the surface hold up a mirror to our 1984, I believe that Burgess was right on a more inward plane. In 1948, that drab year best never relived, the novel seemed indeed to be a prediction of the future, exact in each realistic detail. Read in the year of its title, it turned disconcertingly into a secret history of all our lives. For we have lived in a parallel world of political bullying and hypocrisy, of wars and totalitarianism, of cultural revolutions and anti-cultural movements, of blind hedonism and wild-eyed shortage. Even if these things have not overcome us, they have marked us. Our shadows—to use the word in a Jungian sense—have conspired with the Thought Police and the Party. What has happened to us here is, in O’Brien’s words, forever.
We see the novel’s transformation through time: from a prophecy of the future to a parable of our worldly existence, 1948–1984.
It will be interesting to see what becomes of Orwell’s novel now that the year 1984 is over and concentration on it has died away. It would be pleasant to believe that Animal Farm would be more generally read and recognized, for it remains the book on revolution and revolution’s betrayal and one of the seminal fables of our century.
My personal feeling is that 1984 will continue to be read and loved by ordinary people; and this for a good reason. Though we prefer to overlook the fact, many aspects of 1984 closely correspond to the lives of those ‘ordinary people’. For most, life is a battle against poverty, shortages, inadequate housing, ill health. They too experience betrayals which may prove fatal. They too come to experience in their own anatomy—and without needing words—what Julia experienced, a thickened stiffened body, unrecognizable from behind. They too are manipulated by uncaring governments.
In one film version of 1984, the ending showed Smith and Julia reunited, clinging happily to each other, unchanged by their ordeal. We have a contempt of that sort of thing. Not only is such nonsense untrue to Orwell’s novel: it is unfortunately untrue to most people’s experience.
What we value most about Orwell’s work is not its prophecy or even its polemics, but rather the way it faithfully mirrors the experience of the majority of the people.
When James Blish was yielding finally in the battle against cancer which he had fought for many years, my wife and I went to visit him in the ominously named Battle Hospital in Reading, England.
He lay in bed in a towelling robe, dark, bitter, lightweight—intense against the pallid room. As ever, he radiated great mental energy. Books were piled all over the place, by the bedside, on the bed. Oswald Spengler’s Decline of the West lay open, face down, on the blankets.
Dear Blish! What tenacity of life and intellect! I thought of that incident in Battle Hospital when reading The Quincunx of Time once again. Quincunx is a rare thing, true SF with a scientific basis—the sort of story that readers have always been saying isn’t written any more. And it is something more than that. It is, in a way, gadget fiction; central to it is a marvellous gadget, the Dirac transmitter—but the Dirac leads to deep metaphysical water, into which Blish plunges with glee.
The science chiefly involved is mathematics, proverbially the queen of the sciences. New dimensions of time are opened in the novel; a more complex math has been achieved in the future, in which time is subsumed as an extra spatial dimension. Hence Quincunx’s world-lines. Hence, too, one of its most famous passages, when one of the characters who has been listening to the transmitter declares:
I’ve heard the commander of a world-line cruiser, travelling from 8873 to 8704 along the world-line of the planet Heth-shepa, which circles a star on the rim of NGC 4725, call for help across eleven million light years …
The characters who overhear this extraordinary communication are perplexed, as well they might be. They work out the problem, the solution to which is neat and exciting. Their perplexity springs from the fact that they are looking into a future where different number-worlds from ours prevail. It’s wonderful but also logical: there is not, and there cannot be, numbers as such. The line in italics is not mine but Spengler’s. He put it in italics too.
Spengler amplified his statement by saying, ‘There are several number worlds as there are several Cultures. We find an Indian, an Arabian, a Classical, a Western type of mathematical thought and, corresponding with each, a type of number—each type fundamentally peculiar and unique, an expression of a particular world-feeling …’
Whether or not Blish derived some of his ideas direct from Spengler, we cannot now determine. In this case, it seems likely.
A different cultural base would naturally make the future difficult for us to comprehend, and vice versa. The future will no more understand our compulsion to stock-pile enough nuclear weapons to destroy the world several times over than we understand why the Egyptians built the pyramids.
‘You’ll know the future, but not what it means’, says one of the characters in Quincunx. ‘The farther into the future you travel with the machine, the more incomprehensible the messages become …’
One of the many original features of this novel is that it does actually concern the future. Most science fiction, if it is not fantasy, is about some extension of the present which only by agreement do we call ‘the future’. It catches our attention because we see it in the mirror of the present day. Blish was after something different. Quincunx is like few other fictions, and does not resemble closely anything else Blish wrote.
Another strange feature is the fact that the story is about a galactic empire, although this does not appear to be the case at first. (I anthologized it under its original title, ‘Beep’, in my two-volume Galactic Empires (Avon Books, 1979). Blish solves the vital question of how communications could be maintained over vast distances. The strange thing about Blish’s galactic empire is that it is a utopia. This we have never heard before. Things always go wrong in galactic empires, as we know. In Blish’s empire, things go obstinately right. Instant communication has brought perfect communion.
The long short story ‘Beep’ has been only slightly