Contemporary And Futuristic Fiction: 007 In New York And Flandry In Archopolis

Ian Fleming wrote "007 in New York" about where James Bond eats, drinks, sleeps and does other things while he is in New York. He gives Paris the same treatment in several paragraphs of "From A View To A Kill," e.g.:

"Since 1945 [Bond] had not had a happy day in Paris. It was not that the town had sold its body. Many towns have done that. It was its heart that was gone - pawned to the tourists, pawned to the Russians and Roumanians and Bulgars, pawned to the scum of the world who had gradually taken the town over. And, of course, pawned to the Germans. You could see it in the people's eyes - sullen, envious, ashamed."

-Ian Fleming, "From A View To A Kill" IN Fleming, For Your Eyes Only (London, 1964), pp. 7-37 AT pp. 12-13.

We get the impression that Fleming knows the score - and I think that he did. My question is: would Poul Anderson have been able to write a comparable "Flandry in Archopolis" passage? Yes, but not as easily. An author of contemporary fiction has it easy. He can refer to Russians, Romanians, Bulgars and Germans and know that we know what he means. Anderson would have had to have written several earlier Technic History instalments to establish the reality of four or more social/ethnic/national/planetary groups that he would then have been able to refer to in the same kind of way. Not easy. But we appreciate what Anderson did do with Ythrians, Merseians, Wodenites, Cynthians etc. The Technic History is the most "lived in" future history series.

I love these far gone comparisons.

"Drawn In"

We are still with "The Pugilist" although probably not for much longer!

Why would anyone join a revolutionary organization? Dowling's two guards give different answers:

(i) "'What brought me into the Society in the first place was...well, one damn thing after another, like when I was a miner and they boosted our quota too high for us to maintain safety structures and a cave-in killed a buddy of mine.'" (p. 113)

(Proof enough that the "People's Republic" is governed neither by nor for the People.)

(ii) "'I believe in God.'" (ibid.)

This guy is not prevented from going to church but he objects to all the clergy being spokespersons for the state: "'The Social Gospel...'" (ibid.) I would not object to a Social Gospel but I would object to state-controlled clergy but, in any case, we are not talking about me! The present point is that motives differ.

At a recent gathering, I met a guy who said that he was a Marxist who believed in God. I looked forward to some interesting conversations but then he stopped coming! Our paths cross and part for diverse reasons.

CS Lewis as fictional character and first person narrator tells us that he was:

"...afraid that I might get 'drawn in'. I suppose everyone knows this fear of getting 'drawn in' - the moment at which a man realises that what had seemed mere speculations are on the point of landing him in the Communist Party or the Christian Church - the sense that a door has just slammed and left him on the inside."

-CS Lewis, Voyage To Venus (London, 1978), Chapter One, p. 6.

I do not think that everyone knows this fear but obviously some of us do. Sometimes people say, "There was no turning back..." In "The Pugilist," some people who joined the Society would have started with speculations...

When I first read Voyage To Venus, I was leading a very sheltered life in a boarding school and was astonished that Lewis would link together the Communist Party and the Christian Church like that. I started learning about people and the world after leaving school.

John Henry...

Sometimes, by a slip of the tongue or the pen, we get a word, name or phrase wrong and sometimes we worry and have to check whether we did. Checking, I find that I did write "John Henry Reeves," not "John Henry Irons," in The Lessons Of Life.

John Henry Reeves is a character in Poul Anderson's "The Star Plunderer" whereas John Henry Irons is a completely different character in a different medium. See Steel (John Henry Irons). One of the things that we like to do on this blog is to compare Anderson's works with other authors' works or with works in other media. 

The character, Steel, exists because Superman was, temporarily of course, dead. Series characters rarely die, even in a concluding episode, if there ever is a concluding episode. 

In Anderson's canon, van Rijn must be long dead when Flandry is alive and Flandry must be long dead when Daven Laure is alive but we are not shown any of these characters' deaths. Harald Hardrada is the title character of Anderson's The Last Viking Trilogy and he has to die at Stamford Bridge in 1066 in Volume III because that is historical. And what a great cast of characters this post has mentioned:

John Henry Reeves

John Henry Irons

Superman

Nicholas van Rijn

Dominic Flandry

Daven Laure

Harald Hardrada

Read and reread.

Addendum: I have conceptualized two retellings of Superman in one of which he dies. See:

Getting Superman Right

The Lessons Of Life

David Falkayn, promiscuous in his youth, learns to be monogamous with Coya Conyon. 

Dominic Flandry, promiscuous in his youth, settles down with Miriam Abrams although she understands that he does not "wait" for her when she is away from home for extended periods.

Manse Everard and Janne Floris learn that they should not stay together but, later that same year, Everard meets Wanda Tamberly.

Gaius Valerius Gratillonius rejects Mithras, accepts Christ and begins to build feudalism when the Roman Empire has withdrawn from Northern Europe.

John Henry Reeves learns that the destiny of the human race lies with the leadership of Manuel Argos.

Christopher Holm learns not to be an idiot.

In "License," Rheinbogen learns that he can "hunt" academically instead of literally. 

In "The Pugilist," Dowling learns too late that he was wrong to turn against the rebel cause.

Nicholas van Rijn had learned everything that he needed to know long before we first saw him.

The discerning blog reader will have realized that this has been a pretext to divulge my own life lessons which are:

"Seek and ye shall find." (Mt. 7:7)

"To thine own self be true." (Hamlet, Act 1, Scene 3.)

An Englishman finds inspiration in the Bible and Shakespeare even though his seeking takes him elsewhere.

Keeping The Future World As It Will Be

"The Pugilist."

The Decaturist rebels are embedded in the US military. Their plan is to seize control of the US missiles in order to prevent those missiles from being used to intervene in the Russian civil war. Without any outside help given to either side, that civil war will weaken Russia, thus enabling the US to become the dominant partner in the alliance. However, thanks to the turncoat, Dowling, the People's Republic of the United States retains control of its missiles and, on this basis, is able to issue threats that make the Kunin faction back down. As in a contemporary thriller, the status quo is preserved but, in this case, that is not a good outcome. But Poul Anderson explored every kind of possible future, good and bad. I must eat and get out to the Gregson.

Keeping The World As It Is

In Good Guys, Bad Guys, we discussed fictional ambiguity about "good guys and bad guys" and, in this context, referred to:

Poul Anderson's Technic History;

Ian Fleming's James Bond;

Anderson's "The Pugilist."

I now see a wider issue that connects Bond and "The Pugilist" in a more roundabout way. First, let us differentiate several kinds of fictional narrative:

in a contemporary novel, our familiar contemporary world exists at the beginning of the narrative and still exists unchanged at the end - anything else would take us out of the realm of a "contemporary novel"!;

in some sf novels by HG Wells, the Time Machine, Cavorite, invisibility etc is invented but then lost so that the world remains unchanged (and the impressionable reader understands why it is that he still lives in an unchanged world!) - Wellsian novels set in the future do not fit into this category;

Poul Anderson's Brain Wave begins in the (then) contemporary world but major changes happen and the human race winds up in a transformed future;

in some contemporary thrillers, there is a threat that would have caused major changes but the threat is averted - thanks to Bond, London is not nuked, the British Secret Service is not discredited by a double killing and a scandal on the Orient Express, the gold is not stolen from Fort Knox, hijacked nukes are not detonated with great loss of life and Britain is not devastated by biological warfare.

And here is the connection. In "The Pugilist," there has been a nuclear war and the US is now ruled by the USSR. Thus, the "Pugilist" is set in one of those possible futures that the heroes of contemporary thrillers, like Bond, strive to prevent. The task of MI6, CIA etc is to ensure that the world remains exactly as it is.

Another Bar

"The Pugilist."

Poul Anderson's characters frequent many taverns and also low drinking dives. Here is another of the latter:

a village bar

a shack

dim

dingy

run by two workers on their own time

tough end of town

very loud music from a taper

rotgut booze

seldom-washed glasses

crowded

tobacco and pot smoke

smell of sweat

a prostitute

That is all but we get the idea. Anderson's many bars are either pleasant or unpleasant.

Later today, we will either squeeze something more out of this story or move on. Time will tell.

Good Guys, Bad Guys

Popular fiction is usually unambiguous and unequivocal about who are the good guys and who are the bad guys. If our hero works for the government, then the rebels are the bad guys. If our hero is a rebel, then the government are the bad guys. 

However, in Poul Anderson's Technic History, we are with some characters against the Terran Empire and with others for it. The Day Of Their Return sympathetically presents both the government guy, Desai, and the rebel, Frederiksen, and we have to read to the end to find out what happens.

In his opening novel, Casino Royale, James Bond has an existential crisis and wonders which side is good and which is bad but, by the end, he has identified SMERSH as the bad guys and that defines the rest of the series although, when he has to prevent arms from getting to Castro:

"He hadn't wanted to do the job. If anything, his sympathies were with the rebels..."

-Ian Fleming, "A Quantum of Solace" IN Fleming, For Your Eyes Only (London, 1964), pp. 84-108 AT p. 85.

In Anderson's "The Pugilist," the first person narrator, a rebel, changes sides and does not, as we might have expected, change back again. The rebel leader is that fictional convention, a mysterious background figure who remains off-stage until the end - when our hero kills him. Then he reads:

"We hold these truths to be self-evident..." (p. 126)

- etc for the very first time and realizes that he has backed the wrong side but by then it is too late.

Rome And Computers

"The Pugilist."

We learn that the title, "The Pugilist," is, like "Marius," a reference to Roman history.

In this fictional future, millions of computers, interconnected nationally:

keep records;

process bills;

operate automated factories;

calculate;

integrate;

monitor citizens;

transmit messages.

Sf prophecy. We knew that men would land on the Moon and that all human knowledge, stored in interconnected computers, would be accessible at the press of a button.

Whether our hero, Dowling, winds up in a happy place is another matter.

But this is just one story. We move on to the next. But not tonight.

Oppressive Conditions

"The Pugilist."

The bodily details of how Dowling has been transformed into a human weapon are distasteful. This had put me off rereading the story but I had forgotten every other detail.

Dowling, now a treble agent, is in the back of an enclosed car with three other Decaturists. There is a paragraph of four sentences that does not advance the action. However, these sentences are part of the text because, in them, Dowling's physical circumstances exactly match the restrictions placed on him by the oppressive society that he unfortunately lives in:

"Wind hooted around the shell. A slight vibration thrummed through my bones. The overhead light was singularly bleak. The big man on my left and the small man on my right crowded me." (p. 110)

Hooting wind.

Intrusive vibration.

Bleakness.

Crowding.

Unpleasant.