I have a stack of science fiction novels that I wish to read and that, by some miracle, undergoes folio reproduction whereby the pile grows with each passing year. This multiplication of tomes should not come as a surprise since I am responsible for its evolution. It has been decades and not years that have contributed to this population explosion. Try as I may; it just keeps happening! Am I worried? No. Can I stop this exponential expansion? Probably not. However, I have decided to acknowledge their wearisome existence and finally pay tribute to our long-term living arrangements. They are my family, and I've ignored them far too long; so, as a means of atonement, I shall read them sooner than later; all the while grateful for their stoic, staid, and stalwart existence; often forgotten or ignored. My resolve; to liberate these sentinels of prose with reverence and deference; to concede their rightful place in the arena of the golden age of science fiction novels.
One such novel is the Retro-Hugo Award for Best Novel of 1946,
Slan. I have been aware of this novel since the very first science fiction course I enjoyed. The novel, mentioned many times, was heralded as a must-read and a significant contributor to the genre. I promptly bought the paperback, and over time either forgot about it or misplaced it; I don't know which. Though
Slan would come up in conversations or other articles concerning science fiction, my resolve soon rejuvenated would again be foiled by some unpredictable reason;
Slan, regulated to the back burners until some inexplicable force caused me to remember it a new. The last of the week had me thinking about what to read next; heaven knows I can never run short of books to read, but I carved something dignified with age, a passage into time without reading a novel about time travel! I decided to refer to the Hugo Award Winners' list, and there, as patience as an old hound waiting for its master, was
Slan! My resolve abated; I knew I'd never find my original copy, so I bought a new one: as an ebook. What follows is my long-awaited reunion with a novel that should have been read a long time ago.
To begin with, this is a novel that started its immortalization eighty-one years ago serialized in the pages of a popular pulp magazine,
Astounding Science Fiction, to be exact. Later, in 1946, Arkham House found its way to publish
Slan as a hardcover edition. Today,
Slan, considered a benchmark novel pioneering the genre, fulfills its place as a science fiction classic. However, during that time, the day's formulae for pulp fiction were not so much literary content, accuracy or expectations; instead, a "grind'em out " philosophy generally regulating competitive sales between like publications: dog eats dog.
Slan author A.E. van Vogt was no exception catering to a market whose diet consisted of works considered by some to be literary gruel or pablum. Vogt's characters are somewhat stiff, cookie-cutter editions of the 1930s pulp heroes, combing improbable scientific concepts more for show than authenticity. Arthur C. Clarke, Isaac Asimov, Robert Heinlein and John W. Campbell, Jr all thought highly of him; Damon Knight did not. So, what makes Slan a classic? Apart from Vogt's nod from the big four names mentioned above, he tells a dammed good story! van Vogt tackles some hardcore issues that were probably not considered salient for the time, and he does it in the pretext of a futuristic society. He cleverly addresses the underbelly of racial prejudice, enflamed mob psychology, the unspeakable act of eugenics, defining mutations, the theatrics of war, trust, and humanity's endless efforts of finding a better way to eradicate his neighbour; annihilation through the development of atomic weaponry. Even today, these topics can incite profound feelings; rage, isolation and marginalization, to name a few. Just imagine the impact these must have had in the decade that was commonly called "the war years."
Reading
Slan today is comparable to watching an old silent movie, whereby, yes, they are entertaining, but concurrently they afford us a historical glimpse into the past, a time capsule. The manifestation of popular concepts, global outlook, current precepts, blossoming scientific principles, and everyday life's collective behaviour is laid bare for our inspection; in doing so, we see that things have not changed that much. What has changed is the technology that cocoons our existence. Technology doesn't evolve with us; inversely, we develop (socially) to keep up with technology. Technology is not an innate (behaviour) but has to be learned and practiced to be effective. We need to advance in unison for technology to be productive; it must dominate the world as a eureka moment. It must enshrine global recognition to be the all-inclusive common denominator of daily societal endeavour: re the cell phone; is behaviour modification. We evolve technologically, but not innately. In
Slan, the reader is confronted with multiple technology variations at work; it's up to the reader to conclude. Consider that when
Slan was written, the technology therein was cutting edge.
Slans are the byproduct of technology, the science of biologist Samuel Lann, who uses Slans to create
Slans, whose name is a distillation of his creations. It is apparent that Samuel Lann has an additional ace up his sleeve; he is well versed in the atomic sciences as well, enabling him to create a weapon of such destructive force he'd sooner perish than reveal its secret. What results is a fast-paced, high octane corkscrew multi plot-driven adventure that could only be born out of the pages of yesteryears "bulk for pulp" publications.
The Grand Slan
Following the War of Disaster,
Slans (the apparent creation of Samuel Lann) enter what is commonly known as The Nameless Period. During this tumultuous time of unrest,
Slans are hunted down like bisson. Why? They are a mutant race with gold tendrils growing from their scalp ( adds to their conspicuousness); they are telepathic, possess superior strength and blazing intelligence, and the ability to retreat into a trance when healing is required. They lean towards altruism, are charitable, generous even in the presence of odiousness. Their genetic advancement (psychological and anatomical) allows them to enjoy an augmented lifespan leading to the assertion that they are the new dominant life form on Earth destined to replace humanity. Fear and panic ensue; the dystopian genocide of
Slans becomes the order of the day sanctioned by the dystopian totalitarian dictator Kier Gray and his government.
Slans' race supports a dichotomous existence; those with tendrils and those without tendrils. It's not enough that the race faces external societal pressures, but polarization has caused fracturing from within the two sub-races. These tendrilless
Slans comprise a relatively large coterie with all the tendrilled
Slans' attributes but for one ability: they can not read minds. They run a wealthy conglomerate of air transport (Air Center) that includes cloistered colonies on Mars and the Moon. They also share a common disposition with humans; they, too, hate tendrilled
Slans with murderous intent. The immense detestation is born of the idea that tendrilled
Slans are artificial mechanizations bent on rendering human babies into more
Slans in attempts to increase their numbers. Further to this is the notion that replication leads to increased failure adding instead to mutants' expanding population. These are the manifestations that face the three extant species sharing space on an ever-shrinking, crowded Earth.
Jommy Dodgers
Jommy's introduction in the first chapter hits with a brick's impact; a small child is reduced to an orphan within pages. The reader experiences breathless, wordless fury and fear as mother and child hustle their way hand in hand along a street in Centropolis. Communication is speechless thought; his mothers are patently afraid. The purpose of their visit, his mother, reminds him of why they are in the city—their mission, to find the catacombs where his father's secrets are hidden: the MacGuffin, the grail. Jommy Thomas Cross must live for one purpose only, to make it possible for
Slans to live ordinary everyday lives. He must kill their greatest enemy, Kier Gray. She wishes him luck; her death follows. Jommy is hurled headfirst into a Dicksonian world. With a ten thousand dollar bounty, Jommy makes good his escape from a growing defiant street swarm into the arms of a besotted harridan, Granny; sweet of name, sour of character. Under her tutelage, Jommy learns the way of the street urchin, larceny in turn for anonymity. He spends 14 years with Granny in a give and takes relationship. Jommy knows not to hand over all the profits he steals and saves some for himself to fund his plans. Granny, at 90 years of age, while Jommy's siege is in effect, finds her end is less than poetic.
It may or not be a coincidence that Jommy's initials are J.C., the saviour of the "true" Slan race, as a testament to his last name, Cross, a burden he must carry for the sake of his race. van Vogt is not strong on character development as he is pretzel plots; however, he indulges us with a fair bit of back story, character development and growth; after all, Jommy was only nine when the novel begins 23 when he storms the palace. He transforms from an idealistic starry-eyed child to that of an embittered, cynical man. It would be unrealistic at best to think that Jommy's life remains in stasis for all that time. A rare treat from van Vogt.
From the entire cast of characters, I would like to direct the readers' attention to the two that I think are the most compelling and dramatic, both as characters and foils: Jommy Cross and Kathleen Layton. Let's begin with Jommy. Jommy is a character that is not dismissive. Because of his devotion to truth, he innately embraces traditional values; ironically, these are human values that somehow manage to cloud his
Slan perspective. The bar is raised higher at every turn until he can only believe in himself: it's up to him to save the world from what promises to be a cataclysmal event. His mother, Patricia Cross, burdens Jommy at an early age; this mandate requires him to sacrifice himself for global benefit. He begins his quest; truth becomes elusive, he hardens into a manipulator. He cultivates hard edges to fulfill his objective. van Vogt employs these maniacal personality countermeasures to drive his plot. One has to remember, these tales were written for pulps whose audience happened to be predominantly male. Action, and not romance or emotional indulgence, is what captivated sales. Be as it may, van Vogt injects some of these lesser attributes into Jommy but focuses mainly on failures and vulnerabilities to make him a sympathetic character. Jommy becomes credible to us because of these foibles: even the superhumans can have their day.
Kathleen is the other half of the Jommy equation, the missing puzzle piece. Kathleen's introduction: a rapid, high strung meeting between herself, Gray, and a coterie of government thugs. The issue at stake is her fundamental right to life, bantered around as casually as if discussing the extermination of aphids on a rosebush and unabashedly in her presence. Immediately, our sympathy is assured and garnered by her defence by none other than Kier Gray. Her palatial installation as a cloistered prisoner is exploited by Gray, who aggressively employs her telepathic powers to further his needs. As state property: revealed is the plan that Kathleen is a special
Slan that needs to be studied, thus thwarting her execution for the time being: a reprive. Kathleen is the favourite topic of murder, especially by John Petty (Chief of the secret police), who has cultivated a desire to eliminate Kathleen to better his ends to undermine Gray. A sycophant who pledges his allegiance to Gray to ensure his prominence, he cloaks himself in a shroud of fear and distrust. van Vogt's choice of a surname is interesting, John Petty, a sure indication of his take on life. Kathleen is a spirited, intelligent young woman who has not been crushed by cynicism as Jommy has; she compliments his demur. Gray's protective incarceration allows her free reign to some parts of the palace, whereby she can look down on the city and dream of life outside the palace ramparts. Her liberties within the court, together with her beauty, have attracted the attention of suitors. Life within the compound is anything but dull for her. She believes
Slans result from the biological change in nature, a natural progression, and she does not follow the current thought trend. Her future though sorted and perilous, are indeed astounding!
Some Shades of Gray
Not all the characters are developed to the extent of Jommy and Kathleen. Most, glossed over with modest back history, receive a relatively flat 2-D account to drive the main plot and the many sub-plots forward. One minor exception is that of Kier Gray. van Vogt entreats us with enough to establish a referential point in contrast to Jommy and Kathleen. Some information concerning his rise as Earth's dictator is essential for the reader to judge his intentions; Vogt gives us just enough not to detract or compete from the main protagonists. Minimalism further creates an air of desperate isolation (inhabits a lofty palace), while concealment prepares us for an unforeseen conclusion. van Vogt expertly navigates around Kier's mysterious Janus-like personality. Hints to his demeanour are revealed through short and forceful orates where he waxes and pontificates in the style that could be Napolean or Cicero's envy. I found Gray to be somewhat of an enigma; at times severely honest but at other times dismally disingenuine. Charismatic, the picture of the controlled restraint, accustomed to getting what he wants, superior talents and intelligence, makes those who surround and serve him feel insignificant. Kier may be leading a dystopian passive-aggressive style of government. His dictates mandated from a palace, a
Slan masterpiece, a jewel of glorious architectural triumph usurped from the
Slan after the "war of disaster," now housing Kier Gray and his"ghoulish crew'. Does he fit the job description of a general all-purpose dictator? Oh, yes. Is he motivated by power? Oh, yes. Is Kier agenda-driven? Naturally. Is he dangerous? That's open to interpretation.
Action Jommy
In the next phase of the novel, Jommy concerts his efforts into fulfiling his objective. What ensues is a fast-paced, white water rapid, knuckle-biting action, taxied by knee-jerk, impulse-motivated decisions. True to the pulps of the time, van Vogt does not skrimp on action and adventure. He stylizes Jommy's quest with battles, hi-jackings, space ships sporting nuclear armaments, stops on the Moon and Mars, and for the ladies (if any were reading science fiction pulps during the '40s), an effervescent though ephemeral splash of romance not even qualifying as puppy love! Oh well, needn't let something as banal as love interfere with the plight of a single-minded hero with little time to smell the roses! Jommy eventually storms the palace; he confronts Kier Gray, and the novel terminates in an O. Henry moment (and I don't mean the candy bar!).
When You Leave, Don't Slan the Door
My first level of atonement achieved, I feel that I can conclude with what I have gleaned from reading Slan.
First, I need to say that it managed to captivate and retain my interest in an eighty-one-year-old serialized novel. The premise of the story was fresh and original; the science a little stale. The atomic science level was in its infancy and cutting edge for its time: today, we know better. Being the intelligent readers we are, this is a simple overlook due to time's historical element. Impressive is the fact that a fellow raised in a Mennonite community with no scientific background was able to grasp some of the rudimentary concepts of physical science and discerningly use them to tell his tale; some are far-fetched, but, after all, it is fiction. Science in the novel is a subordinate vehicle telling the story and plays second fiddle to the idea that human evolution, strife, misery, and conflict rule the plot. van Vogt seems to have a working knowledge of Darwinism and skillfully uses his evolutionary theory knowledge of natural selection to propel and advance his theme. van Vogt's understanding of Darwin's concept of mutations raises him a step above what most other writers ( of the time) and how the general public understood it.
Most viewed mutations as bad or evil; genetics went astray, monstrosities that somehow crossed the survival boundaries with the audacity to survive. The public (when Slan was written) either feared, was poorly educated or ignorant of what Darwin's theory implied. Considered by many as capricious, contentious, or blasphemous many challenged this alternate way of thinking. What is not understood is often feared or ridiculed. The very word "mutation" conjures up fear of hideous biological failures. Humanity doesn't mutate?; gone awry was the lack of knowledge that some mutations guaranteed humanity's survival. What seriously needed to evolve: humanity's grasp on the definition of "mutations." Not all mutations are harmful; change is often ushered in by external forces far beyond humanity's control, often to its benefit. One of the most significant changes was the human brain's more considerable development: look at what that got us!
van Vogt broad strokes the evolutionary concept with his "tendriless"
Slans. These
Slans have mutated that they lack "tendrils" no longer morphologically resembling their ancestors, instead outwardly appearing as humans—cryptic colouration. The adage of a book by its cover comes to mind—the change results from an evolutionary skip or jump, an impulsive pressure to survive. van Vogt offers up
Slan as the possible next step in Darwinism's evolutionary journey of man: Homo sapiens var.
slan, for example. He preposes the reaction of a world unconditioned to undetectable mutations as a means to human biological evolution. An uncontrollable footprint fossilized into humanity's genetic imprint. Today, people are evolving; the steady external pressure is technology. In researching van Vogt and his novel
Slan, I was impressed that many felt that using a biological evolutionary theme might have been a first and might have had a cascading effect on future authors; van Vogt, the pioneer.
Some prophetic innovations to note are the early onset of computers, electronic filing, cabinets that yield information at a button's touch, colonization of the Moon and Mars, space rocket technology, hypnotism by crystals, heated clothing, radiotelephones, terraforming (on Mars), and wrist radios to name a few. Taken with a grain of salt, it's always fun when reading a novel elapsed by time, which became a reality, and which remained science fiction.
While reading van Vogt's novel, I could not help but compare it and the crowd-pleasing (especially among children of the Saturday matinee age) Republic serials films of the '30s and '40s. These generally consisted of a serialized story or sequels, usually shown over twelve consecutive installments; weekly until the series completion. The serial was meant to be seen in order and not as a stand-alone subject. Each episode ended in a cliffhanger enticing the audience member to return the following week for a subsequent chapter or conclusion. The audience enjoyed a story with many corkscrew plots with head-spinning non-stop action, incredible shifts of credibility and personality with fast adventure! The formulae were simple: a hero, a damsel in distress, a villain, many death-defying odds, many hairs rising escapes with the villain along with his thugs and sycophants dispatched at the end of the day. The serials' body were stories based on Westerns, science fiction (
Buck Rogers or
Flash Gordon), detective stories, comic books and dark continent adventures, to name a few. I have just described van Vogt's novel in film form; the similarities are astonishing; his story even initially appears in a serial form like the films! These are what constituted the entertainment of the times. The formula worked; it made money, people were happy. van Vogt was no stranger to this; the exception was that van Vogt had a visionary story worth reading. Yes, the basic plan was pulp, but van Vogt challenges the reader on various social levels. He uses the futuristic science fiction platform to address issues at the forefront of a world seething with change. These issues are confronted with ease if disguised as a Trojan horse: the science fiction novel. The world was coming to grips with the rise of Hilter, the clandestine effort pouring into atomic science and its mysterious implication; the science of genetics used to build a master race; the wholesale propaganda versus race and hate. Not only do these concepts darken the pages of the novel,
Slan, but they incite or arouse conviction and counterview. I do not know if this was van Vogt's objective, but if it was, he succeeded. Was
Slan written in a cautionary voice? It's hard to say. He seems to be more mindful of indifferent political leaders with idiosyncratic agendas: boot heels on democracy. He pins points to universal hate and discrimination, underscoring intolerance and ignorance. I do not feel that van Vogt's novel fully invested in the current global upheaval of the day but tested the undercurrent of racial dynamics in society. Being a secular Mennonite, he may have been writing from personal experience.
I discovered after having read the novel that it is utterly devoid of humour. I found no puns, wit or sour sarcasm that could pass as humour. Did van Vogt deliberately omit spirit as a means to justify the austere nature of his novel? If so, it adds to the rather gray, tenebrous sense of dystopian oppression so rampant throughout the book. There are some instances of irony and minimizing, but somehow I can not find it humorous. A story this stark and forbidding should offer its reader a breather now and again. Levity demonstrates the ability to cope with what could be an extraordinary formidable situation. Humour can prepare us for the unexpected "what comes next" moment; I consider it a necessary literary vehicle. Often enough, it reveals a little something about the author too.
I enjoyed my read of Slan; though dated, it still manages to strike a dissonant social chord. The story never lags. After all these years, it still resonates with thought-provoking issues and engages the mind. Understandably, a child of the pulp age, however, a story with more punch than most. I am interested in science fiction history and have read my fair share of what pulps of the '40s had to offer; believe me, this is one of the better ones. Many yesteryear pulp authors have since faded into nameless obscurity; I'm glad A.E. van Vogt was not one.
P.S. For those readers interested, The Gutenberg Project offers many pulp reprints for your enjoyment.
Note: there are a total of no fewer than five versions of this novel in print. My review is based on the original that appeared as a magazine serial, Astounding Science Fiction, 1940.
"Slans result from "the web of biological forces [that] stretch anywhere across the Earth."
~ Kier Gray
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