LITR 4632: Literature of the Future

Sample Student Final Essay 2003

Sandra Murphy

LITR 4632 2003 Final

There is an endless array of possible “scenarios of the future.” These scenarios vary greatly in substance, appeal, and scope, and these future scenarios could be evaluated or prioritized in any number of ways. One possible way to evaluate “scenarios of the future” might be by asking the question – “What would Plato think?”

Plato, and many who followed him, believed the world was a balance, or blend, of two distinct realms. The first realm was one of ideals, ideas, and abstractions. The second realm was one of matter; this realm was concrete and particular. Many of the future scenarios studied in this class could fit into one or both of these realms.

Two of the short stories covered in class fit particularly well into the realm of the abstract. They are “The Logical Legend of Heliopause and Cyberfiddle” by Richard Goldstein and “The Onion and I” by Thomas Fox Averill. In both of these stories the world of form (matter) is unimportant, almost non-existent. What matters in the confines of the Warren Beatty and in the carefully constructed Project Bidwell is not concrete form or matter but the pure abstraction of virtual reality.

Citizens of the Warren Beatty and Project Bidwell are taught to de-value and dismiss the concrete. They are “programmed” to prefer the abstract. Thus, when young “sprat Pryer” asks about life before Heliopause, before the Warren, he is cut off quickly. (p. 163-4) “Those are silly questions, Student Pryer,” answers his teacher. Similarly, when each new family is accepted to become a part of Project Bidwell all personal items, including pets, have to be discarded. Actual items will be replaced by virtual items only. Life will be replaced by cyberlife.

Conversely, several of the stories covered in class fit well into the realm of the concrete. In “Newton’s Sleep” by Ursula K. Le Guin there is no room for abstraction on SPES. Their world is built on hard, cold reason and fact. In “Drapes and Folds” by Audrey Ferber the situation is similar. The beauty and texture of Pearl’s fabric is illegal-irrelevant. Everyone will wear the Bracie – a static, utilitarian garment with disease – fighting properties.

The realm of the concrete takes on a more ominous tone in The Time Machine by H.G. Wells. In the future visited by the Time Traveller, the Eloi and Morlocks have lost the ability to abstract. Their world is what it is, and it is difficult even to hope for improvement. Decline and destruction appear inevitable.

Similarly, in the story “Speech Sounds” by Octavia E. Butler, humans are forced to live in the realm of the purely concrete. A mysterious illness has robbed humankind of the ability to communicate and, in many cases, to reason. Abstract thoughts of justice, truth, and fair play will not save Rye or Obsidian. Their only hope lies in the cold, hard steel of a gun.

Neither the world of pure abstraction with its cyberpets and virtual restaurants nor the world of the solidly concrete with its lack of self-expression and beauty are particularly appealing. Perhaps Plato, with the wisdom of the ancients, knew that the world and its inhabitants needed the balance of both realms. This possibility is certainly borne out in many of the stories covered in class.

In “Chocco” by Ernest Callenbach, the River People live a life that celebrates the value of the abstract and the concrete. They understand the necessity of physical labor and respect the value of knowledge and revere the concept of community. Likewise, in “House of Bones” by Robert Silverberg, the villagers labor to build shelters, gather food, and hunt throughout the day while their nights are spent in community and celebration with poetry and song.

Successful future scenarios and worlds appear to require just such a balance. Jonathan Lazerus, in his student presentation, spoke of a sort of utopia that was not perfect. Instead, it allowed for choices within distinct areas or societal constructs. As humans, we crave both those choices and those constructs. We need the abstract and the concrete. We require self-expression and restraint. Thus, Pryer ultimately rejects the total abstraction of the Warren. (p. 179) He discards “all links, even his simhelm,” and finds contentment within the balance of the concrete reality of the violin and the soaring abstract beauty of the music. And Ike Rose, walks away from the concrete, reasonable, sterile world of SPES to climb an invisible mountain to make peace with his rebellious daughter and the ghost of his mother.

Abstract and concrete, ideas and forms, both are necessary to create and sustain a human world. Plato surely knew this, and we would do well to remember it as we move toward the future.