CC BY
92
DOI: http://dx.doi.org/10.20534/EJLL-17-1-52-55
Alasgarova Gunel Akif, PhD candidate, Azerbaijan/Qafqaz University, the Faculty of World literature E-mail: [email protected]
Supernatural characters in american science fiction novels
Abstract: The number of good science fiction books being published each year is very large. Science fiction in Europe, North America and to a certain extent Japan was changed from XX century but it is still actual and interesting genre. In these areas it seems clear that today the most ground-breaking, the most exciting and also the most popular science fiction takes the form of visual narrative. Through visual narrative, science fiction novels give many interesting and extraordinary ideas and characters to the readers. Analyzing and exploring these novels give us much benefit. In this article we are going to analyze science fiction history, its development, superhuman characters and three American authors.
Keywords: science fiction, fantastic literature, superhuman, supernatural, American literature, XX century.
Introduction: Although the United States of Amer- arguably become the dominant form of SF." [6. P. 9]
ica is almost a three century-years old country, it could take its honorable place among the powers of the world. "Meanwhile, the rise of science and industry, as well as changes in ways of thinking and feeling, wrought many modifications in people's lives. All these factors in the development of the United States molded the literature of the country" [12]. The US has a wide history of poetry, drama, fiction, social and literary criticism, autobiography and memoirs but in this article we are going to deal with the science fiction and superhuman characters in this genre works.
Part I. Fantastic literature has three subdivisions like science fiction, fantasy fiction and supernatural horror. Science fiction is the youngest of the three. That genre was popular all over the world in XVIII century, especially in European countries. Scientific Revolution had the biggest influence on literature in the 17th and 18th centuries. Developments in mathematics, physics, astronomy, biology, human anatomy and chemistry transformed the views of society about nature. "Science has brought us to a place where "the radical project of re-engineering ourselves moves out of the realm of science fiction and into the realm of scientific fact."" [7, P. 46] So science played influential role on literature as well. Speaking about Scientific Revolution we cannot forget about the founders or let us say fathers of this genre. French novelist, poet, and playwright Jules Verne (1828 -1905) and English writer, novelist, historian and politics Herbert Wells (1866-1946) were called the "Fathers of Science Fiction". "Jules Verne is the first genius of 'technology fiction' and by the twentieth century techno-fiction had
But in the US the father of science fiction is considered to be Edgar Allan Poe (1809-1849). "Whatever else he might have been, Poe was an unusually perceptive (if often also malicious) critic. And he was especially perceptive about his own work. Poe did not invent the Gothic tale, any more than he invented the detective story, science fiction or absurd humor" [1. P. 112] Since the late 1940s it has been by far the most popular, and the total number of science fiction titles published in book form presently exceeds that of fantasy and supernatural fiction combined.
So what is science fiction? Stories in this tradition often focus on a marvelous invention or wondrous journey; writer depicts prediction of the future, time travel, invaders from Mars, or the gift of invisibility as well as superficial characters. "Science fiction embraces such a wide variety of themes and story types — space operas, military adventures, utopias and dystopias, time travel, alternate universes, alien creatures and civilizations, mysteries, and rationalized psychic powers." [3, P. 6] Let us also mention that there is two major awards — the Hugo Award, presented at the annual World Science Fiction Convention, and the Nebula Award, selected by the Science Fiction and Fantasy Writers of America. With more than 18,000 identified books and countless short stories, we would like to focus our research on superhuman characters in American science fiction works.
Why American science fiction? It is obvious that a number of world respected writers of mainstream literature have written science fiction novels. Readers know very well the authors of this genre from Russia,
Supernatural characters in american science fiction novels
India, France, Germany, etc. But there is no clear explanation for the immense popularity of science fiction in preference to fantasy, particularly in the United States in XX century. Possibly it is because Americans are so fond of and dependent upon technology. This nation likes adventure, risk and show perseverance. "During the 1920s and 1930s, pulp fiction magazines proliferated in the United States in particular; many of them were either exclusively or at least partially devoted to scientific romances." [3, P. 5] "To describe the science fiction published in the 1940s and 1950s as 'Golden Age' is — obviously — not to use a neutral or value-free description. Another approach at definition would be to link the Golden Age to the personal taste ofJohn W. Campbell (1910-1971), who played a larger role than anyone else in disseminating prescriptive ideas of what SF ought to be. But it is as editor of Astounding (which he renamed Analog in 1961), a post he took up in 1938 and which he retained until his death, that Campbell made his greatest impact on the genre." [6] Under Campbell's influence in New York worked such writers like Isaac Asimov, Damon Knight, Frederik Pohl, James Blish, E. E. (Doc) Smith, Robert A. Heinlein, Arthur C. Clarke, Olaf Stapledon, and A. E. van Vogt. The scope of science fiction, its capacity to explore not only social and moral issues but matters of being and knowledge, is nowhere more evident than in the stories of these writers.
In science fiction novels we face unusual cast of characters — including a genetically enhanced superhuman. If the character's or protagonist's physical, mental, moral or behavioral traits surpass normal people then it can be considered superhuman. Modern readers sometimes can mix superhuman with superhero. A superhero is a type of costumed heroic character who is dedicated for fighting crime, protecting the civilians, and usually battling super villains. We can give a gallery of superheroes from American comic books like Superman, Batman, Spider-Man, Captain America, Iron Man, etc. As great Azerbaijani scientist, professor and critic G. Guliyev said: "... by time Nietzsche's superhuman turns into vulgar American supermen" [11] According to the research topic it is indeed reasonably to name Friedrich Nietzsche (1844-1900) and his bestseller novel "Thus Spoke Zarathustra". Nietzsche wrote "Thus Spoke Zarathustra", there introducing the concept of a value-creating Übermensch (English: overman). The symbol of the Übermensch alludes to Nietzsche's notions of "self-mastery", "self-direction", and "self-overcoming". Expounding these concepts,
Zarathustra declares: "I teach you the overman. Man is something that shall be overcome. What have you done to overcome him?" [9] Inspiring from Nietzsche's idea, many writers depicted superhuman in their novels. Jack London dedicated his novels "The Sea-Wolf" and "Martin Eden" for criticizing Nietzsche's concept of the Übermensch, which London considered to be selfish and egoistic. George Bernard Shaw's 1903 play "Man and Superman" is a reference to the archetype; its main character considers himself an untamable revolutionary, above the normal concerns of humanity. James Joyce utilizes the Übermensch in the first chapter of his novel "Ulysses". Most of the science fiction writers have not been outside of this idea and depicted supernatural characters in some novels.
The third question is -So what is superhuman? Superhuman abilities may result from human enhancement by genetic modification, cybernetic implants, nanotech-nology, radiation or from human evolution in the future. Most of the supernatural characters' main motivation is to save the world and population from the evil. Superhuman in science fiction novel is usually a person with an added ability, either increased intelligence or some psi power, such as telepathy. "Telepathy is the most popular psi power in science fiction and is the central theme in numerous classic novels, including Esper (1962) by James Blish, The Whole Man (1964) By John Brunner, And The Hollow Man (1992) By Dan Simmons" [3. P. 132]. In other stories the protagonists agree to submit to experiments in genetic engineering so that they will be superior to ordinary humans.
As we mention there are lots of science fiction and not science fiction novels that deal with superhuman characters. It is clear that superhuman stories deal with the emergence of humans who have abilities beyond the normal. This can stem either from natural causes such as in Olaf Stapledon's novel "Odd John", Theodore Sturgeon's More Than Human, and Philip Wylie's "Gladiator" or be the result of scientific advances, such as the intentional augmentation in A. E. van Vogt's novel "Slan" and Robert Heinlein's "Friday", "Beyond the Horizon". In any case we would like to dive into the amazing analysis of superhuman characters in three American science fiction novels.
Part II. Stapledon, Olaf (1886-1950). The next great science fiction writers after H. G. Wells was Olaf Stapledon (1886 to 1950), whose four major works like Last and First Men (1930), Odd John (1935), Star Maker (1937), and Sirius (1940) introduced a myriad of ideas. "Olaf Stapledon (1886-1950) was, despite his
Scandinavian name, a British writer, who took a PhD in Philosophy from the University of Liverpool in 1925." [6. P. 169] Olaf Stapledon's preoccupation with philosophical issues was apparent in his non-fiction even before he turned his hand to fiction. His first novel is actually a speculative essay. Last and First Men (1930) is the history of human evolution over the course of the next two billion years, our expansion into space, the alterations in our physical nature, and the gradual modifications of our mental and personal attributes. Although the story hints at some devices that would later become popular in the genre-genetic engineering, for example-these concepts were treated in passing and without detailed consideration of the consequences. A sequel, Last Men in London (1932), is a more conventional novel, with an evolved human traveling back through time to visit out era. Odd John: A Story Between Jest and Earnest (1936) was one of the first and is still one of the most effective stories of the birth of a superhuman. "The novel explores the theme of the Übermensch (superman) in the character ofJohn Wainwright, whose supernormal human mentality inevitably leads to conflict with normal human society and to the destruction of the utopian colony founded by John and other superhumans." [14] John's advantages are all in the mind — not the body — but normal humans sense that there is something different about him and, later, those similar to him. [5]Ultimately the two strains of humanity separate, and the more evolved minority dies rather than compromise its more highly evolved ethical state. Writer's "Darkness and the Light" (1942) also involves superhuman theme.
Alfred Elton van Vogt (1912-2000) was a Canadian-born science fiction author whose favorite themes included alien monsters, time travel paradoxes, and superhuman and virtually every plot device popular in the pulp magazines of that time. Most of the novels of A. E. Van Vogt have not aged well. His first novel, Slan (1940), is still his best-known and possibly best written novel. This story is about mutants living hidden among ordinary humans to avoid persecution. The most notable exception was Slan, his first novel, and which remains his best-known creation. Slan was awarded the Retro-Hugo Award for Best Novel for 1941. This novel is in part a coming-of-age story that involves secret plots and psi powers, handled in a much less melodramatic fashion than in his later work. Jommy Cross is a slan, a mutant, part of a deliberately created variation of humans who were designed originally to help solve a series of crises that threatened the entire human race.
They have the psychic abilities to read minds and are super-intelligent. [8] "Because slans are physically and mentally superior to normal humans, even without their psi powers, they eventually became the objects of fear and hatred and were driven underground, hunted, and killed by normal people. It was easy for audience to identify with a character alienated from almost everyone else in the world, and the phrase "fans are slans" was in wide use even in the 1970 s." [3, P. 350] The other best selections of writer are contained in Destination Universe (1952), Monsters (1965), More Than Superhuman (1971), M33 in Andromeda (1971), The Worlds of A. E. van Vogt (1974), and The Best of A. E. vanVogt(1976).
Frederik Pohl (1919 -2013) was an American science fiction writer, editor and fan who was named 12th recipient of the Damon Knight Memorial Grand Master Award in 1993. He was inducted by the Science Fiction and Fantasy Hall of Fame in 1998 and won the Hugo Award for Best Fan Writer in 2010. We will discuss his work "Man Plus" which won the Nebula Award for Best Novel in 1976. "Frederik Pohl addresses the problem in a slightly different fashion in this short story. He describes his characters in familiar human terms, but tells us that they are metaphors for alien attributes that we probably could not understand" [3, P. 112] In order to more effectively colonize Mars, some human immigrants are fitted with a number of artificial enhancements designed to allow them to live outside the domed colonies. [4] The transformations have a psychological effect as well, one the planners had not anticipated. As a writer and satirist, he demonstrated how the field could be used to examine current issues by exaggerating them, and he gave us a surprisingly large number of major stories and novels.
Conclusion: The twentieth century, to borrow a phrase from W. H. Auden, was mostly an "Age of Anxiety". In that century science fiction developed and boomed as the deep integration of science and inventions into daily life. It encouraged a greater interest in literature that explores the individuals, aliens and supernatural characters. People are interested in doing what they would not have thought possible. One solution to this lies in the widespread knowledge of superhuman abilities due to stories (in novels, comics, movies or science fiction) which appeal to writers' overactive imaginations. Many writers have produced stories in which none of the characters are human, at least in physical form. It is very difficult to create a plausible nonhuman culture, but some worldwide Ameri-
To the problem of communicative and artistic-aesthetic features of the dialogical speech...
can outstanding writers could do it. In this paper, we ent and have social problems. They struggle for live
understand "supernatural" characters as superior and and humanity. Thought they have special features and
extraordinary. The portrayal of supernatural protago- abilities, they are not happy, they suffer. Yes they are
nists is of particular interest. Such kind of characters strong, healthy, well-organized but not safe or happy.
postulates a distinction between human and outer Being normal human being can make them satisfied.
world.We tried to analyze briefly superhuman charac- While reading and analyzing the life of protagonists
ters in Alfred van Vogt's "Slan", Olaf Stapledon's "Odd we can come to conclusion that it is advantage to be
John", Frederik Pohl's "Man Plus". All three are differ- normal human and live mortal life.
References:
1. A History OfAmerican Literature/By Richard Gray, American Literature since 1945/Signs and scenes of crime, science fiction and fantasy - 2004-USA, - 911 p.
2. A History Of American Literature - 1950 to the present by Linda Wagner-Martin/Science Fiction and Alternative Worlds - 374 p.
3. Encyclopedia of science fiction. Don DAmmassa. - New York - 2005. - 538 p.
4. "Man Plus" Frederik Pohl. Millennium Paperbacks, imprint of Gollancz - (April 1976) - 215 p.
5. "Odd John" Olaf Stapledon. August 1st - 1975 by Garland Publishing. - 191 p.
6. The History of Science Fiction. Adam Roberts. Palgrave Histories of Literature. England - 2006. - 387 p.
7. Science and Technology Options Assessment. Human Enhancement Study. Brussels - May - 2009. - 202 p.
8. "Slan" A. E. van Vogt. Simon & Schuster edition - 1951. - 164 p.
9. Thus Spoke Zarathustra, Prologue, § 3, trans. By Walter Kaufmann. - New York: Random House; reprinted in The Portable Nietzsche, New York: The Viking Press, - 1954 and Harmondsworth: Penguin Books, - 1976.
10. URL: https://americanliterature.com/
11. URL: https://www.azadliq.org/a/2207702.html
12. URL: https://www.britannica.com/art/American-literature
13. URL: http://www.sfandfantasy.co.uk/php/the-big-3.php
14. URL: https://en.wikipedia.org/wiki/Odd_John
DOI: http://dx.doi.org/10.20534/EJLL-17-1-55-59
Bekbergenova Ziyada Utepovna, candidate of Philological Sciences, seniyor researcher of the Department of the Karakalpak Folklore and Literature Karakalpak Research Institute of Humanities Nukus sity, Republik of Karakalpakstan, Uzbekistan, E-mail: [email protected]
To the problem of communicative and artistic-aesthetic features of the dialogical speech (on material of novels of the Karakalpak writers)
Abstract: Conversation on the phone presented in the speech composition of the Karakalpak novels. In this article the problem of communicative and art and esthetic function of dialogue by phone as one of forms of the dialogical speech is investigated.
Keywords: dialogical speech, the dialogue by phone, personage's replicas, communicative and artistic-aesthetic function.
