Speaking of stimulation, did any of the psychoactive drugs of the sixties give you any clues for your writing?
I suppose I’m a medium-to-heavy drinker, but I haven’t taken any drugs since one terrifying LSD trip in 1967. A nightmarish mistake. It opened a vent of hell that took years to close and left me wary even of aspirin. Visually it was just like my 1965 novel, The Crystal World, which some people think was inspired by my LSD trip. It convinced me that a powerful and obsessive enough imagination can reach, unaided, the very deepest layers of the mind. (I take it that beyond LSD there lies nothing.) Imagination is the shortest route between any two conceivable points, and more than equal to any physical rearrangement of the brain’s functions.
Back in the sixties, Martin Bax and yourself, as editors of Ambit magazine, ran a drug competition.
Dr. Bax and I ran a competition in Ambit for the best prose or poetry written under the influence of drugs, and it produced a lot of interesting material. In general, cannabis was the best stimulant, though some good pieces came out of LSD. In fact, the best writing of all was done by Ann Quin, under the influence of the contraceptive pill.
Dr. Bax is a novelist as well, isn’t he?
Martin is a physician, a research pediatrician, and consultant to a London hospital, and his book The Hospital Ship (published in the States by New Directions) is the most remarkable and original novel I’ve come across since reading William Burroughs.
Burroughs wrote an eccentric and laudatory, in its way, introduction to the American edition of Atrocity Exhibition. Do you know him?
Burroughs, of course, I admire to the other side of idolatry, starting with Naked Lunch, then Ticket, Soft Machine, and Nova Express. I’m less keen on his later books. In his way he’s a genius. It’s a pity that his association with drugs and homosexuality has made him a counterculture figure, but I suppose his real links are with Jack Kerouac, Allen Ginsberg, and the Beats. Still, I think he’s much more of an establishment figure, like Dean Swift, with a despairing disgust for the political and professional establishments of which he is a part. I have met Burroughs quite a few times over the last fifteen years, and he always strikes me as an upper-class Midwesterner, with an inherent superior attitude towards blacks, policemen, doctors, and small-town politicians, the same superior attitude that Swift had to their equivalents in his own day, the same scatological obsessions and brooding contempt for middle-class values, thrift, hard work, parenthood, et cetera, which are just excuses for petit-bourgeois greed and exploitation. But I admire Burroughs more than any other living writer, and most of those who are dead. It’s nothing to do with his homosexual bent, by the way. I’m no member of the “homintern,” but a lifelong straight who prefers the company of women to most men. The few homosexual elements in Crash and Atrocity Exhibition, fucking Reagan, et cetera, are there for reasons other than the sexual—in fact, to show a world beyond sexuality, or, at least beyond clear sexual gender.
Book shelves series #13, thirteenth Sunday of 2012: Four by the late great Russell Hoban. A few Philip K. Dick volumes, although it’s worth pointing out that most of the good stuff I’ve owned by him has been loaned out and never returned and/or exists in ratty coverless mass market editions. PK Dick transitions to William Burroughs to JG Ballard (another writer who I used to own other books by before they were dispersed . . .). Martin Bax’s The Hospital Ship is a thoroughly obscure volume in a Ballardian/Burroughsian vein; it deserves a reprint. Gardner, Brodkey, Gass, Kosinski. I’ve owned Raymond Carver’s Cathedral since high school, or maybe freshman year of college. It’s all the Carver that any library needs. Lish comma Gordon. Two by Malcolm Lowry. Two by Barry Hannah. Four from Sam Lipsyte.
The Carver and Kosinski volumes are part of the 1980s Vintage Contemporaries line that all feature awful, hyper-literal covers. I have about a dozen such volumes and I’m planning a piece on them in the future. Observe:
We published this list last year under the heading “Ten Excellent Dystopian/Post-apocalyptic Novels That Aren’t Brave New World or 1984“, but what with the Rapture going down and all, why not post it again, this time with links to pieces we’ve written on these novels—
2. Camp Concentration, Thomas Disch
3. A Clockwork Orange, Anthony Burgess
Two Visions of Apocalypse: Margaret Atwood’s The Year of the Flood and Martin Bax’s The Hospital Ship
I finished Martin Bax’s surreal dystopian romance The Hospital Ship last night and then finished the audiobook version of Margaret Atwood’s hyperreal dystopian anti-romance The Year of the Flood today. Both books take their cues from that first apocalypse story, the story of Noah and his ark, and continue that tradition imagining a version of the end of the world. Despite their mythical-biblical origins, such books tend to get ghettoized into a certain genre of science fiction — let’s call it apocalypse fiction — despite the artistic power or literary merit of the author’s prose itself. Apocalypse books like Kurt Vonnegut’s satire Cat’s Cradle, Cormac McCarthy’s The Road, and Aldous Huxley’s Ape and Essence diverge in style, tone, and execution. It’s their subject that compels us, each vision a proposition, a promise of some kind of future, a future after the future. Many of these apocalypse books remain prescient today. However, others feel dated simply because so much of what the author wrote twenty or fifty or more years ago more or less came true. For instance, is the homogenized, greenzoned aristocracy of Brave New World who lavish in the trivial culture of the feelies and centrifugal bumblepuppy all that different from contemporary exurbanites who basically live in walled-off compounds, little homogenized townships that strive to exist outside of civic reality and history? Robert Siegel’s recent report for NPR on the The Villages, an eerie Florida compound for senior citizens, illustrates how willing people are to buy into a company-owned, company-governed greenzone. The Villages even has its own whimsical fake “history,” complete with markers and plaques. It’s like The Prisoner or something. But enough about real life. We have apocalypse lit to tell us about the present.
The heroes of Atwood’s The Year of the Flood are not, for the most part, from the corporate-controlled compounds that keep the rest of the world at bay. There’s Toby, the orphan who grows up tough yet learns the healing arts. There’s Ren, a young girl trying to find her identity wherever she can. There’s their would-be spiritual guide, Adam One, and his lieutenant/rival Zeb. They are outsiders, members of an eco-cult called The Gardeners who worship saints like Rachel Carson, Ernest Shackleton, and Sojourner Truth. Flood is the sprawling companion to Atwood’s 2003 novel, Oryx and Crake, which I enjoyed very much. Both take place in a world where the “Waterless Flood,” a SARS/mega-flu type virus brought about via genetic tinkering, has turned most people into zombie-goo. I could go and on about the world Atwood shapes here, one full of genetic modification, eco-terrorism, religious fervor, and radical disparity, but other folks have already done it. So, in the grand tradition of internet laziness, I point you to excellent reviews here and here, which do a better job explicating the plot than I’m willing to do now (and it was an audiobook, remember, so I don’t exactly have it in front of me. Mea culpa). Apocalypse lit isn’t so much predictive as it is descriptive of the contemporary world, and Atwood’s dystopian vision is no exception. Viscerally prescient, Flood paints our own society in bold, vibrant colors, magnifying the strange relationships with nature, religion, and our fellow humans that modernity prescribes. Atwood ends her book in media res, with Toby and a handful of other characters somehow still alive, ready, perhaps, to become stewards of a new world. Flood concludes tense and, in a sense, unresolved, but Atwood implies hope: Toby will lead her small group to cultivate a new Eden. Despite all the ugliness and cruelty and devastation, people can be redeemed. The audiobook rendition of The Year of the Flood is very good, employing three actors to play the three principal roles, Ren, Toby, and Adam One. There are also terribly cheesy full-band versions of the hippy-dippy songs the Gardeners like to sing on certain Saint Days that are witty as parody but ultimately distracting. Atwood’s prose sometimes relies on placeholders and stock expressions common to sci-fi and YA fiction, and her complex plot (disappointingly) devolves to a simple adventure story in the end, but her ideas and insights into what our society might look like in a few decades are compelling reading (or, uh, listening in this case). Recommended.
The doctors, specialists, sailors, and patients of the titular vessel in Martin Bax’s The Hospital Ship are afloat in their own greenzone of sorts, a moving compound that seeks to treat the troubled world. What’s the trouble with the world? No one’s sure, exactly–there’s permanent all-out-war, of course, famine perhaps, insanity for sure. There’s also a bizarre army of bureaucrats going from continent to continent crucifying men and raping women for no clear reason. The ship’s psychiatrists diagnose it “The Crucifixion Disease.” Euan, Bax’s erstwhile lead, tries to figure out how to love and how to heal in the middle of hate and extinction. Aided by the eccentric, Falstaffian Dr. Maximov Flint, Euan conducts an experimental therapy between a Moi prostitute named V and a suicidal Wall Street broker named W. He also finds a lover and partner in an American girl named Sheila. About half of The Hospital Ship comprises citations from a variety of non-fiction texts, including medical textbooks, psychiatric studies, sociology texts, travelogues, war diaries, and more. The technique is bizarre and jarring, and Bax often imitates the style of such texts, most of which linger on sex or death. There’s also an obsession with the Vietnam War, which makes sense as the book was published in 1976. There’s a lovey-hippie type vibe to the hospital ship’s personnel, and like Atwood with her Gardeners, Bax is satirical and loving to his heroes at the same time. He mocks some of the silly idealism of the movement even as he finds solace in their vision of love and healing in an apocalyptic world. Bax’s book is wholly weird, disconnected, lurching and farcical, a madcap dystopian Love Boat on peyote. I spotted it at my favorite used bookstore, intrigued first by the (now retro-)futurist font, then the name, echoing Chris Adrian’s The Children’s Hospital, another book about a hospital-as-ark. If the black-and-white collage cover art didn’t seal the deal, then the blurb from J.G. Ballard comparing Bax favorably to William Burroughs did. Burroughs is an appropriate reference point, with the sexual alienation and the medical flavor and the cut-up technique and all, but Bax’s writing is utterly Ballardian (he even directly cites Ballard among other authors–like, you know APA style in-text citations). The Hospital Ship is a cult novel which might not have a big enough cult. It definitely belongs in print again; until then, pick up a copy if you can find one.