Legends of the Fall
When reading the fiction of Cordwainer Smith, I found myself making connections to Richard Matheson‘s I Am Legend. Although I would classify I Am Legend as more of a horror story than a work of Science Fiction—that being said, the genres have a tendency to overlap and a strict distinction, for this current article, is not necessary—both pieces were published in the 1950s, a time assuredly rife with psychological stress. Although we certainly witness an environment coming to terms with the potential impact of mass media and advertising (see discussion from last week’s class), I also associate the time period with the incredible mental reorganization that resulted for many due to the increased migration to the suburbs—a move that would cause many to grapple with issues of competition, conformity, routine, and paranoia. In a way, just as 1950s society feared, the threat did really come from within.
And “within,” in this case, did not just mean that one’s former neighbors could, one day, wake up and want to eat you (one of the underlying themes in zombie apocalypse films set in suburbia) but also that one’s mental state was subject to bouts of dissatisfaction, depression, and isolation. Neville (the last human in Matheson’s book, who must fight off waves of vampires) and each of the protagonists in Smith’s stories is othered in their own ways and although Smith overtly points to themes of empowerment/disenfranchisement, I could not help but wonder about the psychological stress that each character endured as a result of a sense of isolation. Martel (“Scanners Live in Vain“) fights to retain his humanity (and connection to it) through his wife and cranching, Elaine (“The Dead Lady of Clown Town“) falls in love with the Hunter and fuses with D’joan while Lord Jestocost (“The Ballad of Lost C’mell“) falls in love with an ideal, and finally Mercer (“A Planet Named Shayol“) unwittingly chooses community over isolation by refusing to give up his personality and eyesight.
Throughout the stories of Matheson and Smith, we see that the end result of warfare is a shift in (or acceptance of) a new form of ideology. (This makes sense particularly if we take Smith’s position from Psychological Warfare that “Freedom cannot be accorded to persons outside the ideological pale,” indicating that there will necessarily be winners and losers in the battle necessitated by differences in ideology.) In particular, however, I found “Scanners Live in Vain” and “The Dead Lady of Clown Town” most interesting in that their conclusions point to the mythologizing of characters (Parizianski and Elaine), which is the same sort of realization had by Matheson’s Neville as he comes to terms with the concept that although he was, in his own story, the protagonist, he will be remembered as a conquered antagonist of new humanity. Neville, like Parizianski and Elaine, has become legend.
Ultimately, I think that Smith’s stories weave together a number of interrelated questions: “What is the role of things that have become obsolete?” “What defines a human (or humanity)?” “How is psychological warfare something that is not just done to us by other, but by ourselves?” and, finally, “If psychological warfare is an act that is committed to replace and eradicate ‘faulty’ ideology, what is our role in crafting a new system of values and myths. What does it mean that we become legends?”