A personal essay I wrote for uni about the influence two
books, 1984 and Stephen Donaldson's Lord Foul's Bane, had on my reading and
writing.
The best books, he perceived, are those that tell you what
you know already.
Winston Smith in Nineteen
Eighty-Four.
In my mid-teens, George Orwell’s novel Nineteen
Eighty-Four told me what I already suspected. It confirmed my thinking
that everyone I knew – my iffy school mates and more definite school hates, as
well my teachers and my parents – were all just like me, desperate to fit in
because they were too scared not to. Nineteen Eighty-Four was also
full of ideas about how society could be manipulated, and had me thinking what
our future world might be like. A few years later I escaped to university and
found myself surrounded by outsiders. One of them shoved Stephen
Donaldson’s Lord Foul’s Bane into my hand. It had a very flawed hero
who I identified with. Both of those books had a great effect on my future
reading as I searched for more stories that had flawed outsider characters
exploring ideas about future societies. I soon found science-fiction novels and
magazines were full of such characteristics.
In an introduction to Nineteen
Eighty-Four, Professor of Politics and Contemporary History Ben Pimlott claims
most of its characters are only two-dimensional. As a teenager, with a limited
experience of life, I can’t remember thinking the characters needed to be more
fleshed out, they seemed real enough to me. Pimlott goes on to claim that
without its political ideas, Nineteen
Eighty-Four is just an adolescent fantasy “of lonely defiance, furtive sex
and deadly terror”. I really identified with the “lonely defiance”. Winston
Smith seemed to be a lot like me, someone who didn’t fit into the world, but
unlike me, he resisted the pressure to fit in. His resistance had me questioning
my own desire to conform and accept my allotted space in society. Nineteen Eighty-Four had me wanting to
read more about outsiders who rejected the need to fit in. Outsiders who were
not so much rebelling, more just living their own versions of life.
Nineteen
Eighty-Four was much more than a call to defy my peer’s low expectations
for me. It was a novel full of ideas that sparked my imagination, and metaphors
that explained the world. Ideas like Newspeak and how language could be used to
influence and censor thought. Ideas like the Ministry of Truth and how history
could be changed to justify those in power. Ideas like Big Brother and how we
are all under surveillance and being scrutinised. Nineteen Eighty-Four had me wanting to read more idea driven books.
It also had me thinking whether future societies would be oppressive or
utopian, or something in between. At the time I read it, I was an avid fan of Doctor Who and Star Trek on television, which were shows full of outsiders, such
as the Doctor and Spock, and ideas, such as time-travel and transporters. Those
shows also explored what future societies might be like. Maybe in the future
the world will have one government, like Star
Trek’s Federation. These thoughts led me to reading science-fiction.
I soon found that science-fiction novels and magazines
are full of what I was searching for. They are full of ideas, like genetically-engineered
immortality, or living in virtual worlds. They are full of characters who don’t
fit in, such as child maths prodigy Francis Conway in George Turner’s The Sea and Summer or the genderless
clone Breq in Ann Leckie’s Ancillary Justice. Science-fiction suggests
we might colonise other planets, like in Kim Stanley Robinson’s Red Mars, or an outsider scientist might
create a virus that nearly kills everyone, like in Margaret Atwood’s Oryx and Crake. Science-fiction novels
and magazines had me hooked.
Three years after I read Nineteen Eighty-Four, I appeared to have escaped the clutches of
Big Brother to live in a residential college at La Trobe University. A fellow
escapee recommended and loaned to me Stephen Donaldson’s Lord Foul’s Bane. In that novel Thomas Covenant is magically
transported from modern day America into a world full of sorcerers, spirits,
giants, demons and humans. Covenant was brought to the land to battle the evil
sorcerer Lord Foul. There was an obvious reason for him being chosen: the
magical power of his white gold wedding ring, but why did they choose such a
flawed human being?
Covenant must be one of the most flawed heroes of
literature. Rejected by society due to his leprosy, he is bitter at his
treatment and hates himself. He still wears a wedding ring in the deluded hope
that his wife might return. Once transported to the other world, a teenager
befriends him, and he rapes her. At the time, he did not think the world was
real, while as a reader I was also trying to decide if it was “real”. Covenant doesn’t
trust himself for most of the novel, yet by the end of the novel this very
flawed character sacrifices himself to save a world that he is beginning to
think might be real. Stephen Donaldson says in fantasy the world is an
expression of its characters, so Lord Foul is an expression of the contempt Covenant
held for himself. Therefore, Covenant is battling himself. This battle within
himself had me identifying with him. On a number of occasions my real-life
emotions and uncertainty mirrored Covenant’s. He was one of the first really
flawed characters I identified with.
Lord Foul’s Bane
had me wanting to read more novels with flawed characters. It had me rejecting
a lot of American science-fiction due to its formulaic heroes: alpha males full
of moral certainty. They usually have a token flaw, like an inability to talk
to women, in an attempt to make them appear, what Professor Pimlott might call,
more than just two-dimensional. One such near flawless hero in Ben Bova’s Moonrise infuriated me so much that I
cheered when he died, suffocating alone on the moon’s surface. In my search for
more realistic characters, I found Australian science-fiction full of flawed
characters, such as Spider, a penniless, divorced and unmotivated repairman in
KA Bedford’s Time Machines Repaired
While-U-Wait.
Nineteen
Eighty-Four and Lord Foul’s Bane not
only affected what I read, they also affected what I write. I predominately read
and write science-fiction stories that are usually set in the future and
explore ideas about society through flawed characters. In my writing, many of
my main characters don’t care about fitting in. Like Winston Smith, I hope my
writing will tell many outsiders what they already know.
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