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rave end of the spectrum, In Pursuit of Valis: Selections from the ‘Exegesis’ (1991), edited by Lawrence Sutin.

      Dick remains irreplaceable. One can name at least six of his novels which are startlingly good, witty and dark, in which even what is monstrous is treated with human sympathy: The Three Stigmata of Palmer Eldrich, Martian Time-Slip, The Man in the High Castle, A Scanner Darkly, Flow My Tears, The Policeman Said, and Valis. While they are interesting, the non-SF novels are thinner; Dick needed the bitter lemon of futurity in his potion.

      With Martian Time-Slip in particular I have a rather long relationship. After protracted dealings, I secured for this beautiful complex novel its first hardcover edition. That was in 1976. In the same year, I was in contact with Stanley Kubrick, and suggested to him that Dick’s novel would make an excellent film. Nothing came of the suggestion.

      In the 1980s, having founded the small company of Avernus Ltd with Frank Hatherley, I started negotiations with those at the top of Paramount UK for a movie. The heads were keen: then the heads started to roll. But I had opened protracted negotiations for an option on film and TV rights in the book. These I eventually bought. We’re talking now about the 1990s.

      As a bit of agitprop, or agit-pop some might say, I wrote the imaginary conversation, Kindred Blood in Kensington Gore, which Avernus published as a pamplet in 1992. This represents Dick in the Afterlife. I have performed this surreal piece several times on stage, with two gallant actresses playing the multiple roles of Dick’s father, his sister, and VALIS itself. The ladies are Petronilla Whitfield in England and Colleen Ferro in the USA.

      By this time, we had the TV Drama department of the BBC interested. More than interested, enthusiastic and involved, once they clearly understood this was not just a tacky length of sci-fi. Martian Time-Slip was to be a five-part mini-series produced with serious resources behind it. Given 250 minutes or so of air time, one can serve up more than one plot; characters and backgrounds get a chance to emerge. Not only were the BBC thoroughly behind it, but we managed to secure a considerable investment from Europe.

      Hours, days, weeks, months, were taken up with various negotiations. Those who have written screenplays will know it is an elaborate, protracted business, not without its own dreadful attractions, every word being weighed in the balance, every page being written over and over.

      Changes were overtaking the BBC as we wrote. Knowing how brilliant it was, knowing we already had the script editor’s approval and support, we delivered the first of five episodes. This was late in 1993. We were informed after some delay that the drama department wished to take the development no further. Martian Time-Slip was out in the cold.

      Of course Frank and I have not given up. But two years of my working time have gone down the drain. For this reason, I must return to my own work and leave this article unmodified. Sorry, Phil!

       SCIENCE FICTION’S MOTHER FIGURE

       I

      My scrutiny of Mary Shelley’s Frankenstein: or, The Modem Prometheus in Billion Year Spree in 1973 overturned a few old formulations and jerry-built temples. My argument was and remains that the beginnings of real science fiction can plausibly be identified in that novel. Here is no idle wonder; here is a man taking control of what was previously in the provenance of nature alone. Two decades on, and my once heterodox view has won wide favour.

      Since Billion Year Spree was published, we have learnt more about the author of Frankenstein. Once regarded merely as the second wife of Percy Bysshe Shelley, Mary Shelley now shines forth as a vital part of the Romantic movement, and her most famous novel as a vital document of feminism.

      Mary Shelley has become almost an industry. I list at the end of this article some of the most crucial books on and about the subject of the author and her circle.

      The industry has also allowed us to know some of the other players better. The shelves are already well-filled with books on Byron and Shelley; now we can see more clearly the absent mother, Mary Wollstonecraft, and that far from absent Claire Clairmont, bane and bosom friend of Mary Shelley. Both remarkable women, living in times that often seemed against them.

      A portrait of Mary Wollstonecraft by Sir John Opie shows a moody and passionate woman. Her Scandinavian letters are back in print again, to demonstrate her wild nature and descriptive powers. This true Romantic document, published in 1776, also contains a thought for the future which must have interested her daughter when she came upon it.

      Wollstonecraft writes from the coasts of Norway. The passage, from Letter xi, runs as follows:

      I anticipated the future improvement of the world, and observed how much man had still to do, to obtain of the earth all it could yield. I even carried my speculations so far as to advance a million or two of years to the moment when the earth would perhaps be so perfectly cultivated, and so completely peopled, as to render it necessary to inhabit every spot; yes; these bleak shores. Imagination went still farther, and pictured the state of man when the earth could no longer support him. Where was he to fly from universal famine? … The images fastened on me, and the world appeared a vast prison.

      Wollstonecraft bore two daughters. One, Fanny, was fathered by an itinerant American, Gilbert Imlay. The second was fathered by William Godwin, born in 1797, and named after her mother.

      In Anthony Burgess’s novel, Beard’s Roman Women (1977), there is a passage where Beard, the central character, meets an old girlfriend in an airport bar. Both work in ‘the media’; they discuss Byron and Shelley, and she says ‘I did an overseas radio thing on Mary Shelley. She and her mother are very popular these days. With the forces of woman’s liberation, that is. It took a woman to make a Frankenstein monster. Evil, cancer, corruption, pollution, the lot. She was the only one of the lot of them who knew about life …’

      Even today, when our diet is the unlikely, Mary Shelley’s Frankenstein seems extremely far-fetched; how much more so must it have appeared on publication in 1818. Yet Beard’s girlfriend puts her finger on one of the contradictions which explain the continued fascination of Frankenstein. It seems to know a lot about life, whilst being preoccupied with death.

      A preoccupation with death was undoubtedly an important strand in the character of the author of Frankenstein. Marked by the death of her mother in childbirth, she was haunted, at the time of writing Frankenstein, by precognitive dreads concerning the future deaths of her husband and children. By embodying this psychic material into her complex narrative, she created what many regard as that creature with a life of its own, the first SF novel.

      Of course, it is a mongrel novel. But modern SF/fantasy is at its best when, like a mongrel, it runs barking down the road of present-day imagination. It’s a mongrel art.

      Frankenstein is generically ambivalent, hovering between novel, Gothic, and science fiction. To my mind, precisely similar factors obtain even today in the most celebrated SF novels. Heinlein’s Stranger in a Strange Land contains magic; Anne McCaffrey’s dragon novels hover between legend, fairytale, and science fiction. Is Greg Bear’s Blood Music nanotechnological or allegorical? ‘Pure’ science fiction is chimerical. Its strength lies in its hybrid nature.

      Where the central strength of Frankenstein lies is hard to say. We may admire the paintings of Picasso and feel intensely for them without knowing precisely why; some things lie beyond analysis. But just as many Picasso canvasses betray his ferocious anger, so a similar emotion burns in the darkness of Mary Shelley’s pages. She rails against the injustice of the world.

      The elements of fairy story are here; ‘Red Riding Hood and the Wolf’ comes to mind. Here are the same dark irrational codes: sex, death, domination, secrecy. Our fear of the monster fights with our pity, as our sympathy for Victor must struggle against our dislike of him. Will the wolf eat Red Riding Hood—or she him?

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