Broca's Brain - Carl Sagan [80]
I have the same trouble with Star Trek, which I know has a wide following and which some thoughtful friends tell me I should view allegorically and not literally. But when astronauts from Earth set down on some fardistant planet and find the human beings there in the midst of a conflict between two nuclear superpowers—which call themselves the Yangs and the Coms, or their phonetic equivalents—the suspension of disbelief crumbles. In a global terrestrial society centuries in the future, the ship’s officers are embarrassingly Anglo-American. Only two of twelve or fifteen interstellar vessels are given non-English names, Kongo and Potemkin. (Potemkin and not Aurora?) And the idea of a successful cross between a “Vulcan” and a terrestrial simply ignores what we know of molecular biology. (As I have remarked elsewhere, such a cross is about as likely as the successful mating of a man and a petunia.) According to Harlan Ellison, even such sedate biological novelties as Mr. Spock’s pointy ears and permanently querulous eyebrows were considered by network executives far too daring; such enormous differences between Vulcans and humans would only confuse the audience, they thought, and a move was made to have all physiologically distinguishing Vulcanian features effaced. I have similar problems with films in which familiar creatures, slightly changed—spiders thirty feet tall—are menacing the cities of the Earth: since insects and arachnids breathe by diffusion, such marauders would asphyxiate before they could savage their first city.
I believe that the same thirst for wonder is inside me that was there when I was ten. But I have learned since then a little bit about how the world is really put together. I find that science fiction has led me to science. I find science more subtle, more intricate and more awesome than much of science fiction. Think of some of the scientific findings of the last few decades: that Mars is covered with ancient dry rivers; that apes can learn languages of many hundreds of words, understand abstract concepts and construct new grammatical usages; that there are particles that pass effortlessly through the entire Earth so that we see as many of them coming up through our feet as down from the sky; that in the constellation Cygnus there is a double star, one of whose components has such a high gravitational acceleration that light cannot escape from it: it may be blazing with radiation on the inside but it is invisible from the outside. In the face of all this, many of the standard ideas of science fiction seem to me to pale by comparison. I see the relative absence of these things and the distortions of scientific thinking often encountered in science fiction as terrible wasted opportunities. Real science is as amenable to exciting and engrossing fiction as fake science, and I think it is important to exploit every opportunity to convey scientific ideas in a civilization which is both based upon science and does almost nothing to ensure that science is understood.
But the best of science fiction remains very good indeed. There are stories so tautly constructed, so rich in accommodating details of an unfamiliar society that they sweep me along before I even have a chance to be critical. Such stories include Robert Heinlein’s The Door into Summer, Alfred Bester’s The Stars My Destination and The Demolished Man, Jack Finney’s Time and Again, Frank Herbert’s Dune and Walter M. Miller’s A Canticle for Leibowitz. You can ruminate over the ideas in these books. Heinlein’s asides on the feasibility and social