Broca's Brain - Carl Sagan [81]
A rare few science-fiction novels combine extraordinarily well a deep human sensitivity with a standard science-fiction theme. I am thinking, for example, of Algis Budrys’ Rogue Moon, and of many of the works of Ray Bradbury and Theodore Sturgeon—for example, the latter’s To Here and the Easel, a stunning portrayal of schizophrenia as perceived from the inside, as well as a provocative introduction to Ariosto’s Orlando Furioso.
There was once a subtle science-fiction story by the astronomer Robert S. Richardson on the continuous-creation origin of cosmic rays. Isaac Asimov’s story Breathes There a Man provided a poignant insight into the emotional stress and sense of isolation of some of the best theoretical scientists. Arthur C. Clarke’s The Nine Billion Names of God introduced many Western readers to an intriguing speculation in Oriental religions.
One of the great benefits of science fiction is that it can convey bits and pieces, hints and phrases, of knowledge unknown or inaccessible to the reader. Heinlein’s And He Built a Crooked House was for many readers probably the first introduction they had ever encountered to four-dimensional geometry that held any promise of being comprehensible. One science-fiction work actually presents the mathematics of Einstein’s last attempt at a unified field theory; another presents an important equation in population genetics. Asimov’s robots were “positronic,” because the positron had recently been discovered. Asimov never provided any explanation of how positrons run robots, but his readers had now heard of positrons. Jack Williamson’s rhodomagnetic robots were run off ruthenium, rhodium and palladium, the next Group VIII metals after iron, nickel and cobalt in the periodic table. An analogue with ferromagnetism was suggested. I suppose that there are science-fiction robots today that are quark-ish or charming and will provide some brief verbal entrée into the excitement of contemporary elementary particle physics. L. Sprague de Camp’s Lest Darkness Fall is an excellent introduction to Rome at the time of the Gothic invasion, and Asimov’s Foundation series, although this is not explained in the books, offers a very useful summary of some of the dynamics of the far-flung imperial Roman Empire. Time-travel stories—for example, the three remarkable efforts by Heinlein, All You Zombies, By His Bootstraps and The Door into Summer—force the reader into contemplations of the nature of causality and the arrow of time. They are books you ponder over as the water is running out of the bathtub or as you walk through the woods in an early winter snowfall.
Another great value of modern science fiction is some of the art forms it elicits. A fuzzy imagining in the mind’s eye of what the surface of another planet might look like is one thing, but examining a meticulous painting of the same scene by Chesley Bonestell in his prime is quite another. The sense of astronomical wonder is splendidly conveyed by the best of such contemporary artists—Don Davis, Jon Lomberg, Rick Sternbach, Robert McCall. And in the verse of Diane Ackerman can be glimpsed the prospect of a mature astronomical poetry, fully conversant with standard science-fiction themes.
Science-fiction ideas are widespread today in somewhat different guises. We have science-fiction writers such as Isaac Asimov and Arthur C. Clarke providing cogent and brilliant summaries in nonfictional form of many aspects of science and society. Some contemporary scientists are introduced to a vaster public by science fiction. For example,