Broca's Brain - Carl Sagan [82]
One science-fiction writer, L. Ron Hubbard, has founded a successful cult called Scientology—invented, according to one account, overnight on a bet that he could do as well as Freud, invent a religion and make money from it. Classic science-fiction ideas are now institutionalized in unidentified flying objects and ancient-astronaut belief systems—although I have difficulty not concluding that Stanley Weinbaum (in The Valley of Dreams) did it better, as well as earlier, than Erich von Däniken. R. De Witt Miller in Within the Pyramid manages to anticipate both von Däniken and Velikovsky, and to provide a more coherent hypothesis on the supposed extraterrestrial origin of pyramids than can be found in all the writings on ancient astronauts and pyramidology. In Wine of the Dreamers, by John D. MacDonald (a science-fiction author now transmogrified into one of the most interesting contemporary writers of detective fiction), we find the sentence “and there are traces, in Earth mythology … of great ships and chariots that crossed the sky.” The story Farewell to the Master, by Harry Bates, was converted into a motion picture, The Day the Earth Stood Still (which abandoned the essential plot element, that on the extraterrestrial spacecraft it was the robot and not the human who was in command). The movie, with its depiction of a flying saucer buzzing Washington, is thought by some sober investigators to have played a role in the 1952 Washington, D.C., UFO “flap” which followed closely the release of the motion picture. Many popular novels today of the espionage variety, in the shallowness of their characterizations and the gimmickry of their plots, are virtually indistinguishable from pulp science fiction of the ’30s and ’40s.
THE INTERWEAVING of science and science fiction sometimes produces curious results. It is not always clear whether life imitates art or vice versa. For example, Kurt Vonnegut, Jr., has written a superb epistemological novel, The Sirens of Titan, in which a not altogether inclement environment is postulated on Saturn’s largest moon. When in the last few years some planetary scientists, myself among them, presented evidence that Titan has a dense atmosphere and perhaps higher temperatures than expected, many people commented to me on the prescience of Kurt Vonnegut. But Vonnegut was a physics major at Cornell University and naturally knowledgeable about the latest findings in astronomy. (Many of the best science-fiction writers have science or engineering backgrounds; for example, Poul Anderson, Isaac Asimov, Arthur C. Clarke, Hal Clement and Robert Heinlein.) In 1944, an atmosphere of methane was discovered on Titan, the first satellite in the solar system known to have an atmosphere. In this, as in many similar cases, art imitates life.
The trouble has been that our understanding of the other planets has been changing faster than the science-fiction representations of them. A clement twilight zone on a synchronously rotating Mercury, a swamp-and-jungle Venus and a canal-infested Mars, while all classic science-fiction devices, are all based upon earlier misapprehensions by planetary astronomers. The erroneous ideas were faithfully transcribed into science-fiction stories, which were then read by many of the youngsters who were to become the next generation of planetary astronomers—thereby simultaneously capturing the interest of the youngsters and making it more difficult to correct the misapprehensions of the oldsters. But as our knowledge of the planets has changed, the environments in the corresponding science-fiction stories have also changed. It is quite rare to find a science-fiction story written today that involves algae farms on the surface of Venus.