I think I read this as a kid |
First published in New
Tales of Space and Time, 1951, Pocket Books (ed. Raymond J
Healy).
The religious SF story
is a strange but persistent sub-genre. Off the top of my head I can
think of 'The Nine Billion Names of God' by Arthur C Clarke (featured in the current volume!), A Canticle
for Leibowitz by Walter M Miller Jr, 'Behold the Man' by Michael
Moorcock, the Hyperion Cantos of Dan Simmons and The Sparrow by Mary
Doria Russel. You could argue that Dune fits in this category, too,
and Philip K Dick and Ray Bradbury were both quite fond of the theme,
in one way or another,
These types of stories
directly address one of the key questions that Amis identifies as
being at the heart of classic SF: how do we live in a Godless
universe? I suppose an obvious answer is, 'keep believing because
nothing’s really changed.'
But with the march of
technology, religion needs to adapt and this is the story that asks,
‘could your iPad be a saint?’
This story is set in a
world where religion has been driven underground by an aggressive
atheist government, the Technarcy. In this story, the church exists
on the fringes of an society that brutally represses any religion.
I suppose it’s a bit
like those biblical epics that were so popular in the 50s – Quo
Vadis, The Robe, The Ten Commandments. In those stories the religious
heroes are always an oppressed minority struggling to worship God in
the face of vicious oppression. What does this say about America in
the 50s? Possibly it was an echo of the Holocaust in WW2, a massive
empathic outpouring of religious agony. It’s still quite a powerful
myth in America, where right wing pundits sell the lie of a
Christianity in retreat.
Our hero is Thomas, a
follower of the Pope, who’s a scuzzy old guy hanging out in the
back of a sleazy tavern somewhere. He’s charged by his pontiff to
go on a quest to find the uncorrupted body saint, rumoured to be
interred some where in the radioactive desert of a future devastated
Earth, dodging the anit-religious forces as he does so.
But this story isn’t
really about that. Instead, it’s a robot story in the classic
Asimovian mode. The robotic donkey – or ‘robass’ – that
accompanies Thomas on his quest even refers directly to the Asimov
story Reason:
‘I have heard of one robot on an isolated space station who worshipped a God of robots and would not believe that any man had created him.’
It’s a messier story
than one of Asimov’s, without his singleness of purpose. On the one
hand this gives a richer story, but on the other the point of all
gets a bit obscured by some messianic histrionics. In the end it
raises the same question that Mary Shelley first raised in
Frankenstein: is the created being a creature of God, like man? Or is
it just a soulless thing?
Themes: God, robots,
post-apocalypse, religious oppression, messianic priests
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