I have often imagined a review that never ends, that contains every review that has ever been or ever will be written, snaking on and upward, from ruminations on Gilgamesh to who knows what works the future will bring. But it’s not this one, this is just one of the leaves in that review to come, that has never been and perhaps never will…

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It is common to describe science fiction as a literature that projects the concerns of the present into an imaginary future. From this perspective, there are those critics and fans that hail science fiction as the royal road to all that is unconscious in the present. Left or right, hard or soft, SF flows from the space-time of its composition. How else could it be? Unless, perhaps, the author was themselves caught up in an SF story, like a hapless protagonist in a Barry Malzberg story, little suspecting their present was doubly fictional, caught in a reductio ad absurdum with appropriate recursive details.

Like most clichés, this well-worn one that SF is just about its present has a lot going for it. We are encouraged to decode the concerns of the author to find traces of our world in their fantasies of tomorrow. What’s less clear, to my mind, is why we should only be concerned with the present as some type of absolute fact of composition.

Our present reality is a strange science fictional beast indeed. It recalls to me Karl Marx’s belief that in capitalist societies the ‘past dominates the present’. Marx’s argument was that by virtue of the twin principles of social organisation in capitalism, the accumulation of wealth by way of the exploitation of wage labour, the past comes to dominate the present. More poetically he put it thus: ‘The tradition of the dead generations weighs like a nightmare on the minds of the living’. The situationists called this ‘dead time’. The experience of wage labour—with its dull rhythms and repetitions subservient to the needs of business and wealth—is it most obvious manifestation.

Once the entire planet had been made over, industrialised into a single market in the nineteenth and twentieth centuries, science fiction appeared to cheer this vision and chase it across the Earth and the dream of beyond. Dead time is the true subject matter of science fiction, just as science fiction is the poetry of dead time. SF sings of technological alienation, of rockets and of man. Which is not to say that it does not have its own beauty. At its best, SF dreams of overcoming the present dominated by the past; at worst, it endlessly projects the living death of the capitalist present ever on into a future without respite.

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The past dominates the story in Downward to the Earth. However, Silverberg endeavours to interrogate this dominance, in the guise of the central protagonist, Edmund Gundersen, and his quest for the redemption of past sins. Indeed, the author does not spare us with a flattering image of our present projected into his fictional future. And yet, in the person of Gundersen, he holds out the possibility of meaningfully reckoning with the missteps of past crimes.

The outline of the story is simple. Gundersen returns to the planet Belzagor to seek redemption. In the course of this tale, he travels upriver to the Mist Country where the inhabitants undergo a mysterious rebirthing ceremony. There, the possibility of transcendence beckons—a familiar trope in this high period of Silverberg’s writings (1967-75). Along the way, Gundersen revisits the old places of the colonial occupation and some of the people who remained behind. In the guise of these characters, old friends, colleagues, a former lover, Seena, and his travelling companion Srin’gahar, an indigenous Nildoror, Gundersen successively throws off the memories of a past that still weighs upon him.

Belzagor. That’s what they called the planet now. The native name, the nildoror’s own word. To Gundersen it seemed like something out of Assyrian mythology. Of course, it was a romanticized pronunciation; coming from a nildor it would really sound like Bllls’grr.[1]

A revealing episode near the outset of Gundersen’s journey upriver is given in a brief discussion between him and his travelling companion, Srin’gahar, the Nildoror. Scratching a map into the dirt, Gundersen attempts to engage Srin’gahar in a discussion regarding the course of their journey. Quickly, we discover that for the Nildoror the map is quite literally not the territory. Bereft of analogues of the human hand, not only do the Nildoror have no written language, equally they have no experience of the abstractly symbolic, whether picture or text. It is in this passage, and later, in the even more elusive chapter on the mysteries of rebirthing, that Silverberg truly renders the alienness of his aliens. No doubt humanity lived its long dream without need or desire for a written language until relatively recently, and yet along the way it fashioned abstract symbols all the same. The idea of an alien intelligence without any need or desire for such abstraction, and so perforce literally at one with their ephemerality, intrigues me no end. Indeed, it reminds me of Guy Debord drawing attention to the systematic abstraction that is entailed in our world of dead time and the commodity-spectacle:

Workers do not produce themselves, they produce a power independent of themselves. The success of this production, the abundance it generates, is experienced by the producers as an abundance of dispossession. As their alienated products accumulate, all time and space become foreign to them. The spectacle is the map of this new world, a map that is identical to the territory it represents. The forces that have escaped us display themselves to us in all their power.[2]

Under the influence of the Nildoror, Gundersen’s journey from his past as a colonial agent is clearly a movement from the map to the territory, from abstraction downward to the earth.

The worldbuilding of Belzagor is one of the most astonishing aspects of the novel. The two sentient species Silverberg populates the planet with, the elephant-like Nildoror and the less seen Yeti-like Sulidoror, are well realised. One could perhaps mistake Silverberg for merely fashioning yet more dubious versions of racist stereotypes. Certainly, the Nildoror and Sulidoror are variously represented as noble, and sometimes savage. But they are never merely this. Silverberg uses them as more than simply a foil to the ‘civilised’ Gundersen. Indeed, Gundersen’s desire to understand the significance of the rebirthing ceremony points to a more potent message that is suggested, in part, in the Debord quote above. It is not that we have simply lost something in the fall into civilisation and abstract culture; rather, the desire to overcome abstractions as truly abstract and wholly autonomous, remains an urgent need.

Unfortunately, Silverberg is unable to extend his sensitivity for the colonised to a more full-blooded representation of human women, or rather the only significant woman in the story: Seena, Gundersen’s former lover. I’m not the first to remark on this common failing of Silverberg. To my mind this is precisely a failing of his future imaginary, his succumbing to the worst ideas and practices of the time in which the novel was composed. Which is all the more striking considering that Silverberg was not insensitive to the stupidities and impositions of hierarchical society. To be fair to him, he is not completely unaware of his failings in this regard. For instance, consider the dolphin protagonist of ‘Ishmael in Love’ (1970), and his somewhat hilarious if still limited comments on the nature of heterosexual male desire in the human. And once one gets past the voyeuristic male gaze that has no equal in his descriptions of Gundersen and the other men in the novel, Seena is more than a simple carboard cut-out as one finds written by too many of Silverberg’s male contemporaries.

In part, Silverberg’s models Gundersen’s quest upon that of Marlowe’s in Joseph Conrad’s Heart of Darkness. He even goes so far as to include a character called Kurtz, who like his namesake in Conrad’s novel operates as a narrative pivot, but nonetheless somewhat differently in Silverberg’s story.

Given the influence of Conrad, what is striking about the human empire that had once ruled Belzagor is its antiquated character. It is patently modelled upon the colonial empires of the 19^th and 20^th centuries—most obviously, upon the Congo that had only gained its independence from Belgium some 8 years before Downward to the Earth was published. Considering that Silverberg has little to say about the whys and wherefores of this empire of the future, I will forgive him this anachronism. Simply because he does not use the empire in the usual science fictional way, as a somewhat exotic backdrop that too often affirms the prerogatives and crimes of the actual empires that litter our history. Refreshingly, Silverberg interrogates the brutal truth of empire, on Earth as much as in his fictional setting—and so perforce as it is often unthinkingly used in SF.

Another clear influence upon Silverberg’s novel is the work of J. G. Ballard. One episode, in which Seena tells Gundersen about the fate of a co-conspirator of Kurtz, reminded me of Ballard’s story, The Crystal World:

He was staying at Fire Point, and went out into the Sea of Dust and got some kind of crystalline parasite into a cut. When Kurtz and Ced Cullen found him, he was all cubes and prisms, outcroppings of the most beautiful iridescent minerals breaking through his skin everywhere. And he was still alive. For a while.[3]

Ballardian tropes are scattered throughout the novel. The Drowned World is here, shipwrecked in Belzagor’s humid jungle, alongside other evocations of ruin and cold melancholy: the dilapidated hotel, the abandoned, overgrown colonial stations, the futility of struggling against entropy. Downward to the Earth is at once homage and elaboration that wears its influence proudly.

I believe that another, more obscure force worked itself upon Silverberg here. It can be found in the suffixes that Silverberg used for his indigenous aliens: the Nildoror, Sulidoror, and especially the dumb Malidaror, a ‘semi-aquatic mammal’ that we briefly encounter in chapter four. They all, especially the latter, seem to descend from the unspeakable lineage of the eponymous protagonist of that strange, disquieting nineteenth century anti-novel, Les Chants de Maldoror by the Comte de Lautréamont. Am I merely imagining this? I know that Silverberg had some encounter with Lautréamont. He is mentioned in passing in his much-admired novel Dying Inside. Though again, perhaps he betrays the influence of Ballard. In a Vermillion Sands short story, ‘Cry Hope, Cry Fury’ (1967), Ballard has his protagonist not only reading Les Chants de Maldoror, but appropriately dogged by a Maldororian character. Of course, I may be wrong regarding the influence of Lautréamont upon Silverberg. I hope—inevitably a wretched and sickly hope—that the connection exists. And if you don’t believe me, as Lautréamont remarks in the final line of Maldoror, go and see for yourselves.[4]

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I first read Robert Silverberg as an 8- or 9-year-old. It was his first novel, Revolt on Alpha C, published 1955. It is a very different beast to Downward to the Earth. And yet there are structural similarities. Both novels revolve around a choice made by the protagonist, one that must lead either to destruction or transformation—or possibly both.

Revolt on Alpha C is a kids book with classic SF tropes: dinosaurs, rayguns, space-time overdrive and thus, necessarily, rocket ships. It became one of my early templates for SF—which is no bad thing. Remarkably, for my childish and impressionable mind, it had a positive representation of revolution, based upon the Revolutionary War in North America in the 1770s and 80s. Thank you, Robert Silverberg. And thank you, decade of the 1970s, and for the many and varied realities and representations of revolution and revolutionaries in the mass popular culture of the day, even if most of them were cast as dastardly and bad. Silverberg’s was an exception. Come join the revolution on another planet, he said. Was it this call that lodged in my infant brain?

My tumble into Silverberg’s work, though long, has been occasional. After reading and rereading Revolt on Alpha C as a child, I didn’t read him again for many years, and not so successfully. I recall trying to read The Time Hoppers (1967) and not finding it of much worth. Though this review makes it sound like a cool, Philip K Dick gem of a story—could I have been so wrong? Horses for courses as they say. A slew of excellent Silverberg short stories from the mid-sixties made me realise that I was perhaps being unfair by thinking of him fondly only for that slight tale of Space Academy Patrol cadets Larry Stark and Harl Ellison of the starship Carden mucking about on Alpha C IV. And please excuse me for thinking that it is more than merely a coincidence that the ship’s name is also a nom de plume of Cornelius Castoriadis, sometime revolutionary and theorist of Socialisme ou Barbarie. For with a mind made of correlations and paranoias what else could it be?

It wasn’t until I read the excellent ‘Passengers’ (1968), and then not long after Hawksbill Station, both novella and novel in rapid succession, that it was confirmed for me that Silverberg was worth more than a cursory look. But even then, I was confused, mostly because I had read both versions of Hawksbill together. To my mind the novella is the better realisation. The novel adds superfluous detail that only detracts from the horror at the centre of the story. Reading it so soon after the excellent novella only detracted from the latter. And so more years passed before I found myself here. And on my way I recently read the review of Hawksbill Station at Weighing a pig doesn’t fatten it. Reading and talking about Silverberg got me to thinking and wanting to read and talk some more about Silverberg. Good fortune: I already had a copy of Downward to the Earth. And so, my review. Is it here that it begins just when it looked like it was ending?

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FOOTNOTES

[1] Robert Silverberg, Downward to the Earth, London: Pan Books, 1978 [1969], p. 7 (chapter 1).

[2] Guy Debord, The Society of the Spectacle, trans. Ken Knabb, Berkeley: Bureau of Public Secrets, [1967] 2014, thesis 31.

[3] Silverberg, Downward to the Earth, p. 97 (chapter 9).

[4] Comte de Lautréamont, ‘Maldoror [1869],’ in Maldoror & the Complete Works of the Comte de Lautréamont, Cambridge, MA: Exact Change, 2011, p. 219. Translation modified. Note that if Silverberg used an English translation of Maldoror before 1970 he would not have had access to Alexis Lykiard’s excellent version. The only widely available English translation at the time was Guy Wernham’s 1943 version, newly reprinted in a 1966 New Directions paperback. I can see a project taking shape: perusing all citations of Maldoror in science fiction, hidden or explicit. Written up, it would resemble Ballard’s superlative short story, ‘The Index’ (1977).

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