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| Ryan Boudinot |
I loved science fiction as an adolescent but I tended to
avoid canonical
SF authors. I’ve never read anything by
Isaac Asimov and only a
couple books by Heinlein and Bradbury. A college roommate tried to turn me on
to
Philip K. Dick but it was only after I read
Valis a couple years ago that I started enjoying his oeuvre. For as
long as I can remember I’ve had this knee-jerk reaction against canonized books
of any genre, owing to my equation of the status of “classic” with that which
is officially sanctioned by authorities who seek to neuter books of
transgressive material. I recognize this now for the straight-up snobbery that
it is, but as a kid the time I steered clear of anything my teachers approved
of.
Instead I lurked
at the fringes of the sf genre, and no writer epitomizes this fringe to me more
than
Philip Jose Farmer. I fell hard for Farmer’s
Riverworld series. It’s about a planet on which everyone who ever
lived on earth is simultaneously resurrected on the banks of a river that
stretches between the planet’s two poles. Over the course of the five novels,
we meet such real-life historical characters as Samuel Clemmons,
Hermann Göring,
Tom Mix, Cyrano de Bergerac, and Jesus (though there are lots of guys walking
around
claiming to be Jesus,
naturally). Nineteenth century British explorer Richard Burton plays a
significant role in the series, as does a stand-in for Farmer himself, a
science fiction writer named Peter Jarius Frigate. It’s up to these characters
to figure out how the hell they all ended up on this strange planet and who is
really calling the shots. At one point Clemmons builds a river boat. There are
thrilling fights with rapiers, though if you die on Riverworld you’re just
resurrected again somewhere else on the planet. Everyone carries around canisters
called grails which, three times a day, they insert into mushroom-shaped kiosks
in order to receive rations of food, marijuana, and other helpful supplies.
Among the humans are aliens with multiple testicles who--
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| Cremaster Cycle |
Okay, I’m going
to pause it here. Describing the
Riverworld
series is a lot like describing
Matthew Barney’s
Cremaster Cycle. It just sounds so far-fetched in summary. An
elevator pitch of the
Riverworld novels
might reasonably lead one to believe such a thing could never be artfully pulled
off. No one would buy it (in both senses of the term). And yet Farmer somehow manages
to craft a convincing world full of rollicking adventure and metaphysical
questions. I remember reading a library copy of the third book,
The Dark Design, in sixth grade and
being completely out of my depth yet so engrossed and committed to seeing the
book through. I finished the series while on vacation with my parents in Iowa
City, where I recall enthusiastically summarizing the plot to my dad’s college
roommate’s son, who just looked at me like I had lost my mind. Reading
Riverworld I felt like I belonged to a
secret society, a fellowship of blown minds.
I still think
about the Riverworld series often. It
sank down deep into my writing mulch and occasionally yields something useful
for my own work. In my novel Blueprints
of the Afterlife there’s something called a mystical refrigerator that
offers forth an endless supply of food on a mesa in Arizona. I can trace this device
back to the magical food-providing technology Farmer devised so that his
characters wouldn’t starve or stay sober for too long. His novels were
wonderful examples of how a writer can take the preposterous and make it seem
real, and if I’m lucky enough to wake up on the banks of the river next to
Philip Jose Farmer in the next life, I’ll be sure to thank him for writing
them.
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