Atwood on theological narrative in SF

This is five years old, but I think it's worth citing. Margaret Atwood muses about science fiction:

More than one commentator has mentioned that science fiction as a form is where theological narrative went after Paradise Lost, and this is undoubtedly true. Supernatural creatures with wings, and burning bushes that speak, are unlikely to be encountered in a novel about stockbrokers, unless the stockbrokers have been taking a few mind-altering substances, but they are not out of place on Planet X. The form is often used as a way of acting out the consequences of a theological doctrine. The theological resonances in films such as Star Wars are more than obvious. Extraterrestrials have taken the place of angels, demons, fairies and saints, though it must be said that this last group is now making a comeback.

We want wisdom. We want hope. We want to be good. Therefore we sometimes tell ourselves warning stories that deal with the darker side of some of our other wants. As William Blake noted long ago, the human imagination drives the world. At first it drove only the human world, which was once very small in comparison to the huge and powerful natural world around it. Now we're close to being in control of everything except earthquakes and the weather.

Read the whole thing here.

I just discovered that in September 2009 Atwood published a sequel/companion piece to her thought-provoking dystopia Oryx & Crake, entitled The Year of the Flood. One of the main characters is Adam One, leader of God's Gardeners (a group blending environmentalism with religion) which appeared briefly in the earlier novel. I recall Atwood sympathizing with the God's Gardeners point of view in an interview she did on O&C. I imagine she wanted to explore these ideas a bit further. The promotional website for the novel lists a number of books on the environment, religious history, and green spirituality.

The Year of the Flood includes fourteen hymns sung by the GGs. A composer has written music for them, and a companion CD has been released. Apparently at least one of the stops on Atwood's book tour took place in a Anglican cathedral and featured a choir singing some of these hymns.

A million alien Gospels

But in the eternities
Doubtless we shall compare together, hear
A million alien Gospels, in what guise
He trod the Pleiades, the Lyre, the Bear.

O be prepared my soul!
To read the inconceivable, to scan
The myriad forms of God those stars unroll
When, in our turn, we show to them a Man.

The final two verses of an elegant little poem entitled Christ in the Universe. It was written by Alice Meynell, a British writer, suffragist and convert to Catholicism. She lived from 1847 to 1922.

I'm reminded of Ray Bradbury's longer poem Christus Apollo, which includes the lines:

Christ wanders in the Universe
A flesh of stars,
He takes on creature shapes
To suit the mildest elements,
He dresses him in flesh beyond our ken.
There He walks, glides, flies, shambling of strangeness.
Here He walks Men.
Among the ten trillion beams
A billion Bible scrolls are scored
In hieroglyphs among God’s amplitudes of worlds;
In alphabet multitudinous
Tongues which are not quite tongues
Sigh, sibilate, wonder, cry:
As Christ comes manifest from a thunder-crimsoned sky.
He walks upon the molecules of seas
All boiling stews of beast
All maddened broth and brew and rising up of yeast.
There Christ by many names is known.

PS: This is news to me, but apparently Christus Apollo was set to music in 1969 by the prolific film score composer Jerry Goldsmith.

Jamaican Echoes

As they worked, Case gradually became aware of the music that pulsed constantly through the cluster. It was called dub, a sensuous mosaic cooked from vast libraries of digitalized pop; it was worship, Molly said, and a sense of community.

from Neuromancer, by William Gibson.

I want to point out a great new CBC radio documentary about dub music. You can listen to it at the Inside the Music Audio Archive - it's called Jamaican Echoes, and it's about an hour long. It does a good job of explaining what dub is, how it developed, and how it spread around the world. Dub techniques and innovations created by Jamaican artists went on to influence huge swathes of contemporary music, from hip-hop to disco to punk to bhangra, not to mention most any style of electronic music you care to mention.

I would've liked some mention of nyabinghi drumming but I suppose that would involve explaining lots of other facets of reggae music. It's a great introduction nonetheless, and includes excerpts from many classic tracks. Be sure to crank up the bass before you listen to it, or you'll miss the point entirely.

I can't be entirely sure, but I think my first introduction to dub was reading Neuromancer, so I've always been focused on both the mystical and science-fictional elements of the music.

PS: For further exploration of the original dub remixing process, you might want to check out this podcast. It contains 21 different versions of Jackie Mittoo's Drum Song.