Dead Girls, Dead Boys, Dead Things | Cythera | |
Richard Calder | ||
St. Martin's Press, 409 pages | St. Martin's Press, 311 pages |
|
A review by David Soyka
But as R.D. Laing used to argue, in a lunatic reality only the crazy people are sane.
As crazy as Calder's fictional reality (actually, there are multiple, though linked, realities)
may be, it aptly reflects our own materialist-narcissistic culture. Dead Girls, Dead Boys, Dead Things
depicts a mid-21st century society consumed by its own consumerism: "designer dolls"
(fully functioning androids) transmit a virus through sexual relations with humans that
eventually infects female offspring, slowly transforming these children into dolls, beginning
at about the time of puberty. Hence the term, "Dead Girls" (and, as you might gather from
the full title, the virus progresses to cross genders). The metamorphosed dolls gradually
turn completely into automata, and die by their early 20s. They are virus carriers, and
consequently under quarantine, although some manage to escape to Thailand (some things in
the sex business never change). When the Human Front gains political power, it is no longer
a question of quarantine, but of eradication.
Did I mention that Calder has written a love story? With a happy ending, no less.
Calder's work has been variously described as "cyberpunk" (which has become a catch-all term
for any non-linear narrative that in any vague way deals with techno-biological enhancements
of humanity), "splatter-punk" (explicit sexually-related violence), and vampire fiction
(the mutation of girls into dolls includes the growth of fangs to suck blood and infect
humans). Perhaps it's not surprising that Calder has inspired yet another in the now
rather tired series of "punkisms" -- this time, it's "necro-punk" (a character performs
cunnilingus on the removed sex organs of his deceased doll girlfriend, to give you an
idea). My own take is that Calder is an avatar of Philip K. Dick, employing these various
genres to further develop notions of alternate realities and states of being, mixed with
a hefty dash of Eastern mysticism. (I resist calling that "Dick-punk," as much as
I like the double entendre.) In an
interview with Richard Calder,
he cites as influences Marcel Proust, Angela Carter, Vladimir Nabokov, Michael Moorcock and Mervyn Peake, as
well as Buddhism, which helps gives you a picture of the strange brew here.
Reading Calder is tough-sledding for a variety of reasons. The explicit violence can be
off-putting, although it's hardly gratuitous. Indeed, the detailed descriptions of murder
and evisceration eventually become tedious, taking to an extreme our own culture's obsession
with violent images and subsequent desensitization to brutality.
Another is the curious fact that Dead Girls, Dead Boys, Dead Things was originally
published as three separate volumes of a trilogy. While Dead Girls could stand alone
(not an uncommon trait for most trilogies), Dead Boys not only seems an unfinished work
(also not uncharacteristic of trilogies), it is virtually incomprehensible without the
framing first and third stories. Needless to say, Dead Things won't have near
the impact it does without reading the first two stories.
Someone randomly picking up Dead Boys could easily fail to get through the
first few chapters; moreover, I suspect the same bewilderment could happen
to someone who had already read,
and even liked, Dead Girls. My advice: hang in there. The rewards are there in reading this as
a single, complete (409 page) novel, if you're willing to undergo
some difficult parts. Of course, that's the way it is with a lot of literature, you
know, like the things you have to read in college. But don't let that put you off, either.
Cythera is published as a novel, although the narrative is constructed the same way
as the trilogy -- three stories (with different narrators) of seemingly disparate
characters and events that ultimately link-up. There's considerably less graphic
violence, although we're in the same fictional world of Dead Girls, Dead Boys, Dead Things;
indeed, Cythera features two minor characters from the earlier work, and it might be
difficult to follow certain parts without first having read the trilogy. Even
then, it's difficult to follow in parts.
Cythera posits several Earth realities (numbered 1, 2, and 3), which may or may
not be computer-generated simulacrums, that begin to interact with one another. Computer
programs (called ghosts) from Earth-2 have managed to download themselves as corporeal
beings in Earth-1. One character pursues his relationship with a ghost by committing
suicide and downloading his consciousness into Earth-2. Meanwhile, a film producer
who believes he's been abducted by aliens and had his consciousness altered in some
insidious fashion is searching for Earth-3, thought to be an ultimate reality
called "Cythera."
I'm unsure of what this name is supposed to mean. The way it is
pronounced -- sith-er-ah -- connotes "synthetic," and certainly there is a
lot synthetic in the novel, from the ghosts and automata to the concept of
reality itself. There's nothing about the title I could find that might be related to
Oriental mythology, which you might expect given Calder's interest in
Buddhism. There might, however, be a Greek connection. According to
Liddell and Scott's Greek-English Lexicon (and thanks to Neil Walsh for
pointing this out):
By the way, this is also a love story.
I haven't even begun to touch on the various tropes and themes Calder's work deals
with. Often, he's quite funny. There are a host of sly allusions to pop culture, SF, pulp, and noir movies.
At times he seems compelled to make obvious his otherwise obliquely stated themes,
which I think distracts a bit from the effect, as if he needs to make sure
we "get it." At times, I'm not always sure I've gotten it, but I also think that's part of the point.
In my review of The Dreams Our Stuff Is Made Of,
Thomas Disch champions Edgar Allan Poe as
the originator of science fiction, as opposed to Mary Shelly's more literary
Frankenstein. One element that Calder
certainly shares with Poe is what Disch describes as "grossness" -- vivid descriptions
of putrefaction and death that make the reader uncomfortable not only within his
own skin, but within larger human society. In this, Calder succeeds only too well (in
the Dead trilogy, there's a joking reference to a dance club with an
"Edgar Allan Poe" motif). In Cythera, however, the connection with
Frankenstein -- and literary ambition -- is all the more clear. The search for
Cythera begins and culminates in Antarctica, reminiscent of Dr. Frankenstein's
own final chase of the monster in the frozen tundra. Equally significant, at
one point the major character is addressed as "a monster."
Make no mistake about it, this is a literary work in the fine tradition of
Mary Shelley. If you have any interest at all in science fiction that presents
serious art, you must read Richard Calder. As Herman Melville might have said,
prepare for some rough sailing, but the prospect of transcendentally tranquil
seas on the horizon make it well-worth the voyage.
David Soyka is a former journalist and college teacher who writes the occasional short story and freelance article. He makes a living writing corporate marketing communications, which is a kind of fiction without the art. |
![]() ![]() ![]() ![]() ![]() |
If you find any errors, typos or anything else worth mentioning,
please send it to editor@sfsite.com.
Copyright © 1996-2014 SF Site All Rights Reserved Worldwide