Laith
Beyond Apollo is the starting point for most people when it comes to Malzberg, it's probably his most widely read novel. Told from the perspective of Harry Evans, the sole survivor of a failed two man mission to Venus, Beyond Apollo is a recounting of those events. The heart of the story is about the death of the Captain of the mission, the How and the Why- Was he insane? Was it an accident? Was it self defense? The story is re-told endlessly, the details differing with each re-telling. What results is something fragmentary, the story-telling kaleidoscopic and generally not plot driven, the narrator is possibly (probably) insane and we are strapped along for the ride.
Like most of the Malzberg I've read there is no real resolution. It's never made clear if Harry is the killer, in fact nothing is ever made obvious other than the fact that he is the sole returning member of the mission. Whether it was aliens or murder or self defense, or even if the captain never really existed at all (or if Harry is himself the captain). Many of these re-tellings come in the form of interrogations by Forrest (a psychiatrist) about the “truth” of the trip, but also in the form of dream conversations. Harry is obviously scarred by his experience, and is either unwilling or unable to tell us the truth of the experience. The truth itself a subject of meta-textual gamesmanship as Harry and the Captain play a game while on the voyage in which only the telling of absolute truth will make one a winner.
There's also the Malzbergian hallmark of sexual neurosis and ineptitude. A lot of the story seemingly focuses itself on Harry's perceived lack of sexual prowess, and his obsession with the Captain's sex life and virility. There's a distinctly gay undercurrent/slant to everything, Harry's sexual dysfunction is painstakingly detailed as chapters vacillate between moments of sexual disappointment with his wife, his impotence as a result of his training, and his hypersexual observations of the Captain. It's a little much- but I can't say that it doesn't serve the story, as it's used to flesh out Harry's character and psychosis and underpins the satire.
That's right, on-top of all of that this novel is a satire critiquing the space program- something fairly unique in the bounds of SF, where mankind's grasping of the stars is typically glorified. If there's one real continuous narrative thread in this book it's the distinct anti-space stance that the developments take. To borrow the words of the novel the space program is painted as a hyper-masculine system that makes machines out of men, explicitly stated during sex with his wife: "We have been geared for efficiency. I begin to fuck her like a proper astronaut." The message seeming that the American obsession with space is ultimately rendered pointless and masturbatory. I cannot fail to note that this was published in 1972, the year which marked the cancellation of the Apollo program, and one of two books about astronauts that Malzberg published after being asked to resign as the editor of the Science Fiction Writers of America Bulletin in 1969 because of a critical editorial he wrote about the NASA space program.
I think the primary appeal of the novel is coming in its form and prose. I've never read anything formulated quite like this, it's a stand out among the other new-wave giants. This novel is fragmentary and experimental, with a plot that never resolves- something heavily postmodern and inventive in its approach. This book can be a disconcerting and tedious exercise to read, it's definitely not for everyone, and while I typically like inventive structures the lack of resolution is something I didn't much care for. I'm also decidedly in the NASA-good camp so I didn't much relish him shitting all over the space program. That said, I can see genius at work here, and I can appreciate the immense talent on display even if the book didn't cater to my particular tastes.
Beyond Apollo is the starting point for most people when it comes to Malzberg, it's probably his most widely read novel. Told from the perspective of Harry Evans, the sole survivor of a failed two man mission to Venus, Beyond Apollo is a recounting of those events. The heart of the story is about the death of the Captain of the mission, the How and the Why- Was he insane? Was it an accident? Was it self defense? The story is re-told endlessly, the details differing with each re-telling. What results is something fragmentary, the story-telling kaleidoscopic and generally not plot driven, the narrator is possibly (probably) insane and we are strapped along for the ride.
Like most of the Malzberg I've read there is no real resolution. It's never made clear if Harry is the killer, in fact nothing is ever made obvious other than the fact that he is the sole returning member of the mission. Whether it was aliens or murder or self defense, or even if the captain never really existed at all (or if Harry is himself the captain). Many of these re-tellings come in the form of interrogations by Forrest (a psychiatrist) about the “truth” of the trip, but also in the form of dream conversations. Harry is obviously scarred by his experience, and is either unwilling or unable to tell us the truth of the experience. The truth itself a subject of meta-textual gamesmanship as Harry and the Captain play a game while on the voyage in which only the telling of absolute truth will make one a winner.
There's also the Malzbergian hallmark of sexual neurosis and ineptitude. A lot of the story seemingly focuses itself on Harry's perceived lack of sexual prowess, and his obsession with the Captain's sex life and virility. There's a distinctly gay undercurrent/slant to everything, Harry's sexual dysfunction is painstakingly detailed as chapters vacillate between moments of sexual disappointment with his wife, his impotence as a result of his training, and his hypersexual observations of the Captain. It's a little much- but I can't say that it doesn't serve the story, as it's used to flesh out Harry's character and psychosis and underpins the satire.
That's right, on-top of all of that this novel is a satire critiquing the space program- something fairly unique in the bounds of SF, where mankind's grasping of the stars is typically glorified. If there's one real continuous narrative thread in this book it's the distinct anti-space stance that the developments take. To borrow the words of the novel the space program is painted as a hyper-masculine system that makes machines out of men, explicitly stated during sex with his wife: "We have been geared for efficiency. I begin to fuck her like a proper astronaut." The message seeming that the American obsession with space is ultimately rendered pointless and masturbatory. I cannot fail to note that this was published in 1972, the year which marked the cancellation of the Apollo program, and one of two books about astronauts that Malzberg published after being asked to resign as the editor of the Science Fiction Writers of America Bulletin in 1969 because of a critical editorial he wrote about the NASA space program.
I think the primary appeal of the novel is coming in its form and prose. I've never read anything formulated quite like this, it's a stand out among the other new-wave giants. This novel is fragmentary and experimental, with a plot that never resolves- something heavily postmodern and inventive in its approach. This book can be a disconcerting and tedious exercise to read, it's definitely not for everyone, and while I typically like inventive structures the lack of resolution is something I didn't much care for. I'm also decidedly in the NASA-good camp so I didn't much relish him shitting all over the space program. That said, I can see genius at work here, and I can appreciate the immense talent on display even if the book didn't cater to my particular tastes.
