Samuel Butler: Erewhon: or, Over the Range
SAMUEL BUTLER, WELL educated, clear-thinking, oppressed by his father, had been heading for a career as a clergyman, but between his life at home and his work in a London parish after university, he lost his faith. Later, he was to write in his Notebooks, "As an instrument of warfare against vice, or as a tool for making virtue, Christianity is a mere flint implement."
And something of his attitude toward family life can be deduced from a notebook entry on the family: "I believe that more unhappiness comes from this source than from any other — I mean from the attempt to prolong family connection unduly and to make people hang together artificially who would never naturally do so."
Not surprisingly, Butler fled from his family to New Zealand in 1859. His four-year spell running a sheep ranch there gave him time to read (Darwin among others) and think about the world he had left. When he returned to England in 1864 and wrote about his imagined world of Erewhon, he included details from the New Zealand he had seen: landscape, manners, aspects of the native population — the people of Erewhon are superficially reminiscent of the Maori.
One of the virtues of Erewhon is its evocation of landscape, its powerful and persuasive sense of place. It opens, and proceeds, like a classic Victorian travel book, describing a once empty land that although colonized still has a great unknown and mountainous hinterland, which exists as a temptation: "I could not help speculating upon what might be farther up the river and behind the second range." With the help of a native, Chowbok, the narrator, Higgs, sets off for the ranges, discovering a material culture and a dark-skinned population who he speculates might be part of the lost tribes of Israel. Before he can decide on anything concrete, he is brought before a magistrate and some others who are disturbed by the appearance of his pocket watch. Some broken machinery in the town's museum indicates that the people have a horror of anything mechanical. Higgs is put in prison.
The inhabitants seem to him no further advanced than "Europeans of the twelfth or thirteenth century." He learns the language. He makes friends. Later he mentions that he has a cold — a mistake: "illness of any sort was considered in Erewhon to be highly criminal and immoral," and he is punished.
After three months in prison Higgs is released, to visit the metropolis and its College of Unreason, where he learns that one of the professors has written a book warning of the possibility that "machines were ultimately destined to supplant the race of man." There also exists a class of men "trained in soul-craft." They are called "straighteners." But what Butler goes on to describe is a society much like that of the Victorian England he knew, yet without a tyrannizing religious sense.
"The Book of the Machines," which Higgs quotes extensively, warns against "the ultimate development of animal consciousness" — what we would call artificial intelligence. The rights of animals are also described: animal rights are protected.
At last Higgs escapes in a hot-air balloon, and we are left to reflect on the fact that his descriptions of machines, banks, criminality, and animals have echoes in Darwinism, the church, and Victorian law; that the "straighteners" have their counterparts in doctors and priests; that the seemingly distant place he has described is not so distant.
Henri Michaux: Voyage to Great Garaban
HENRI MICHAUX, WHO was born in Belgium in 1899 and lived most of his life in France, where he died in 1984, is an obscure figure at the fringes of surrealism, known for his poems, his odd short stories, his hectic journeys, his strange paintings and drawings, and most of all for his experiments with practically every drug known to man. He probably had more acid in his body than the average car battery. Hallucinatory experiences and drug dreams were his chosen recreation as well as his access to a higher consciousness and a heightening of his imagination.
Because of the intensity of his vision, and his humor, it is hard to sort out his actual travels from his drug trips. He spent a decade on the move, from 1927 to 1937. His travels in China, Japan, and Malaysia in the thirties resulted in A Barbarian in Asia, little more than a travel diary. Ecuador, which appeared in France in 1968, is also diaristic but more personal and relentless — angry, impatient, cranky, highly readable, and still relevant. Michaux's books are hard to find; he is obscure now as he was in his lifetime; in spite of his achievement, he never enjoyed any fame or material success, but he said he didn't care.
"There exists a banality of the visionary world," he wrote in The Major Ordeals of the Mind, and the Countless Minor Ones, first published in French in 1966. (Michaux's titles are superb.) This suggests to me that his imaginary travels are based more on his actual travels than on his drug trips. Even so, it is impossible to tell from some of his works whether he is describing a lived experience or a dream state.
In three books, gathered under the one title Ailleurs (Elsewhere), he wrote about three imaginary countries. The works are Voyage to Great Garaban, In the Land of Magic, and Here Is Poddema. One of the pieces in his book Spaced, Displaced is called "Journey That Keeps at a Distance," the sort of trip that is so full of frustrations, incomplete encounters, and half-baked impressions that it resembles that of the travel writer who arrives in a place and finds nothing to write about except frustration — one of the less readable sorts of travel books.
Voyage to Great Garaban, first published in 1936, illustrates another feature of imaginary travels: the detailed sociology and anthropology of such places; the politics, the history. When a traveler invents a place, he or she usually describes more of the place and its people than if it were real. So the land of the Hacs, in Garaban, is described as a set of brutal spectacles, each with a number, and growing in violence. There is hand-to-hand combat (vicious street fighting, families battling in muddy swamps), animals attacking humans (an entertainment), and animal fights ("caterpillars that were ferocious, and demon canaries"). Some Hacs make an attempt to kill their king for the sole purpose of being arrested and condemned to death, and for the splendor of being executed in style—"Spectacle Number 30 which is called 'Receiving one's death in the Palace courtyard.'"
Though the anonymous traveler doesn't condemn these outrages, he flees the Hacs and moves on to the Emanglons. He describes the Emanglons as an anthropologist would, even using the heading "Manners and Customs." We learn of their death rituals, the implications of sickness, their contempt for work and its danger ("After a few days of sustained labor an Emanglon will be unable to sleep"), their odor ("a complex perfume"), their tendency to weep for no reason, their aversion to flies: "Emanglons cannot endure living in the same room with a fly. In their eyes the cohabitation has something monstrous about it."
The Hivinizikis, the last group in Great Garaban, are manic, furiously rushing about, praying madly and prostrating themselves. Unbalanced, in a froth, they are "always outdoors. If you see someone inside, he doesn't live there. No doubt about it, he's visiting a friend." Everything about the Hivinizikis is hectic — religion, politics, the theater, all is rough-and-tumble.
Michaux had traveled fairly widely in the world before he wrote his imaginary travels, so these tales are both satires of actual travel and comic fantasies. As a surrealist Michaux is keenly aware of the necessity for satire to be absurd; even when a narrative is not understood, it must bring a smile to the reader's lips. In a scholarly introduction to Michaux's Selected Writings (1944), Richard Ellmann quotes André Gide, a supporter of Michaux, saying that Michaux "excels in making us feel intuitively both the strangeness of natural things and the naturalness of strange things."