-Stanislaw Lem
The Futurological Congress
In Gun, With Occasional Music, author Jonathan Lethem marries hard-boiled pulp noir with dystopian sci-fi satire. Imagine if Jim Thompson wrote Brave New World (or if Aldous Huxley wrote The Killer Inside Me). I feel like a Philip K. Dick comparison would be particularly apt here, but I've never read any Dick, so I'm not going to make that comparison. But I feel like it's at least in the ball park.
Gun, With Occasional Music follows the misadventures of a private investigator named Conrad Metcalf, who has been hired by a murder suspect to clear his name. The victim? Metcalf's last client, the rich and successful urologist Maynard Stanhunt. Metcalf navigates a near-future Oakland, populated by gangsters, molls, crooked Inquisitors (i.e. the police), and evolved animals (including a particularly aggressive kangaroo mob enforcer named Joey). As the case progresses, Metcalf finds himself in a tangled web obsession, drugs, and violence that threatens to be his undoing in any number of fashions.
There are two things about Gun, With Occasional Music that are immediately striking. First is Lethem's prose, aping old hard-boiled dime store noir. Second is the near-future world he creates, a twisted take on a future recalling Brave New World that is both funnier and more horrifying than anything in Huxley's classic.
Lethem's prose is all hard-boiled dime novel. For instance, opening to a random page I find: "When the door closed, he turned to me and his eyes lit up for a second, and he came towards me with a fist coiled up at his waist, and smashed me right in the middle of the stomach. It was the closest thing to language that had passed between us. I guess I should have been grateful to the guy for opening himself up to me like that." To be perfectly honest, the overly self-conscious dime novel prose was distracting at first, but soon I gave myself over to the fun Lethem was having playing with pulp conventions. The prose is undoubtedly cool, and Lethem both buys into that cool and subverts it. One of the best running bits throughout the book is Metcalf's penchant for metaphor. Depending on how on top of his game he is at a given moment, Metcalf's metaphors drip with pulp cool or completely fall flat. This reoccurring bit sums up why Lethem's noir writing works, it can drip with cool, it can be silly, but it's always fun and always amazing.
Lethem's portrait of a near future Bay Area will be broadly familiar to anyone who's read any dystopian literature, but the particulars of his vision can be both haunting and hilarious. The closest predecessor to Lethem's dystopia would have to be the aforementioned Brave New World. In Lethem's future, everyone is on "make," a psychologically deadening class of drugs that include Acceptol, Avoidol, Forgettol, and similar variants. Politeness has been taken to such extremes that asking questions requires a license and any improprieties are punishable by law, specifically by reducing an individual's state-monitored "karma" (a sort of social currency). Nerve-swapping is both funny and more than a little unsettling. The evolution of the news media is so bizarre and amazing that describing it here wouldn't do it justice. I almost laughed out loud when I reached the moment where the title comes from.
And, of course, there is evolution. Animals can be scientifically "evolved," giving them the mental capacity of humans, leading to everything from child-surrogates, sex slaves, and the occasional kangaroo mob enforcer. The most horrifying aspect of Lethem's future, though, has to be the baby-heads. Baby-heads are infants that have gone through the same forced evolution as the animals, leading to a subculture of drug-addled, cynical, alcoholic infants who speak in surreal nonsense and riddles. Metcalf's trip to a baby-head bar is far and away the most memorable moment in the book, a cross between a crack house, an opium den, a flop house, and a dive bar, populated entirely by talking infants.
Gun, With Occasional Music is a quick, wonderful read. It is funny, scary, engrossing, confusing, and above all, entertaining. I would recommend it to anyone who likes detective stories, science fiction, satire, or simply good books.
"…Then, in small, unshaven, whispering groups, the men of science came sauntering through the gate, more slowly and diffidently than their humble assistants, and dispersed down different corridors, scraping the paint off the walls as they passed. Gray-haired, umbrella-carrying school-boys, stupefied by the pedantic routine and intensely revolting experiments, riveted by starvation wages their whole adult lives to these little microbe kitchens, there to spend interminable days warming up mixtures of vegetable scrapings, asphyxiated guinea pigs, and other nondescript garbage.
They themselves, when’s all said and done, were nothing but monstrous old rodents in overcoats. Glory, in our time, smiles only on the rich, men of science or not. All those plebeians of Research had to keep them going was their fear of losing their niches in this heated, illustrious, and compartmented garbage pail. What meant most to them was the title of official scientist, thanks to which the pharmacists of the city still trusted them more or less to analyse, for the most niggardly pay incidentally, their customers’ urine and sputum. The slimy wages of science.
Arriving in his compartment, the methodic researcher would spend a few moments gazing ritually at the bilious, decaying viscera of last week’s rabbit, which was on classic and permanent display in one corner of the room, a putrid font. When the smell became really intolerable, another rabbit would be sacrificed, but not before, because of the fanatic thrift of Professor Jaunisset, who was then Secretary General of the Institute.
Thanks to this thrift, some of the rotting animals gave rise to unbelievable by-products and derivatives. It’s all a matter of habit. Some of the more practiced laboratory technicians had become so accustomed to the smell of putrefaction that they would have had no objection to cooking in an operational coffin. These modest auxiliaries of exalted scientific research sometimes outdid the thrift of Professor Jaunisset himself, taking advantage of the Bunsen burners to cook themselves countless ragouts and other, still riskier concoctions.
After absently examining the viscera of the ritual guinea pig and rabbit, the men of science slowly proceeded to the second act of their scientific daily life, the smoking of cigarettes. Thus they strove to neutralize the ambient stench and their boredom with tobacco smoke, and managed, from butt to butt, to get through the day. At five o’clock they put the various putrefactions back in the ramshackle incubator cabinet to keep them warm. Octave, the technician, hid the string beans he had cooked behind a newspaper to get them safely past the concierge. Subterfuges. Taking them home to Gargan all ready for supper. The man of science, his master, was still writing a little something, diffidently, doubtingly in one corner of his laboratory book, with a view to a forthcoming and utterly pointless paper that he would feel obliged to present before long to some infinitely impartial and disinterested Academy and that would serve to justify his presence at the Institute and the meager advantages it conferred.
A true man of science takes at least twenty years on an average to make the great discovery, that is, to convince himself that one man’s lunacy is not necessarily another man’s delight, and that all of us here below are bored with the bees in our neighbors’ bonnets.
The coldest, most rational scientific madness is also the most intolerable. But when a man has acquired a certain ability to subsist, even rather scantily, in a certain niche with the help of a few grimaces, he must either keep at it or resign himself to dying the death of a guinea pig. Habits are acquired more quickly than courage, especially the habit of filling one’s stomach."
- Louis-Ferdinand Céline
Journey to the End of the Night