November 24, 2008

Book 55: The Lost Worlds of 2001

The Lost Worlds of 2001
Arthur C. Clarke

To fully complete my immersion in the Space Odyssey series, I decided to check out this book of extras and commentary relating both to the movie and the original book, which are endlessly related to one another. As such, the book has two distinct voices: one is the delightful and often funny Clarke himself, reflecting on the long and exciting process of creating the "proverbial good science fiction film" with Stanley Kubrick; the other exists in the material that didn't make it through the final cut, for good reason but not the kind of "good reason" that mars publication of actual second-rate material. This book is fascinating because of its behind-the-scenes look at the creation of a novel with an eye toward both potential visual aesthetics and plausible scientific credibility. Clarke's accounts of the different stages the project went through are not only well-written, they are utterly fascinating. Through Clarke's light touch and frequent deployment of wit (often self-deprecating), readers get an idea of the challenges that face both traditional novelists and traditional filmmakers, all much multiplied when the creation is bounced like a pinball from one artist and medium to another. Log entries that could have quickly become boring and redudant are instead carefully chosen and enlightening; a personal favorite notes, and in an offhand manner, that Clarke phoned Isaac Asimov to discuss some science.

Clarke comes across as reasonably modest and sheds a lot of light into the creative process, but what is truly fascinating about this book is the stunning fiction it contains. 2001: A Space Odyssey has no shortage of intriguing visions and incredible imagery, and this book only adds to the lore. In addition to being carefully selected and annotated by Clarke to fit into a greater narrative about the development of the novel, lengthy portions of earlier drafts are presented in their entirety, making excellent speculative fiction on their own and providing imaginative readers with several interesting scenarios to consider. As a special bonus, Clarke even reprints his short story "The Sentinel", which provided the initial alien-marker-on-Moon scenario. Though the final novel version is often the best in the context of the final work, Clarke's alternate visions of the first and final contact with the makers of the Monolith and Star Gate provide much intelligent fodder for readers to consider. After all, it is the same talent and mind behind both these preliminary visions and the final polished novel. Though some material falls a bit flat, it is interesting nonetheless to sense Clarke and Kubrick wrestling with different scenarios; it is particularly illuminating, as Clarke notes, to read these earlier fictions with a clear view of the final version in mind- some throwaway lines here and there contain the secrets of the final novel. Most interesting is the way in which the multiple discarded endings, all of which revolve on a theme of actually meeting the makers of the Star Gate, serve to highlight the brilliance of the novel's final ambiguity (though the movie could be a bit more clear on some points).

Full of deep scientific thought and obvious consideration, The Lost Worlds of 2001 is a delightful read for fans of the Space Odyssey series who want to learn more about the creation and evolution of the story as well as indulge in some excellent science fiction. The alternatives presented here provide an interesting hands-on look into the writing and revising that must go into a project of the scale and ambition attempted and achieved by 2001: A Space Odyssey and, to a lesser degree, its sequels. Both the fiction contained within the narrative and that narrative itself are carefully constructed and enjoyable almost down to every last period. My only misgiving about this book is that it often contains fictional material in large, continuous chunks- excellent when readers wish to be thrown into the lost worlds of 2001, but a little confusing when they are introduced as different alternatives instead of as the continuous alternative they seem to be. This, however, is a very minor point and both the nonfiction and fiction bits of this book are every bit enjoyable to Arthur C. Clarke and science fiction fans.

Grade: A

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