The Book of Strange New Things, 3

So I don’t think Michel Faber’s The Book of Strange New Things works. Its lead is unbelievable; the prose is unmemorable to a fault; the payoffs meant to explain the eerie human and mental atmosphere on the alien planet are unsatisfactory, and call in turn for further explanations that are never forthcoming.

What works, if anything? A few things.

1. The aliens. Or as Peter calls them, the Oasans. Faber succeeds in creating and depicting—with considerable restraint—a plausible and heretofore unimagined style of intelligent life beyond Earth. We get to know them, but at some distance. They are hungry for Jesus, and believably so. They are stubborn, and stubbornly non-human, yet intelligible. They are both like us (bipedal, five-fingered, linguistic) and unlike us (misshapen, hideous faces; radically communitarian; lacking something like an Ego, though individuated nonetheless). Faber is at his best when he’s describing the Oasan community or narrating a conversation between one of them and Peter.

2. The most theologically pregnant feature of the book is the suggestion that the Oasans are mortal, profoundly vulnerable to suffering, illness, and death, but may not be sinful. This is half a virtue for the novel, because Faber is clever enough to imagine this state of affairs (and, by extension, the effects it might have for pastor-missionaries who think of Sin as the one great problem addressed by Christianity), but not committed or interested enough to follow through on its many pastoral and theological implications. C. S. Lewis did so in the first two books of his Space Trilogy, but that is a work of fantasy as much as it is science fiction. Faber here could have offered a more realistic or at least less of a #FullChristian take. But he just leaves it untouched, beyond the crisis it creates for Peter’s faith, since what the Oasans want is healing of their infirmities, and he doesn’t know if he truly believes he can offer that. Then he decides to leave them. The end.

3. That’s a tad glib. The final two pages, the final paragraph, and the final line are all utterly fitting to the book, and quite apt to the biblical verse on which they are a riff. Speaking of which…

4. The relationship between Peter and Beatrice (hello there, Meaningful Names; may I take your baggage?) that is, or is meant to be, the emotional heart of the novel largely works, I think, though I am undecided on what Faber himself thinks of it. Due to the distance between them, Peter’s poor communication skills, and the roiling catastrophes on Earth, Bea more or less lets go of Peter within two or three months of the six-month mission. Seems abrupt, no? She doesn’t stop loving him, but she in effect hands him over to the Oasans, thinking him dispassionate and uncaring, even as she is carrying their first and only child in her womb. It would not be an unjust reading to say that what the novel reveals is that Peter and Bea’s relationship was fragile from the start, built on codependency (she rescued him from addiction and led him to Christ; marrying him brought her out of shame for her upbringing and past sexual experiences) and persisting mutual neediness (they have no friends to speak of; they have no activities other than evangelizing and caring, together, for their little flock). Each of them has nothing but the other, plus Jesus. When all is right with the world, that’s more than enough. When the world—their world—starts to crumble, it proves not nearly enough. What I want to know is: Does Faber want us to see this? Or does he think their relationship a beautiful, healthy, antifragile thing that is only called into question by the stress shocks, so to speak, of unprecedented distance and trial? In any case, it’s emotionally credible, and while I wasn’t devastated by their increasing detachment and loss, I felt it.

4. Speaking of which, Faber also succeeds in his depiction of Peter’s relationship with Grainger, his main “handler” and only real friend on Oasis. Their budding no-yes-maybe-no relationship—little more than seeking some kind of basic human connection in an emotional wasteland—is worn and lived-in and all too recognizable.

* * *

I cannot conclude these reflections, however, without instancing a few quotations to show how off, finally, Peter is as a character, that is, as a Christian convert, pastor, and missionary (recall: not because his theology is wrong, but because it doesn’t hold together; the parts don’t add up to a whole that makes sense of his character, or that echoes anything one would find in the world of Christian faith and ministry). First:

“So what’s your role?”

“My role?”

“Yeah. A minister is there to connect people to God, right? Or to Christ, Jesus, whatever. Because people commit sins and they need to be forgiven, right? So . . . what sins are these guys committing?”

“None that I can see.”

“So . . . don’t get me wrong, Peter, but . . . what exactly is the deal here?”

Peter wiped his brow again. “Christianity isn’t just about being forgiven. It’s about living a fulfilled and joyous life. The thing is, being a Christian is an enormous buzz; that’s what a lot of people don’t understand. It’s deep satisfaction. It’s waking up in the morning filled with excitement about every minute that’s ahead of you.”

Mmm. Okay. An enormous buzz. Filled with excitement. Did I mention that this guy left behind his wife and all he knew to share the gospel with aliens? That he and his wife, back on Earth, would hand-stitch tracts of Bible stories to be mailed and delivered to foreign, “unreached” people groups? For what? Buzz and excitement? (NB: He’s not a charismatic, and his faith is rocked to the core when an Oasan asks him to pray for her to be healed from a physical injury.)

Second:

He only wished he’d had the chance to explain more fully how prayer worked. That it wasn’t a matter of asking for things and being accepted or rejected, it was a matter of adding one’s energy—insignificant in itself—to the vastly greater energy that was God’s love. In fact, it was an affirmation of being part of God, an aspect of His spirit temporarily housed inside a body. A miracle similar, in principle, to the one that had given human form to Jesus.

Ah. Gotcha. So this dude’s a “we’re all incarnations of God/Jesus is just the highest version” sort of Christian. Excellent. No further comment necessary, none whatsoever.

Third and last:

“You one of those decaffeinated Christians, padre? The diabetic wafer? Doctrine-free, guilt-reduced, low in Last Judgment, 100 percent less Second Coming, no added Armageddon? Might contain small traces of crucified Jew?” Tartaglione’s voice dripped with contempt. “Marty Kurtzburg—now he was a man of faith. Grace before meals, ‘A Mighty Fortress Is Our God,’ none of this Krishna-has-wisdom-too crapola, always wore a jacket and pressed pants and polished shoes. And if you scratched him deep enough, he’d tell you: These are the last days.”

Peter swallowed hard on what tasted like bile. Even if he was dying himself, he didn’t think these were the world’s last days. God wouldn’t let go of the planet he loved so easily. He’d given His only son to save it, after all. “I’m just trying . . . just trying to treat people the way Jesus might have treated them. That’s Christianity for me.”

Faber almost grasps the nettle here. Almost. The problem is that he supposes there are only two options: either fundamentalist (the Lutheran Kurtzburg) or non-fundamentalist (the (Abelardian?) evangelical Peter). Faber’s imagination can conceive a traditionalist Christian believer exclusively as a fundamentalist who travels to an alien world in “jacket and pressed pants and polished shoes.” Equation: true believer = traditionalist = confesses an actual bodily resurrection = fundamentalist = culturally parochial and anthropologically naive stereotypical Western missionary. And since Peter is not that, that is to say the last item, he cannot be any of the others. But Faber also wants—or rather, his narrative requires—Peter to be a Bible-believing, hyper-evangelistic, tract-mailing, low-church Pietist type. One who thinks Christianity is a matter of life and death … and yet who also describes Christianity as an exciting emotional buzz, moralized without remainder into treating other people the way Jesus would treat them.

The novel remains powerful and evocative, and I don’t regret reading it. But the unrealized potential makes the whole thing all the more disappointing. Oh well.

The Book of Strange New Things, 2

In my last post I wrote about how Peter, the protagonist of Michel Faber’s The Book of Strange New Things, is unbelievable. I want now to say a bit more about why the novel doesn’t quite work.

One is the prose. It is bloodless and boring. Perfectly adequate, never “bad,” it is so unmemorable that at times I wondered if that was Faber’s intention: perhaps to signal the inner purity of Peter’s converted heart and mind. Based on a quick perusal of Faber’s other work (esp. Under the Skin and The Crimson Petal and the White), the man can write interesting and stylish prose. So what went wrong here? Or, if the plain style is a choice, why does it fail in its purpose? The only possible narrative effect is to make of Peter an utterly vanilla protagonist.

A second issue is the tone. For much of the novel the atmosphere on Oasis, the alien planet, is somehow askew: haunting, haunted, moody, oppressive, mysterious. The reader gets major Solaris vibes (or even, for me, echoes of Sphere). Something is wrong here. What could it be?

Nothing at all, as it turns out. The “reveals,” such as they are, are fourfold:

1. Light years away, Earth—politically and ecologically—is falling apart at the seams.

2. The corporation that sponsors both the intergalactic travel to Oasis and the scientific outpost on it has as its goal to make Oasis a kind of ark or haven for the elite few on Earth who are (a) rich enough and (b) sane enough to qualify to come.

3. The corporate employees (scientists, engineers, doctors, mechanics) who work at/for the Oasan outpost are such flat personalities—resorting to neither sex nor drugs nor violence to let off steam or give vent to their vices and repressed desires—by design: they were selected by a sophisticated psychological process created to exclude all persons who might fall back on such “anti-social” habits.

4. The intelligent alien species, the Oasans, have extremely vulnerable bodies supported by nonexistent immune systems. The slightest injury or illness is terminal, therefore, and they believe “the technique of Jesus” to provide deliverance from, and possibly miraculous healing for, this condition.

I’m going to save comment on number 4 for the next post, because (along with the depiction of Peter’s epistolary estrangement with his wife, Beatrice) it the depiction of the Oasans is the best thing about the book. What I want to focus on now is simple: none of these reveals is satisfying, because none of them explains the brooding, discombobulated atmosphere so effectively manufactured by Faber. The closest any of them comes is number 3, and this one is the least credible. Why?

Answer: Faber wants us to believe that, so long as you put the right controls in place, you could transplant 50-100 adult human beings from Earth to a colony on another planet, and without actually lobotomizing, sterilizing, or otherwise chemically sedating them, they would go about their daily jobs more or less contentedly and consistently, without psychic or emotional needs or problems, absent children, elders, religion, recreation, marriage, family, sex, alcohol, drugs, gambling, art, literature, theft, envy, deceit, or violence.

To me, that reads like a joke. Or a thought experiment by someone who’s never met a human being, or read human history. Or, at best, a “what if?” exercise or narrative puzzle that calls for further explanation—rather than itself an attempt at an explanation of some other mysterious phenomenon, which is how it functions in the novel. How can this fanciful assertion of neutered, compliant, prelapsarian humans (who are, mind you, nothing but a random assortment of corporate employees who live on an alien planet with nothing to do but work) serve to answer the reader’s befuddlement at the unyielding, inhuman, overbearing environment in which Peter finds himself? The answer to one inexplicable mystery cannot be the assertion merely of another inexplicable mystery, not least one so implausible as this. But there it is. And it does not work.

The Book of Strange New Things, 1

I just finished Michel Faber’s The Book of Strange New Things, and I’ve got Thoughts. I didn’t hate it, but I didn’t love it either. I think I might expand on a couple reasons in future posts. But the first thing I have to say about the book is this.

The lead character is simply not believable.

Here are things that are true of him:

1. He is a Christian.

2. He is a British evangelical.

3. He is an adult convert.

4. He is an ex-addict, sober alcoholic, and onetime homeless person.

5. He is happily married.

6. He is a pastor.

7. He and his wife are partners in ministry.

8. Their ministry is extremely evangelistic; the sort that moves heaven and earth to reach a single soul.

9. Their church is very “low.”

10. Their church and ministry are Bible- and sermon-centric (liturgy and sacrament are, if I recall correctly, never mentioned).

11. Their evangelistic efforts include, for example, hand-crafted tracts and pamphlets for far-away “unreached” people groups.

12. They both agree, upon discovery of intelligent life on a distant planet, that it is God’s will for him, the husband-pastor, to journey light-years away to bring the gospel to this alien species.

13. Also, they both share misgivings about, bordering on dislike for, St. Paul.

14. Also, he, the husband-pastor, takes for granted that the Pastoral Epistles were written by St. Paul to St. Timothy in the year AD 68.

15. Also, he rejects with vehemence the doctrine of the resurrection of the body.

The story is set in the near future; though the year is never specified, it is probably meant to be sometime in the next 50-150 years.

Numbers 1 through 12 are perfectly believable. Number 14 would be consonant with them. Number 13 would be an odd fit; the reader would be right to expect more than a passing explanation (which she would not receive). But number 15 brings the whole edifice crumbling down.

Let me instance very nearly the only reference to bodily resurrection in all 500 pages of the novel:

Jesus Lover Five [an alien believer] had fallen silent. Peter couldn’t tell if she was persuaded, reassured, sulking or what. What had she meant, anyway? Was Kurtzberg [the alien congregation’s former missionary-pastor from Earth] one of those Lutheran-flavored fundamentalists who believed that dead Christians would one day be resurrected into their old bodies—magically freshened up and incorruptible, with no capacity to feel pain, hunger or pleasure—and go on to use those bodies for the rest of eternity? Peter had no time for that doctrine himself. Death was decay, decay was decay, only the spirit endured.

The author, Faber, is unfailingly unpatronizing in his own (alien) inhabitation of an evangelical missionary’s mind and thoughts, even his piety. But this false note is telling. Like a fart in a fugue, it afflicts the whole. And the fact that it comes halfway through the novel, with neither preparation nor elaboration, tells us that the author cannot hear the dissonance, does not smell the stench.

Bible-centric low-church hyper-evangelistic born-again missionary-pastors are, without exception, Pauline in flavor and faith, and above all they are adamant believers in the resurrection of the body: first Jesus’s, then believers’. There are no exceptions to this rule. They do not pick and choose books of the New Testament with which they disagree or in which they casually disbelieve. To begin to do such a thing, to begin to make exceptions, is to cease to be a Bible-centric low-church hyper-evangelistic born-again missionary-pastor, one willing to move heaven and earth to win a single soul, to place a New Testament in the hands of a single unbeliever.

Perhaps I exaggerate. Perhaps Faber is himself such a person (though, from what I can tell, he most certainly is not), or perhaps he knows such a person. But such a person in unique on this planet. To make such a unique person the protagonist of a novel, one must know, and show that one knows, that he is indeed so unique; and, thereupon, to sketch what led to his being thus unique. That Faber does not offer that sketch suggests to me, his reader, that he lacks this knowledge. Lacking it, the novel’s central character does not hold together. Which means the novel does not hold together.