A. E. van Vogt (1912–2000)
Author of Slan
About the Author
A. E. Van Vogt was born on April 26, 1912 in Manitoba, Canada. He graduated from the University of Ottawa in 1928. His first story sales were to true story confession magazines in the early 1930s while he was working as a census clerk and representative of Maclean Trade Papers. He wrote plays for show more Canadian radio and in 1939, he began submitting stories and serials to Astounding Science Fiction. He wrote more than 35 novels during his lifetime including Slan, The Weapon Shops of Isher, The World of Null-A, The Pawns of Null-A, The Weapons Makers, The Violent Man, The Silkie, The Battle of Forever, and The House That Stood Still. He died on January 26, 2000 at the age of 87. (Bowker Author Biography) show less
Disambiguation Notice:
born Alfred Elton Van Vogt
A Variant Title of the work The Rogue Ship is The Twisted Men. The Twisted Men is also the title of a Collection containing the above.
Many works by van Vogt were published with Variant Titles:
Abdication=The Invisibility Gambit
The Pawns of Null-A=The Players of Null-A
The Voyage of the Space Beagle=Mission: Interplanetary
The Weapon Makers=One Against Eternity
The Book of Ptath=200 Million A. D.
The House That Stood Still=The Mating Cry=The Undercover Aliens
The Mixed Men=Mission to the Stars
The Beast=The Moonbeast
Future Glitter= Tyranopolis
The Secret Galactics=Earth Factor X
Computerworld=Computer Eye=La Machine Ultime
Out of the Unknown=The Sea Thing and Other Stories
Monsters=Science Fiction Monsters=The Blal
The Book of van Vogt=Lost: Fifty Suns
Many short fiction and omnibus works were also published with Variant Titles. Please see listing in the Internet Speculative Fiction Database for more details.
Series
Works by A. E. van Vogt
Masters of Time 175 copies
Triad: Three Complete Science Fiction Novels (The World of Null-A, The Voyage of the Space Beagle, Slan) (1960) 126 copies, 1 review
The Other Side of Here / One Against Eternity (The Weapon Makers) (Ace Double D-94) (1955) — Author — 30 copies
Reflections of A. E. Van Vogt: The Autobiography of a Science Fiction Giant: With a Complete Bibliography. (1979) 9 copies, 3 reviews
Jubiläums-Bibliothek: Der Meister der Zukunft - Seine großen Romane und seine besten Erzählungen (1991) 8 copies
La città immortale 6 copies
The Cataaaa 5 copies
Himmelstorm : noveller av James Blish, Robert A. Heinlein og A. E. van Vogt ; presentert av Jon Bing og Tor Åge Bringsværd (1974) — Author — 5 copies
Process 5 copies
The Rat And The Snake 4 copies
The Star-saint 4 copies
Juggernaut 3 copies
Complete Short Fiction 3 copies
Xadrez Cósmico 3 copies
The Ghost 3 copies
A Astronave Pirata 3 copies
The Barbarian 3 copies
Fulfillment [short story] 3 copies
Not Only Dead Men 3 copies
Dormant 3 copies
A Van Vogt Omnibus: 'Planets for Sale' (with E. Mayne Hull): 'The Beast: ' 'The Book of Ptath' (1967) 3 copies
Os Filhos do Futuro Volume 2 3 copies
The Problem Professor 3 copies
The Witch 3 copies
Don't Hold Your Breath 2 copies
Research Alpha — Author — 2 copies
Os Filhos do Futuro (1) 2 copies
Future Perfect 2 copies
Primul Martian 2 copies
I CAVALIERI DELLE STELLE 2 copies
Living With Jane 2 copies
Itself! [short story] 2 copies
Purpose 2 copies
Os filhos do futuro 2 copies
Los Monstruos del espacio 2 copies
A Can Of Paint 2 copies
Il villaggio incantato 2 copies
Figli del domani 2 copies
Soarele Subteran 2 copies
The Rulers 2 copies
Rogue Ship [short story] 2 copies
Das Absolutum 2 copies
Lo stagno di Matlin e altri racconti 2 copies
宇宙船ビーグル号の冒険 (1964年) (創元推理文庫) 2 copies
Bd. 89. Welt der Null-A 1 copy
La cité du grand juge: roman 1 copy
Sfarsitul non-A 1 copy
Sklepy z bronią na Isher 1 copy
Universo trappola 1 copy
Diamondia 1 copy
Pianeti da vendere 1 copy
Le pedine del Non-A 1 copy
Incontri nel Cosmo 1 copy
Diamondia 1 copy
Im Reich der Vogelmenschen 1 copy
Kampf um die Ewigkeit 1 copy
Der Zeitspieler 1 copy
Kosmischer Schachzug 1 copy
Mann der tausend Namen 1 copy
The Witness for the Defence 1 copy
Bis in die Unendlichkeit 1 copy
Die Zeit der Androiden 1 copy
The Cataaaa 1 copy
Invadatorii 1 copy
Bestia 1 copy
I polimorfi e altri racconti 1 copy
LE MONDE DESW Ā 1 copy
Carthng {short story} 1 copy
The Male Condition 1 copy
Le livre de Ptath 1 copy
Invasione di immortali 1 copy
Incontro con l'infinito 1 copy
Dittatura 2200 1 copy
Ricerca del futuro 1 copy
Foresta elettrica 1 copy
The Ultra Man 1 copy
Science Fiction Voices 1 copy
Slan Hunter, Part 1 of 3 1 copy
Slan Hunter, Part 2 of 3 1 copy
Slan Hunter, Part 3 of 3 1 copy
The Dream of the Sorceress 1 copy
Defense 1 copy
The Replicators 1 copy
Slan 2 [Short Story] 1 copy
The Earth Killers 1 copy
Home Of The Gods 1 copy
Final Command 1 copy
Players Of A 4 1 copy
Players Of A 2 1 copy
Not The First 1 copy
Urania 0010 - ANNO 2650 1 copy
L'uomo dai mille nomi 1 copy
A guerra dos deuses 1 copy
A guerra contra o Rull 1 copy
Los monstruos del mar 1 copy
Empire Of The Sun 1 copy
The darkness on Diamondia 1 copy
Missão nas estrelas 1 copy
Rogue Ship 1 copy
Super-cérebro 1 copy
Os super-homens 1 copy
O mundo de Zero-A 1 copy
Kosmischer Anzug 1 copy
L'era della follia 1 copy
Monstret från rymden 1 copy
Mardrömmen ur djupet 1 copy
Casa Veșniciei 1 copy
Createur d'univers 1 copy
Short Stories 1 copy
Planets for Sale 1 copy
Os filhos do futuro - 1 1 copy
Os filhos do futuro - 2 1 copy
Éxodo Estelar 1 copy
Exodo estelar 1 copy
Haus der Unsterblichen 1 copy
Les Fabricants d'armes 1 copy
LOST:FIFTY SUNS 1 copy
Associated Works
The Science Fiction Hall of Fame, Volume One: The Greatest Science Fiction Stories of All Time (1970) — Contributor — 2,096 copies, 34 reviews
Isaac Asimov's Magical Worlds of Fantasy, Volume 2: Witches (1984) — Contributor — 153 copies, 1 review
Isaac Asimov's Wonderful Worlds of Science Fiction, Volume 3: Supermen (1984) — Contributor — 128 copies, 1 review
Analog Anthology #1: Fifty Years of the Best Science Fiction From Analog (1980) — Contributor — 117 copies, 1 review
The SFWA Grand Masters, Volume 3: Lester Del Rey, Frederik Pohl, Damon Knight, A. E. van Vogt, and Jack Vance (2001) — Contributor — 109 copies, 3 reviews
Isaac Asimov Presents : The Golden Years of Science Fiction, 5th Series (1985) — Contributor — 102 copies
The Prentice Hall Anthology of Science Fiction and Fantasy (2000) — Contributor — 99 copies, 2 reviews
Weird Vampire Tales: 30 Blood-Chilling Stories from the Weird Fiction Pulps (1992) — Contributor — 98 copies, 3 reviews
Nebula Awards 31: SFWA's Choices For The Best Science Fiction And Fantasy Of The Year (Nebula Awards Showcase) (1997) — Contributor — 97 copies
Ackermanthology: 65 Astonishing, Rediscovered Sci-Fi Shorts (1997) — Contributor — 97 copies, 1 review
Best Science Fiction Stories of the Year First Annual Collection (1972) — Contributor — 88 copies, 2 reviews
Bug-Eyed Monsters: 13 Stories of Dripping, Creeping, Gurgling, Purling, Trilling, Oozing, Seeping, Gushing Deadly Monsters (1980) — Contributor — 78 copies, 2 reviews
Isaac Asimov's Wonderful Worlds of Science Fiction, Volume 8: Monsters (1988) — Author — 75 copies, 2 reviews
Isaac Asimov Presents : The Golden Years of Science Fiction, 3rd Series (1984) — Contributor — 60 copies
Thieves' World® Volume One: Thieves' World, Tales from the Vulgar Unicorn, and Shadows of Sanctuary (2020) — Contributor — 53 copies, 4 reviews
Menace of the Monster: Classic Tales of Creatures from Beyond (2019) — Contributor — 41 copies, 2 reviews
Pulsar: An Original Anthology of Science Fiction and Science Futures: No. 1 (1978) — Contributor — 27 copies
Shape Shifters: Fantasy and Science Fiction Tales About Humans Who Can Change Their Shapes (1978) — Contributor — 20 copies, 1 review
Van Jules Verne tot Isaac Asimov de vijftig beste science fiction verhalen (1981) — Contributor — 16 copies, 1 review
Den elektriske myre og andre science fiction-fortællinger (1984) — Author, some editions — 2 copies, 1 review
Μεγάλη Ανθολογία Ε.Φ. 1. (1934 - 1950) — Contributor — 1 copy
Weird Tales Volume 49 Number 2, Winter 1985 — Contributor — 1 copy
Authentic Science Fiction Monthly No. 32 (April 1953) — Author — 1 copy
Tagged
Common Knowledge
- Canonical name
- van Vogt, A. E.
- Legal name
- van Vogt, Alfred Elton
- Other names
- Vogt, Alfred (birth)
- Birthdate
- 1912-04-26
- Date of death
- 2000-01-26
- Gender
- male
- Education
- University of Ottawa (BA|1928)
- Organizations
- Science Fiction and Fantasy Writers of America
Canadian Department of National Defence - Awards and honors
- SFWA Grand Master (1995)
Prix Aurora Award (Lifetime Achievement, 1980)
SF Hall Of Fame (Living Inductee, 1996) - Relationships
- Hull, E. Mayne (wife)
Van Vogt, Lydia (wife) - Short biography
- Alfred Elton van Vogt was a Canadian born American science fiction writer of the mid 20th century. He's most famous for his Voyage of the Space Beagle, Null-A and Slan novels, as well as a number of short stories.
- Cause of death
- Alzheimer's disease
- Nationality
- Canada (birth)
USA (naturalized 1945) - Birthplace
- Gretna, Manitoba, Canada
- Places of residence
- Los Angeles, California, USA
Winnipeg, Manitoba, Canada (birth) - Place of death
- Los Angeles, California, USA
- Disambiguation notice
- born Alfred Elton Van Vogt
A Variant Title of the work The Rogue Ship is The Twisted Men. The Twisted Men is also the title of a Collection containing the above.
Many works by van Vogt were published with Variant Titles:
Abdication=The Invisibility Gambit
The Pawns of Null-A=The Players of Null-A
The Voyage of the Space Beagle=Mission: Interplanetary
The Weapon Makers=One Against Eternity
The Book of Ptath=200 Million A. D.
The House That Stood Still=The Mating Cry=The Undercover Aliens
The Mixed Men=Mission to the Stars
The Beast=The Moonbeast
Future Glitter= Tyranopolis
The Secret Galactics=Earth Factor X
Computerworld=Computer Eye=La Machine Ultime
Out of the Unknown=The Sea Thing and Other Stories
Monsters=Science Fiction Monsters=The Blal
The Book of van Vogt=Lost: Fifty Suns
Many short fiction and omnibus works were also published with Variant Titles. Please see listing in the Internet Speculative Fiction Database for more details. - Associated Place (for map)
- Manitoba, Canada
Members
Discussions
Duck, Duck, Space Goose in Good Show Sir! — bad science fiction and fantasy covers (November 2024)
A.E vanVogt - Yay or nay? in Science Fiction Fans (November 2015)
Renaissance, Van Gogt; jimroberts' review in Reviews reviewed (October 2010)
Reviews
No science fiction grandmaster divides critics more than A. E. van Vogt. There seem to be two distinct schools. In a 1945 essay, “Cosmic Jerrybuilder: A.E. van Vogt,” Damon Knight took van Vogt to task with an acerbity that reminds me of Mark Twain’s essay on James Fennimore Cooper’s “literary offenses.” Knight was especially critical of The World of Null-A, claiming that the novel suffers from lapses in logic that make it incoherent. Philip K. Dick offers a more positive view in show more a 1974 Vertex interview with Arthur Byron Cover. Dick agrees with Knight that The World of Null-A is incoherent, but he argues that the incoherency is a feature rather than a bug. He says its fuzzy logic makes the novel's world realistically messy.
The ten stories in Destination: Universe! provide a good sample of van Vogt’s magazine writing in the 1940s, which could be used to support both sides of the debate. Knight cites “A Can of Paint” for its ignorance of orbital mechanics. But in “A Pen Pal,” in which an alien with plans to conquer Earth transfers his consciousness into someone who will not live long enough for it to succeed, the coincidences in the plot might support PKD’s view.
“Far Centaurus,” the first story in Destination, has more drama than its plot plausibly can hold. A slower-than-light spacecraft with its crew in cryogenic stasis suffers a mechanical failure that kills one of the crew. Another may have gone homicidally insane. When they get to Centaurus, they find it already inhabited by people who arrived via FTL, which was invented while they were underway. They are told they won’t be happy colonists because nobody on Centaurus will be able to stand their old-school body odor. Sadly, van Vogt does not treat this event for humor. Then, by a lucky piece of timing, a wormhole opens that will take them back to Earth before they left. Whew. All problems solved. Bad writing or the weirdness of reality? You decide, but I am with Damon on this one. show less
The ten stories in Destination: Universe! provide a good sample of van Vogt’s magazine writing in the 1940s, which could be used to support both sides of the debate. Knight cites “A Can of Paint” for its ignorance of orbital mechanics. But in “A Pen Pal,” in which an alien with plans to conquer Earth transfers his consciousness into someone who will not live long enough for it to succeed, the coincidences in the plot might support PKD’s view.
“Far Centaurus,” the first story in Destination, has more drama than its plot plausibly can hold. A slower-than-light spacecraft with its crew in cryogenic stasis suffers a mechanical failure that kills one of the crew. Another may have gone homicidally insane. When they get to Centaurus, they find it already inhabited by people who arrived via FTL, which was invented while they were underway. They are told they won’t be happy colonists because nobody on Centaurus will be able to stand their old-school body odor. Sadly, van Vogt does not treat this event for humor. Then, by a lucky piece of timing, a wormhole opens that will take them back to Earth before they left. Whew. All problems solved. Bad writing or the weirdness of reality? You decide, but I am with Damon on this one. show less
There’s a Brian Aldiss story called ‘Confluence’ which is little more than amusing dictionary definitions of phrases from an alien language. One phrase is defined as “in which everything in a book is understandable except the author’s purpose in writing it”, and its converse, of course, is “in which nothing in a book is understandable except the author’s purpose in writing it”. The Pawns of Null-A fails both definitions. I have no idea what van Vogt thought he was writing show more about and nothing in the novel makes the slightest bit of sense. It is nominally a sequel to The World of Null-A. Gilbert Gosseyn prevented the conquest of Earth by the Greatest Empire in that novel, but in this one he finds himself bouncing around the heads of various characters in the Greatest Empire in an effort to either stop it or prevent it from defeating the League of Galactic Worlds. Gosseyn finds himself caught in a trap and transported into the brain of the heir to the Greatest Empire’s leader. He surmises some other powerful player is doing this in order to hone Gosseyn as a weapon, but the reader is bounced from one unexplained situation to another, with a remarkable level of faith in the reader’s attention, certainly to a greater extent than any modern-day author would be able to get away with. Gosseyn stumbles across a planet of “Predictors”, who seem to be chiefly responsible for the Greatest Empire’s victories, but since Gosseyn – and by extension van Vogt – seem to have little idea what’s going on, there’s little point in the reader trying to figure it out. Damon Knight famously performed a hatchet job on this novel’s prequel, The World of Null-A, but later retracted it when he learnt van Vogt documented his dreams and used them as plots. That’s not an excuse. It’s an explanation, certainly, but “oh he plotted while he was asleep” does not suddenly make a book no longer open to criticism for shit plotting. I loved van Vogt’s novels as a teenager, but virtually none have survived adult rereads. And with good reason: he was a fucking shit writer. Damon Knight was right. He just wasn’t honest enough – something which has plagued the genre since its beginnings. The Pawns of Null-A is badly-written, has no real plot to speak of, and its past popularity should be considered an accurate indictment of past sf fans’ taste… show less
"Reader in your hands you hold one of the most controversial - and successful - novels in the whole of science fiction literature" claims Van Vogt in his introduction to the 1970 edition. His introduction then lists some of the successes; all of which sound underwhelming to me; for example "It was listed by the New York library association among the hundred best novels of 1948". He then goes on to explain his theory of General Semantics which is apparently essential for understanding the show more novel before answering the criticisms of [[Damon Knight]] which stung him when they were first written in 1948 and were obviously still much on his mind 1n 1970.
The world of Null-a was serialised in 1945 in the Astounding Science Fiction magazine and its original idea and inventive storyline certainly turned heads at the time. It is set in the year 2560 when a benevolent machine effectively governs earth and each year a competition is held to establish people most suited to be transported to Venus where a democratic society live in a glorious world of logical thought and action described as non- Aristotelian. Gosseyn a highly intelligent man takes part in the competition expecting to do well only to discover that the machine rejects his entry out of hand because he is not who he claims to be. The problem is that he has an additional brain and he spends the rest of the novel trying to ascertain who he really is and how he got the extra brain. There is a plot to destroy the machine hatched by a gang controlled by alien minds and they capture Gosseyn, thinking he is an important player, they then let him go, recapture him again, kill him, but he is reincarnated in another body on Venus and so it goes on..........
Damon Knight criticised the novel under four main headings; Plot, Characterisations, Background and Prose. He claimed the plot was "muddled and self-contradictory" and this is self evident from any reading of it today. Van Vogt attempted to close some of the loop holes for the 1970 edition, but only succeeded in interrupting any original flow the novel might have had. Knight said that the characters were "inconsistent"; I would say that they were interchangeable and of the most absurdly cardboard variety. It was never clear who or why characters were taking action, which at times was reduced to people coming into a room and either capturing Gosseyn, or trying to kill him or giving him clues as to how to proceed. I suppose Van Vogt might claim he was trying to represent the confused state of Gosseyn's mind, but you can't do this if there is no mind to confuse. Knight said that the background to the story was "haphazardly and perfunctorily developed" and while there is no attempt at detailed world building, I think there is enough here to make the novel work, but this is the problem. Once the story gets started then the background is filled in as the plot dictates and there are some glorious inconsistences: as it is a stretch of the imagination to believe that characters in 2560 with video technology would rely on written notes and telephone calls as preferred methods of communication. Knight said that the prose was "fumbling and insensitive". I think insensitive goes with the territory in 1945 science fiction and there are times when the prose is reduced to 'he did that and then he did this' kind of simplicity. There are however some good passages, the book starts off with an imaginative scenario and a real sense of mystery. there are some good atmospheric descriptions of the terraformed Venus and the destruction of the machine has it's moments, but they are too few and far between some acres of pedestrian writing.
The world of Null-a no longer appears amongst the acknowledged classics of science fiction. Although it has not aged particularly well, this was not the whole problem, I felt it was a botched attempt to put an original idea and storyline into practice. The book needed characters, it needed more coherence and above all it needed better writing. The 1970 edition is a case where the authors introduction is more entertaining than the novel. An inglorious two stars. show less
The world of Null-a was serialised in 1945 in the Astounding Science Fiction magazine and its original idea and inventive storyline certainly turned heads at the time. It is set in the year 2560 when a benevolent machine effectively governs earth and each year a competition is held to establish people most suited to be transported to Venus where a democratic society live in a glorious world of logical thought and action described as non- Aristotelian. Gosseyn a highly intelligent man takes part in the competition expecting to do well only to discover that the machine rejects his entry out of hand because he is not who he claims to be. The problem is that he has an additional brain and he spends the rest of the novel trying to ascertain who he really is and how he got the extra brain. There is a plot to destroy the machine hatched by a gang controlled by alien minds and they capture Gosseyn, thinking he is an important player, they then let him go, recapture him again, kill him, but he is reincarnated in another body on Venus and so it goes on..........
Damon Knight criticised the novel under four main headings; Plot, Characterisations, Background and Prose. He claimed the plot was "muddled and self-contradictory" and this is self evident from any reading of it today. Van Vogt attempted to close some of the loop holes for the 1970 edition, but only succeeded in interrupting any original flow the novel might have had. Knight said that the characters were "inconsistent"; I would say that they were interchangeable and of the most absurdly cardboard variety. It was never clear who or why characters were taking action, which at times was reduced to people coming into a room and either capturing Gosseyn, or trying to kill him or giving him clues as to how to proceed. I suppose Van Vogt might claim he was trying to represent the confused state of Gosseyn's mind, but you can't do this if there is no mind to confuse. Knight said that the background to the story was "haphazardly and perfunctorily developed" and while there is no attempt at detailed world building, I think there is enough here to make the novel work, but this is the problem. Once the story gets started then the background is filled in as the plot dictates and there are some glorious inconsistences: as it is a stretch of the imagination to believe that characters in 2560 with video technology would rely on written notes and telephone calls as preferred methods of communication. Knight said that the prose was "fumbling and insensitive". I think insensitive goes with the territory in 1945 science fiction and there are times when the prose is reduced to 'he did that and then he did this' kind of simplicity. There are however some good passages, the book starts off with an imaginative scenario and a real sense of mystery. there are some good atmospheric descriptions of the terraformed Venus and the destruction of the machine has it's moments, but they are too few and far between some acres of pedestrian writing.
The world of Null-a no longer appears amongst the acknowledged classics of science fiction. Although it has not aged particularly well, this was not the whole problem, I felt it was a botched attempt to put an original idea and storyline into practice. The book needed characters, it needed more coherence and above all it needed better writing. The 1970 edition is a case where the authors introduction is more entertaining than the novel. An inglorious two stars. show less
Rule #2 in Kurt Vonnegut’s famous 8 Rules for Writing is “Give the reader at least one character he or she can root for.” Boy, did Van Vogt miss the boat on that one.
The protagonist, the person we are supposed to be rooting for, is mildly racist, definitely a misogynist, and a self-proclaimed paranoid with psychotic tendencies. And, particularly for that last trait, we are supposed to side with him in his convoluted travel through time to achieve, I guess, immortality. And to be, in a show more way, a savior of time and multiple universes.
When they are handing out mortality, I hope he misses the announcement.
[Warning: spoilers follow. But to be honest, they aren’t that big a deal. You’re worried? Read the book first. (Although, as you will see, I’m not sure I’d recommend you do that.)]
I instantly questioned the mindset of the author in the second paragraph when the author (not in the voice of the protagonist) says “…he watched the other with the curious, speculative intentness of the Latin.” Wow! Okay. Casual racism of the 40s. Let’s try to move on.
Our protagonist is introduced as a womanizing conniver who is not above using anyone to further his professorial ambitions. We do not like him. He fails, but it is not his fault; it is always everyone else’s fault. And he then becomes enmeshed between two factions of time travelers.
But that only scratches the misogyny surface. Throughout the novel there are constant references to his need for women – where he will find them and how he can get any woman he wants. As an example of his mindset, one of his biggest concerns in the future is that his foul order drives women away. If I may repeat myself, a misogynist and a conniving paranoid. (As is constantly pointed out throughout the book. Hang onto that thought.)
Bouncing back and forth in time, he is thrown into the past (17th Century Western America) with a scientist and his daughter. He assumes he will be the hunter and provider, and that the woman will take care of the house. He is taken aback when she starts hunting, supplying, and cooking. Yeah, once a misogynist, always a misogynist.
The happy ending of the book (remember, I warned of spoilers) is when he gets together with the woman, not because he has seen the error of his ways but, apparently, because she has seen the error of her own ways. She has become the demure mate he expected all along.
And, about that happy ending. We find out that all the time travel paraphernalia (and it gets a bit confusing; I won't go into it all here) has come about because of him. Yes, he is the hero of the story. And that future was only able to come about because of his paranoia and psychosis. (Told you that was going to come back to haunt us.)
Now there’s a happy ending for you.
I mentioned that the details get a little confusing. Part of this may be because the novel is cobbled together from three of the author’s stories. And the plot is just as convoluted. Again, probably the same cause. The protagonist gets thrown between times at the author’s whim. Deus ex machina seems to be working overtime here.
Yes, there are a lot of interesting ideas thrown into the story. But they die behind the personalities of the people involved and convolutions in the story that seem more related to the author being paid per word than actually moving the plot along.
Look, A. E Van Vogt is an icon of the “golden age” of science fiction. He has written some classics. And I have enjoyed some of his work. But this is not one of them. The casual racism, the misogyny, and a protagonist for which I found myself rooting against wreak havoc on this book.
Turn away. Find others of Van Vogt’s works. And within them find the enjoyment I expected in this novel. show less
The protagonist, the person we are supposed to be rooting for, is mildly racist, definitely a misogynist, and a self-proclaimed paranoid with psychotic tendencies. And, particularly for that last trait, we are supposed to side with him in his convoluted travel through time to achieve, I guess, immortality. And to be, in a show more way, a savior of time and multiple universes.
When they are handing out mortality, I hope he misses the announcement.
[Warning: spoilers follow. But to be honest, they aren’t that big a deal. You’re worried? Read the book first. (Although, as you will see, I’m not sure I’d recommend you do that.)]
I instantly questioned the mindset of the author in the second paragraph when the author (not in the voice of the protagonist) says “…he watched the other with the curious, speculative intentness of the Latin.” Wow! Okay. Casual racism of the 40s. Let’s try to move on.
Our protagonist is introduced as a womanizing conniver who is not above using anyone to further his professorial ambitions. We do not like him. He fails, but it is not his fault; it is always everyone else’s fault. And he then becomes enmeshed between two factions of time travelers.
But that only scratches the misogyny surface. Throughout the novel there are constant references to his need for women – where he will find them and how he can get any woman he wants. As an example of his mindset, one of his biggest concerns in the future is that his foul order drives women away. If I may repeat myself, a misogynist and a conniving paranoid. (As is constantly pointed out throughout the book. Hang onto that thought.)
Bouncing back and forth in time, he is thrown into the past (17th Century Western America) with a scientist and his daughter. He assumes he will be the hunter and provider, and that the woman will take care of the house. He is taken aback when she starts hunting, supplying, and cooking. Yeah, once a misogynist, always a misogynist.
The happy ending of the book (remember, I warned of spoilers) is when he gets together with the woman, not because he has seen the error of his ways but, apparently, because she has seen the error of her own ways. She has become the demure mate he expected all along.
And, about that happy ending. We find out that all the time travel paraphernalia (and it gets a bit confusing; I won't go into it all here) has come about because of him. Yes, he is the hero of the story. And that future was only able to come about because of his paranoia and psychosis. (Told you that was going to come back to haunt us.)
Now there’s a happy ending for you.
I mentioned that the details get a little confusing. Part of this may be because the novel is cobbled together from three of the author’s stories. And the plot is just as convoluted. Again, probably the same cause. The protagonist gets thrown between times at the author’s whim. Deus ex machina seems to be working overtime here.
Yes, there are a lot of interesting ideas thrown into the story. But they die behind the personalities of the people involved and convolutions in the story that seem more related to the author being paid per word than actually moving the plot along.
Look, A. E Van Vogt is an icon of the “golden age” of science fiction. He has written some classics. And I have enjoyed some of his work. But this is not one of them. The casual racism, the misogyny, and a protagonist for which I found myself rooting against wreak havoc on this book.
Turn away. Find others of Van Vogt’s works. And within them find the enjoyment I expected in this novel. show less
Lists
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1970 Club (3)
Awards
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Statistics
- Works
- 334
- Also by
- 162
- Members
- 22,368
- Popularity
- #950
- Rating
- 3.5
- Reviews
- 312
- ISBNs
- 578
- Languages
- 15
- Favorited
- 53
