Arthur Clarke - The Lost Worlds of 2001

But Stanley Kubrick and I were attempting, at the climax of our Odyssey, something even more outrageous. We had to describe and to show on the screen-the activities and environments, and perhaps the physical nature, of creatures millions of years ahead of man. This was, by definition, impossible. One might as well expect Moon-Watcher to give a lucid description of David Bowman and his society.

Obviously, the problem had to be approached indirectly. Even if we showed any extraterrestrial creatures and their habitats, they would have to be fairly near us on the evolutionary scale-say, not more than a couple of centuries ahead. They could hardly be the three-million-year old entities who were the powers behind the Black Monolith and the Star Gate.

But we certainly had to show something, though there were moments of despair when I feared we had painted ourselves into a corner from which there was no possible escape-except perhaps a "Lady or the Tiger" ending where we said goodbye to our hero just as he entered the Star Gate. That would have been the lazy way out, and would have started people queuing at the box office to get their money back. (As Jerry Agel has recorded, at least one person did just this-a Mrs. Patricia Attard of Denver , Colorado . If the manager of the handsome Cooper Cinerama did oblige, I shall be happy to reimburse him.)

Our ultimate solution now seems to me the only possible one, but before arriving at it we spent months imagining strange worlds and cities and creatures, in the hope of finding something that would produce the right shock of recognition. All this material was abandoned, but I would not say that any of it was unnecessary. It contained the alternatives that had to be eliminated, and therefore first had to be created.

Some of these Lost Worlds of the Star Gate are in the pages that follow. In working on them, I was greatly helped by two simple precepts. The first is due to Miss Mary Poppins: "I never explain anything."

The other is Clarke's Third* Law: "Any sufficiently advanced technology is indistinguishable from magic."

*Oh, very well. The First: "When a distinguished but elderly scientist says that something is possible, he is almost certainly right. When he says it is impossible, he is very probably wrong." (Profiles of the Future)

The Second: '`The only way of finding the limits of the possible is by going beyond them into the impossible."

I decided that if three laws were good enough for Newton , they were good enough for me.

Stanley once claimed if anything could be written, he could film it. I am prepared to believe him-if he was given unlimited time and budget. However, as we were eventually a year and four million dollars over estimate, it was just as well that the problem of creating explicit super– civilizations was by-passed. There are things that are better left to the imagination-which is why so many 'horror' movies collapse when some pathetic papier-mache monster is finally revealed.

Stanley avoided this danger by creating the famous "psychedelic" sequence-or, as MGM eventually called it, "the ultimate trip." I am assured, by experts, that this is ' best appreciated under the influence of various chemicals, but do not intend to check this personally. It was certainly not conceived that way, at least as far as Stanley and I were concerned, though I would not presume to speak for all the members of the art and special-effects departments.

I raise this subject because some interested parties have tried to claim 2001 for their own. Once, at a science fiction convention, an unknown admirer thrust a packet into my hand; on opening it turned out to contain some powder and an anonymous note of thanks, assuring me that this was the "best stuff." (I promptly flushed it down the toilet.) Now, I do not know enough about drugs to have very strong views on the matter, and am only mildly in favour of the death penalty even for tobacco peddling, but it seems to me that "consciousness– expanding" chemicals do exactly the opposite. What they really expand are uncriticalness ("Crazy, man!") and general euphoria, which may be fine for personal relationships but is the death of real art .. . except possibly in restricted areas of music and poetry.

This recalls to mind Coleridge's "Kubla Khan," written under the influence of opium and interrupted by the persistent and thrice-accursed "Person from Porlock"-which incidentally, is a charming little village just four miles from my birthplace. At one time I started composing a parody of "Kubla Khan," which started promisingly enough:

For MGM did Kubrick, Stan A stately astrodome decree Where Art, the s.f. writer, ran Through plots incredible to man In search of solvency…. So twice five miles of Elstree ground With sets and props were girdled round . . .

Unfortunately, or perhaps not, inspiration evaporated at this point, and I was never able to work in:

A savage place! as eerie and enchanted As ere beneath a flickering arc was haunted By child-star wailing for her demon mother . . .

still less get as far as the projected ending:

For months meandering with a mazy motion Through stacks of scripts the desperate writer ran Then reached that plot incredible to man And sank, enSCUBA'd in the Indian Ocean . And midst the tumult Kubrick heard from far Accountants' voices, prophesying war!

The three "Worlds of the Star Gate" that follow are, to some extent, mutually incompatible with each other and with the final novel and movie versions. (There were still others-now forgotten or absorbed.) In the first, not only the surviving astronauts but Discovery itself encountered the immortal alien who had walked on earth, three million years ago.

The flying island that is the background of that meeting owes a little to Swift, more to Rene Magritte, and most of all to the Singhalese king Kassapa I (circa 473– 491 A .D.) In the very heart of Ceylon , on an overhanging rock five hundred feet above the surrounding plain, Kassapa built a palace which is one of the archeological (and artistic) wonders of the world. When you walk among the windy ruins of Sigiriya, it is easy to believe that you are actually airborne, high above the miles of jungle spread out on every side. Sigiriya is, indeed, uncannily like a Ceylonese Xanadu-complete with pleasure gardens and dusky damsels.

Of the Clindar who had walked on Earth, in another dawn, three million years ago, not a single atom now remained; yet though the body had been worn away and rebuilt times beyond number, it was no more than a temporary garment for the questing intelligence that it housed. It had been remodeled into many strange forms, for unusual missions, but always it had reverted to the basic humanoid design.

As for the memories and emotions of those three million years, spent on more than a thousand worlds, not even the most efficient storage system could hold them all in one brain. But they were available at a moment's notice, filed away in the immense memory vault that ringed the planet. Whenever he wished, Clindar could relive any portion of his past, in total recall. He could look again upon a flower or an insect that had fleetingly caught his eye ten thousand years before, hear the voice of creatures that had been extinct for ages, smell the winds of worlds that had long since perished in the funeral pyres of their own suns. Nothing was lost to him-if he. wished to recall it.

So when the signal had come in, and while the golden ship was being prepared for its journey, he had gone to the Palace of the Past and let his ancient memories flow back into his brain. Now it seemed that only yesterday– not three million years ago-he had hunted with the ape-men and shown Moon-Watcher how to find the stones that could be used as knives and clubs.

"They are awake," said a quiet voice in the depths of his brain. "They are moving around inside their ship."