Geoff Ryman - Child Garden

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Title Page

Gateway Introduction

Contents

Introducing The Child Garden - Wendy Pearson

Introduction - Advances in Medicine (A Culture of Viruses)

Book One

LOVE SICKNESS

or

Living in the Pit

Chapter 1 Everyday Life In Future Times (Windows in a Bridge)

Chapter 2 A Dog of a Song (Coming out of the Shell)

Chapter 3 Love Sickness (Holding a Ghost)

Chapter 4 Antarctica (The Indigent Gloves)

Chapter 5 Low Comedy (Just Us Vampires)

Chapter 6 Meeting Charlie, Charlie Slide (Surviving in Concert)

Chapter 7 An Ultimately Fatal Condition (Love’s Labours)

Book Two

FOR MILENA WHO MAKES THE FLOWERS

or

A Change of Climate

Chapter 8 Where is Rolfa? (A Change of Climate)

Chapter 9 Where is Rolfa? (Conditions of Weightlessness)

Chapter 10 An Audience of Children (The Tree of Heaven)

Chapter 11 Forces of Attraction (Bouquets of Confusion)

Chapter 12 The Wild Humours (What Year is This?)

Chapter 13 Down to Earth (Magic)

Chapter 14 Hop Skip and Jump (Psychodrama)

Chapter 15 People’s Artist (The Whole Truth)

Chapter 16 An Ending up of Friends (The Dead Spaces)

Chapter 17 Terminal (Love Sickness)

Chapter 18 The Armour of Light (The Child Garden)

Chapter 19 Dog Latin (An Audience of Viruses)

Chapter 20 What Happens Next? (An Orchestra of Ghosts)

Chapter 21 The Third Book (A Low Comedy)

About the Author

The difficulty with writing a foreword to Geoff Ryman’s The Child Garden is knowing where to begin. There is simply so much honesty, such freshness of vision, such new and unexpected richnesses of the imagination and, indeed, so much generosity of spirit in this fabulous novel that it’s difficult to highlight one thing without losing sight of many others. Yet all are equally important to the complexity of Ryman’s vision of a future London that, unlike the simpler warnings of Aldous Huxley or George Orwell, is both utopian and dystopian at once. Ryman’s future-London is a place of hope and despair, beauty and ugliness, extraordinary wonders and unimaginable costs. It is, above all, a novel about healing—healing from disease, healing from the trauma of becoming human, healing from the ugliness and despair of the world.

The Child Garden , originally published in 1989, is Ryman’s second novel, following The Warrior who Carried Life (1985). The Child Garden won both the Arthur C. Clarke Award and the John W. Campbell Memorial Award and brought Ryman to the notice of the wider science fiction community, those who were not already cognizant of his remarkable short fiction. Ryman was born in Canada, educated primarily in the USA and has lived most of his adult life in the United Kingdom. His fiction covers all of that territory, alongside a lifelong interest in Asia (Air is set in a fictional futuristic version of Kazakhistan, while The King’s Last Song re-tells, among other things, the story of Cambodia’s twelfth-century king, Jayavarman, VII in the context of Cambodia’s current history and immediate past). Ryman’s third novel, Was, interweaves three narratives, the ‘true’ story of Dorothy from The Wizard of Oz, the life of Judy Garland, and the story of Jonathan, a young Canadian actor who is dying of AIDS. What all of these novels have in common is a sense of the way in which the world hammers at and distorts us and the sometimes unlikely but urgent possibilities for healing—for using the stories that heal to undo the damage done by stories that harm.

The protagonist of The Child Garden is a young woman named Milena. Milena is an oddity in her world because, unlike all of the other children, she is resistant to the viruses which manipulate the individual’s genes and infect them, among other things, with language and the world’s knowledge. As a result, Milena is unique. And in Milena’s uniqueness, as it turns out, lies the great hope of the cure for the cure for cancer. And, no, that’s not a typographical error.

The Child Garden thus starts with an irony. Cancer has been cured. The most feared disease of the 20th—and, thus far, of the 21st—century has been defeated. Cancer no longer exists. But curing cancer turns out not to be the miracle for which we have all hoped. Cancer, it turns out, “had been rather important. Cancer cells did not age. They secreted proteins that prevented senescence. They had allowed people to get old. Without cancer, people died in or around their 35th year.”

Ryman spells this conundrum out for the reader in the first four pages of the novel. We enter it knowing that the human lifespan has been halved, in part because the wealthy were able to buy (and accidentally release) the cure for cancer before it has been properly tested. Without needing to know if there is any validity to the assertion that cancer gives us the ability to age, we are already in familiar science fictional territory: a scientific thesis has been advanced. We will enter into the novel as part of Ryman’s thought experiment in what a world that has paid such a high cost for the elimination of cancer might look like. As readers we are prepared to do this because the novel is, after all, science fiction and such thought experiments are one of the standard modes by which science fiction operates. But we are also prepared because Ryman tropes on discourses we all already know—the greed of ‘Big Pharma’ (though Ryman never even mentions pharmaceutical companies), the shoddiness with which high-profit high-stakes drugs are sometimes tested, the extraordinary and sometimes extraordinarily unethical things people will do in order to prolong their lives at any cost. Really, is Ryman’s premise that far-fetched? And does it matter. Let’s take him at his word: Cancer has been cured and the human lifespan has been reduced by more than half. Where does that leave us?