Soma, in Brave New World, is implicitly condemned as an opiate, a mind-luller, an instrument of repression. Huxley’s negative outlook toward the drug is not, though, an expression of work-oriented Puritan morality so much as a classic liberal-humanitarian distrust of technology: the Huxley of 1932 plainly believed that mankind coddled by drugs was something less than what mankind could be. The young Huxley felt contempt for those who needed mechanical aids or who depended on anything other than the force of their own intellects. Many years later, however, a very different Huxley experienced the psychedelic marvels of mescaline and LSD, which kindled in him strong esthetic delight and something akin to spiritual ecstasy. When he next attempted the fictional construction of a utopian commonwealth, in Island (1962), his outlook on mind-altering drugs was far more sympathetic. In this ideal state of the future one uses not the soporific soma but the ecstasy-invoking moksha, a mind-expanding hallucinogen. Concerning moksha one character says, “Having had the misfortune to be brought up in Europe, Murugan calls it dope and feels about it all the disapproval that, by conditioned reflex, the dirty word evokes. We, on the contrary, give the stuff good names⁠—⁠the moksha-medicine, the reality-revealer, the truth-and-beauty pill. And we know, by direct experience, that the good names are deserved.”⁠[2] Huxley is really talking about LSD, and his tone is that of the acid-evangelist. [2] Huxley, Aldous. Island. New York: Harper and Row, Publishers, 1962. p. 157. Drug as contemptible anodyne, drug as gateway to higher reality⁠—⁠those are the poles bounding the handling of drugs in science [7]fiction. The older science fiction was preponderantly negative, as, for example, James Gunn’s The Joy Makers, published in 1961 but written half a decade earlier, in which a repressive government sustains itself through mandatory use of euphorics. The same theme can be found in Hartley’s Facial Justice (1960), and in other works. Even when not used as an instrument of totalitarianism, drugs are often seen as dangerous self-indulgence, as in Wellman’s Dream-Dust from Mars (1938), Smith’s Hellflower (1953), or Pohl’s What to Do Until the Analyst Comes (1956). The prototypes for the imaginary drugs described in these stories are alcohol and heroin⁠—⁠drugs which blur the mind and lower the consciousness. Much recent science fiction, however, taking cognizance of such newly popular drugs as LSD, marijuana, and mescaline, show society transformed, enhanced, and raised up by drug use. Silverberg’s A Time of Changes (1971) portrays a dour, self-hating culture into which comes a drug that stimulates direct telepathic contact between human minds and brings into being a subculture of love and openness. This creates a great convulsion in the society, but the implication is that the change the drug brings is beneficial. Similarly, in Panshin’s How Can We Sink When We Can Fly? (1971), a drug called tempus that induces travel in time is part of the educational process of a future society. In The Peacock King by McCombs and White (1965) LSD is used as a training device to prepare astronauts for the rigors of interstellar travel, and in H. H. Hollis’ Stoned Counsel (1972) hallucinogenic drugs have become routine aspects of courtroom work. Another view of a society transformed but not necessarily injured by mass drug use is Wyman Guin’s Beyond Bedlam, dating from 1951, in which schizophrenia is desired and encouraged and is induced by drugs. In Silverberg’s Downward to the Earth (1971) hallucinogens play a part in ecstatic religion on another world. A variant of the mind-expanding drug is the intelligence-enhancing drug, long a common theme in science fiction. Some recent exponents of the theme are Brunner’s The Stone That Never Came Down (1973), Dickson’s The R-Master (1973), and Disch’s Camp Concentration (1968). Not all depiction of drugs in recent science fiction is sympathetic, of course. Aldiss’ Barefoot in the Head (1970) shows all of Europe thrown into confusion by the “acid-head war,” in which an Arab power doses the whole continent with psychedelic weapons. (Aldiss does indicate at least peripherally that the new tripped-out culture emerging in war-wrecked Europe is not entirely inferior to its predecessor.) Chester Anderson’s lighthearted The Butterfly Kid (1967) depicts hallucinogenic drugs as weapons employed by aliens, [8] whether mind-expanding, mind-contracting, or mind-controlling. In the horrendously overpopulated future of Harry Harrison’s Make Room! Make Room! (1966), LSD and marijuana are the best available escapes from the daily nightmare that is life; in a similarly crowded world imagined by Doris Pitkin Buck in Come Where My Love Lies Dreaming (1964) the drug of choice is nothing we have today, but rather one that gives the user the vicarious experience of existence as a dinosaur! However different the details, though, the stories say the same thing: that fortitude is not enough, that chemical assistance will be needed. The stories in the sample chosen for this project illustrate the whole range of drug themes in science fiction, from the plausible to the fantastic, from the horrifying to the ecstasy-inducing. In a world where man and his technological marvels must coexist along an uneasy interface, science fiction indicates some of the possible impact areas in the decades and centuries ahead.

 

Pratt, Fletcher and Lester, Irvin

Title:

The Roger Bacon formula

Journal:

Amazing Stories, Vol. 3, No. 10, 940–948

Publisher:

Experimenter Publishing Company, New York

Date:

January 1929

Format:

Short story

Descriptor:

Drugs as mind-expanders

Annotation:  

Medievalist rediscovers lost manuscript in which Roger Bacon provides the formula for mandragordeum, a drug that induces “transportation of the mind.” Taking it, the experimenter finds himself freed from his body and journeying to Venus; a vivid vision of life on the second planet ends only when the drug wears off. Fearing addiction, he never tries the drug again, though he admits a temptation to more tripping.

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Author:

Harris, Clare Winger

Title:

The diabolical drug

Journal:

Amazing Stories, Vol. 4, No. 2, 156–161

Publisher:

Experimenter Publishing Company, New York

Date:

May 1929

Format:

Short story

Descriptor:

Drugs as mind-controllers

Annotation:  

Scientist develops a chemical which, by retarding the voltage of the brain’s electrical activity, halts the aging process. An experiment on a human is performed, the subject being the scientist’s beloved, who is six years older than he is; he intends to hold her at the same age until he has caught up. She sinks into a kind of stasis. Unable to perfect an antidote, he injects himself also, and the two of them enter a strange suspended animation in which extreme psychological effects of the metabolic slowdown manifest themselves.

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[13]

Author:

Huxley, Aldous

Title:

Brave New World

Publisher:

Chatto & Windus, London, England

Pages:

214 pp.

Date:

1932

Format:

Novel

Descriptor:

Drugs as panaceas

Annotation:  

In mechanized, standardized utopian world of the future, where human beings are synthetically produced in incubators and conditioned for optimum social stability, a drug called soma serves as the utopiate of the masses, distracting and tranquilizing those who might otherwise become restless in their too-comfortable lives.

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Author:

Keller, David H.

Title:

The literary corkscrew

Journal:

Wonder Stories, Vol. 5, No. 8, 867–873

Publisher:

Continental Publications, New York

Date:

March 1934

Format:

Short story

Descriptor:

Drugs as intelligence enhancers

Annotation:  

Satiric story. A professional writer discovers he can write only when in physical pain, and requires his wife to drive a corkscrew into his back to get him started. But the pain of the corkscrew is impossible to sustain for long, and they seek medical help. The doctor they consult discovers that it isn’t the pain itself but rather certain hormones secreted as a response to the pain that encourages literary production, and synthesizes a drug that makes writing easier. Doctor takes his own drug and writes a best-seller.

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[14]

Author:

Fearn, John Russell

Title:

He never slept

Journal:

Astounding Stories, Vol. 13, No. 4, 56–67

Publisher:

Street & Smith, New York

Date:

June 1934

Format:

Short story

Descriptor:

Drugs as intelligence-enhancers

Annotation:  

Scientist concocts a protein-based drug that frees the subject from all need to sleep. Narrator takes the drug and enters into a condition of enhanced perceptivity in which he is capable of penetrating the visionary recesses of his own mind and visiting the dream-creating processes. The experience eventually exhausts him, but unable to give up use of the drug, he looks forward to death as the only release from its effects.

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Author:

Herbert, Benson

Title:

The control drug

Journal:

Wonder Stories, Vol. 6, No. 6, 669–675

Publisher:

Continental Publications, New York

Date:

November 1934

Format:

Short story

Descriptor:

Drugs as euphorics

Annotation:  

Scientist invents a xenon-derived drug that seems to offer a “paradise” effect⁠—⁠brief glimpses of the Divine, freedom from the material body, etc. But further research shows its dread long-term effects: “The stuff doesn’t exalt you or energize you.... What it does is to release the emotions from a lifetime of civilized control and suppression. It takes the bonds off secret desires. Its subtle physiological action leaves you with no control whatever.” Naturally he destroys the drug and takes his own life.

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