Cordwainer Smith - Science Fiction Style

Science Fiction Style

A notable characteristic of Linebarger's science fiction is that most of his stories are set in the same universe, with a unified chronology. Some anthologies of Linebarger's fiction include a chart, with each of his stories inserted into the appropriate slot in the timeline. All his writings suggest a rich universe developing over a long period of time, but leave much to be guessed at by the reader.

Linebarger's stories are unusual, sometimes being written in narrative styles closer to traditional Chinese stories than to most English-language fiction. The total volume of his science fiction output is relatively small, because of his time-consuming profession and his early death.

Smith's works consist of: a single novel, originally published in two volumes in edited form as The Planet Buyer, also known as The Boy Who Bought Old Earth (1964) and The Underpeople (1968), and later restored to its original form as Norstrilia (1975); and 32 short stories (collected in The Rediscovery of Man (1993), including two versions of the short story "War No. 81-Q").

Linebarger's cultural links to China are partially expressed in the pseudonym "Felix C. Forrest", which he used in addition to "Cordwainer Smith": his godfather Sun Yat-Sen suggested to Linebarger that he adopt the Chinese name "Lin Bai-lo" (simplified Chinese: 林白乐; traditional Chinese: 林白樂; pinyin: Lín Báilè), which may be roughly translated as "Forest of Incandescent Bliss". In his later years, Linebarger proudly wore a tie with the Chinese characters for this name embroidered on it.

As an expert in psychological warfare, Linebarger was very interested in the newly developing fields of psychology and psychiatry. He used many of their concepts into his fiction. His fiction often has religious overtones or motifs, particularly evident in characters who have no control over their actions. James P. Jordan argued for the importance of Anglicanism to Linebarger's works back to 1949. But Linebarger's daughter Rosana Hart has indicated that he did not become an Anglican until 1950, and was not strongly interested in religion until later still. The introduction to the collection Rediscovery of Man notes that from around 1960 Linebarger became more devout and expressed this in his writing. Linebarger's works are sometimes included in analyses of Christianity in fiction, along with the works of authors such as C. S. Lewis and J.R.R. Tolkien.

Most of Smith's stories are set in an era starting some 14,000 years in the future. The Instrumentality of Mankind rules Earth and goes on to control other planets later inhabited by humanity. The Instrumentality attempts to revive old cultures and languages in a process known as the Rediscovery of Man. This rediscovery can be seen as the initial period when humankind emerges from a mundane utopia and the nonhuman Underpeople gain freedom from slavery. It may also be viewed as part of a continuing process begun by the Instrumentality, encompassing the whole cycle, where mankind is constantly at risk of falling back into bad old ways.

For years, Cordwainer Smith had a pocket notebook which he had filled with ideas about The Instrumentality and additional stories in the series. But while in a small boat in a lake or bay in the mid 60s, he leaned over the side, and his notebook fell out of his breast pocket into the water, where it was lost forever. With the book gone, he felt empty of ideas, and decided to start a new series which was an allegory of Mid-Eastern politics.

Smith's stories describe a long future history of Earth. The settings range from a postapocalyptic landscape with walled cities, defended by agents of the Instrumentality, to a state of sterile utopia, in which freedom can be found only deep below the surface, in long-forgotten and buried anthropogenic strata. These features may place Smith's works within the Dying Earth subgenre of science fiction. They are ultimately more optimistic and distinctive.

Smith's most celebrated short story is his first-published, "Scanners Live in Vain", which led many of its earliest readers to assume that "Cordwainer Smith" was a new pen name for one of the established giants of the genre. It was selected as one of the best science fiction short stories of the pre-Nebula Award period by the Science Fiction and Fantasy Writers of America. It was selected for The Science Fiction Hall of Fame Volume One, 1929-1964.

Linebarger's stories feature strange and vivid creations, such as:

• The planet Norstrilia (Old North Australia), a semi-arid planet where an immortality drug called stroon is harvested from gigantic, virus-infected sheep each weighing more than 100 tons. Norstrilians are nominally the richest people in the galaxy and defend their immensely valuable stroon with sophisticated weapons (as shown in the story "Mother Hitton's Littul Kittons"). However, extremely high taxes ensure that everyone on the planet lives a frugal, rural life, like the farmers of old Australia, to keep the Norstrilians tough.
• The punishment world of Shayol (cf. Sheol), where criminals are punished by the regrowth and harvesting of their organs for transplanting
• planoforming spacecraft, which are crewed by humans telepathically linked with cats to defend against the attacks of malevolent entities in space, who are perceived by the humans as dragons, and by the cats as gigantic rats, in "The Game of Rat and Dragon".
• the Underpeople, animals modified into human form and intelligence to fulfill servile roles, and treated as property. Several stories feature clandestine efforts to liberate the Underpeople and grant them civil rights. They are seen everywhere throughout regions controlled by the Instrumentality. Names of Underpeople are based on their animal species. Thus C'Mell ("The Ballad of Lost C'Mell") is cat-derived; and D'Joan ("The Dead Lady of Clown Town"), a Joan of Arc figure, is descended from dogs.
• Habermans and their supervisors, Scanners, who are essential for space travel, but at the cost of having their sensory nerves cut to block the "pain of space", and who perceive only by vision and various life-support implants. A technological breakthrough removes the need for the treatment, but resistance among the Scanners to their perceived loss of status ensues, forming the basis of the story "Scanners Live in Vain".
• Early works in the timeline include neologisms which are not explained to any great extent, but serve to produce an atmosphere of strangeness. These words are usually derived from non-English words. For instance, manshonyagger derives from the German words "menschen" meaning, in some senses, "men" or "mankind", and "jäger", meaning a hunter; referring to war machines that roam the wild lands between the walled cities and prey on men, except for those they can identify as Germans. Another example is "Meeya Meefla", the only city to have preserved its name from the pre-atomic era: evidently Miami, Florida, from its abbreviated form (as on road signs) "MIAMI FLA".
• Character names in the stories often derive from words in languages other than English. Smith seemed particularly fond of using numbers for this purpose. For instance, the name "Lord Sto Odin" in the story "Under Old Earth" is derived from the Russian words for "One hundred and one", сто один. Quite a few of the names mean "five-six" in different languages, including both the robot Fisi (fi-si), the dead Lady Panc Ashash (in Sanskrit "pañcha" is "five" and "ṣaṣ" is "six"), Limaono (lima-ono, both in Hawaiian and/or Fijian), Englok (ng5-luk6, in Cantonese), Goroke (go-roku, Japanese) and Femtiosex ("fifty-six" in Swedish) in "The Dead Lady of Clown Town" as well as the main character in "Think Blue, Count Two", Veesey-koosey, which is an English transcription of the Finnish words "viisi" (five) and "kuusi" (six). Four of the characters in "Think Blue, Count Two" are called "Thirteen" in different languages: Tiga-belas (both in Indonesian and Malay), Trece (Spanish), Talatashar (based on an Arabic dialect form ثلاث عشر, thalāth ʿashar) and Sh'san (based on Mandarin 十三, shísān, where the "í" is never pronounced). Other names, notably that of Lord Jestocost (Russian Жестокость, Cruelty), are non-English but not numbers.
• Remnants of contemporary culture accordingly appear as valued antiquities or sometimes just as unrecognized survivals, lending a rare feeling of nostalgia for the present to the stories.