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Theology stunts had taken psilocyb, then attend a service at Boston Universy’s Marsh Chapel to see if they’d be h wh relig revelatns. They dutifully reported their fdgs: most of the participants had ed touched God. Such wi-rangg rearch was characteristic of Clarke and Kubrick’s approach, although the two men, both self-profsed squar, might have saved time had they been willg to try hallucogens themselv.</p><div class="Contaer-bkChBi byNLHx"></div><p class="paywall">The Juper scen—filled wh what Michael Benson scrib as “abstract, nonreprentatnal, space-time astonishments”—were the product of years of trial and error spent adaptg existg equipment and technologi, such as the “sl-sn” photography that fally ma the famo Star Gate sequence possible. Typilly ed for panoramic shots of cysp, the technique, the hands of Kubrick’s special-effects team, was modified to produce a psychelic sh of lor and light. Ridg Dave’s pod is like travellg through a birth nal which someone has thrown a rave. Like the films of the late neteenth century, “2001” manifted s vented worlds by first ventg the methods need to nstct them.</p><p class="paywall">Yet some of the most strikg effects the film are s simplt. In a movie about extraterrtrial life, Kubrick faced a ccial prediment: what would the aliens look like? Cold War-era sci-fi offered a dispirg menu of extraterrtrial avatars: supersonic birds, sly monsters, gelato blobs. In their earlit meetgs New York, Clarke and Kubrick, along wh Christiane, sketched drafts and nsulted the Surrealist patgs of Max Ernst. For a time, Christiane was mollg clay aliens her stud. The gargoyle-like creatur were rejected, and “end up dotted around the garn,” acrdg to Kubrick’s dghter Kathara. Alberto Giaetti’s sculptur of thned and elongated humans, remblg shadows at sundown, were briefly an spiratn. In the end, Kubrick cid that “you nnot image the unimagable” and, after tryg more ornate signs, settled on the monolh. Its eerily ntral and silent appearance at the crossroads of human evolutn evok the same wonr for members of the dience as do for characters the film. Kubrick realized that, if he was gog to make a film about human fear and awe, the viewer had to feel those emotns as well.</p><p class="paywall">And then there is <em class="small">HAL</em>, the rogue puter whose affectls red eye reflects back what se while, behd , his md whirrs wh dark and secret signs. I.B.M. nsulted on the plans for <em class="small">HAL,</em> but the ia to e the pany’s logo fell through after Kubrick scribed him a letter as “a psychotic puter.” Any discsn of Kubrick’s scientific prcience has to clu <em class="small">HAL</em>, whose suave, slightly effemate voice suggts a bised heart beatg unr his circury. In the past fifty years, our talkg mach have ntued to evolve, but none of them have bee as thentilly malic as <em class="small">HAL</em>. My grandfather’s early-eighti Chrysler, borrowg the voice om Speak & Spell, would tone, “A door is ajar,” whenever you got . It sound like a logil fallacy, but seemed pleasantly futuristic nohels. Soon voice-mand technology reached the public, herg our current era of unreliable puter terlocutors given to unforced errors: half-il, half-piful simpletons, whose fate life is to be tnted by eleven-year-olds. Dpe the reports of cklg Amazon Alexas, there has, so far, been fairly ltle to worry about where our talkg vic are ncerned. The unbearable pathos of <em class="small">HAL</em>’s disnnectn scene, one of the most mournful ath scen ever filmed, suggts that when we do end up wh humanlike puters, we’re gog to have some wild ethil dilemmas on our hands. <em class="small">HAL</em> is a child, around ne years old, as he tells Dave at the moment he sens he’s fished. He’s prec, dulged, needy, and vulnerable; more human than his human overseers, wh their stilted, near robotic livery. The dyg <em class="small">HAL</em>, sgg “Daisy,” the tune his teacher tght him, is a sentimental trope out of Victorian fictn, more Ltle Nell than ltle green man.</p><div data-attr-viewport-monor="le-recirc" class="le-recirc-wrapper le-recirc-observer-target-2 viewport-monor-anchor"></div><p class="paywall">As Benson’s book suggts, a way the release of “2001” was s least important tone. Clarke and Kubrick had been wrtlg for years wh qutns of what the film was, and meant. The enigmas were merely hand off om creators to viewers. The cric Alexanr Walker lled “2001” “the first mastream film that required an act of ntuo ference” om s dienc. On set, the legns of specialists and nsultants workg on the mutiae took orrs om Kubrick, whose nceptn of the whole remaed nstant flux. The film’s narrative trajectory poted exorably toward a big endg, even a revelatn, but Kubrick kept changg his md about what that endg would be—and nobody who saw the film knew que what to make of the one he fally chose. The film took for granted a broad cultural tolerance, if not an appete, for enigma, as well as the time and clatn for parsg terpretive mysteri. If the first wave of dienc was baffled, might have been bee “2001” had not yet created the taste required to be appreciated. Like “Ulyss,” or “The Waste Land,” or untls other difficult, ambiguo mornist landmarks, “2001” fed s own ntext. You didn’t solve by watchg a send time, but you did settle to s mysteri.</p></div></div></div><div class="GridItem-buujkM fVLMby grid--em grid-layout__asi"><div class="StickyBoxWrapper-jfYB jxBcTH sticky-box"><div class="StickyBoxPrimary-dzWDWL cdhYoN sticky-box__primary"></div><div class="StickyBoxPlaceholr-grPmrg dxAvXx"></div></div></div></div><div class="RowWrapper-UmqTg HEhan full-bleed-ad row-mid-ntent-ad"><div class="StickyMidContentAdWrapper-fSBzwl drzyIa ad-stickymidntent"><div class="AdWrapper-dQtivb fZrssQ ad ad--mid-ntent should-hold-space"><div class="ad__slot ad__slot--mid-ntent" data-no-id="sbtpq"></div></div></div></div><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 ArticlePageChunksGrid-hfxa bjczjj grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="BodyWrapper-kufPGa bDyAMU body body__ntaer article__body" data-journey-hook="client-ntent" data-ttid="BodyWrapper"><div class="body__ner-ntaer"><p class="paywall">Later dienc had another advantage. “2001” tablished the phenomenon of the Kubrick film: much mored, long layed, always a ltle disappotg. Casts and crews were held hostage as they whstood Kubrick’s fe futzg, and dienc were held eager spense by P.R. mpaigns that often oversold the films’ mercial appeal. Downstream would be midnight showgs, monographs, dorm rooms, and weed, but first there was the letdown. The reason given for the films’ failur suggted the terms of their remptn: Kubrick was pable of not makg Kubrick films.</p><p class="paywall">“2001” tablished the athetic and thematic palette that he ed all his subsequent films. The spacns of s too perfectly nstcted sets, the subjugatn of story and theme to abstract posnal balance, the precisn choreography, even—pecially— scen of vlence and chaos, the entire repertoire of lors, angl, fonts, and textur: the were nstants films as wildly different as “<a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank">Barry Lyndon</a>” (1975) and “<a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank">The Shg</a>” (1980), “<a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank">Full Metal Jacket</a>” (1987) and “<a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank">Ey Wi Shut</a>” (1999). So was the languoro edg of “2001,” which, when paired wh abpt temporal leaps, ma eons seem short and moments seem endls, and s brilliant ployment of mic to anize, and often ironize, actn and character. The elements were prent some form Kubrick’s earlier films, particularly “Dr. Strangelove,” but was all perfected “2001.” Bee he occupied genr one at a time, each radilly different om the last, you uld ntrol for what was nsistently Kubrickian about everythg he did. The films are signed to advance his distct filmic vobulary new ntexts and environments: a shuttered rort hotel, a spac Manhattan apartment, Vietnam. Insi the disparate but meticuloly nstcted worlds, Kubrick’s slightly malic telligence termed the out of every apparently ee choice his protagonists ma.</p><p class="paywall">Though Kubrick bged on pulp sci-fi as a child, and later listened to rad broadsts about the paranormal, “2001” has ltle mon wh the rky-dk nventns of movie science fictn. Its dazzlg showmanship harkened back to olr cematic experienc. Film scholars sometim discs the earlit silent films as exampl of “the cema of attractn,” movi meant to showse the medium self. The films were, sence, exhibs: simple scen om ordary life—a tra arrivg, a dog vortg. Their only import was that they had been ptured by a mera that uld, magilly, rerd movement time. This “movg photography” was what prompted Maxim Gorky, who saw the Lumière brothers’ films at a Rsian fair 1896, to bemoan the “kgdom of shadows”—a mass of people, animals, and vehicl—shg “straight at you,” approachg the edge of the screen, then vanishg “somewhere beyond .”</p><p class="paywall">“2001” is at s bt when evok the “somewhere beyond.” For me, the most astoundg moment of the film is a d tribute to filmmakg self. In “The Dawn of Man,” when a fierce leopard sudnly fac , s ey reflect the light om the projectn system that Kubrick’s team had vented to create the illn of a vast primordial sert. Kubrick loved the effect, and left . The tails lger the md partly bee they remd that a brilliant artist, tent on masterg science and njurg science fictn, neverthels knew when to leave his poetry alone.</p><p class="paywall">The terpretive muni nvened by “2001” may persist pockets of the culture, but I doubt whether many young people will aga ntend wh s bts to Jung, John Cage, and Joseph Campbell. In the era of the meme, we’re more likely to fd the afterlife of “2001” agments and glimps than theori and explitns. The film hangs on as a staple of YouTube vio says and mashups; remas high on lists of both the greatt films ever ma and the most borg. On Giphy, you n fd many inic imag om “2001” loopg endlsly sends-long crements—a jarrg prsn that uldn’t be more at odds wh the languid eterny Kubrick sought to pture. The very fact that you n view “2001,” along wh almost every film ever shot, on a palm-size vice is a future that Kubrick and Clarke may have predicted, but surely wouldn’t have wanted for their own larger-than-life movie. The film abounds ltle screens, tablets, and picturephon; 2011, Samsung fought an junctn om Apple over alleged patent vlatns by cg the technology “2001” as a precsor for s signs. Moon landgs and astront celebri now feel like a thg of the past. Space lost out. Those screens were the future. ♦</p><p class="paywall">An earlier versn of this story suggted that a sgle monolh appears at different tim the film.</p></div></div></div><div class="GridItem-buujkM fVLMby grid--em grid-layout__asi"><div class="StickyBoxWrapper-jfYB jxBcTH sticky-box"><div class="StickyBoxPrimary-dzWDWL cdhYoN sticky-box__primary"><div class="AdWrapper-dQtivb fZrssQ ad ad--rail"><div class="ad__slot ad__slot--rail" data-no-id="q1cwzl"></div></div><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--display-rail" role="prentatn" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--display-rail"></div><div class="journey-un"></div></div></div><div class="StickyBoxPlaceholr-grPmrg dxAvXx"></div></div></div></div></div><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 PaywallInleBarrierWhWrapperGrid-fyrGfS kLQIUk grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="body body__le-barrier article__body"><div class="ntaer ntaer--body"><div class="ntaer--body-ner"><asi class="PaywallInleBarrierWrapper-iBnuqk lfXXa-D" data-ttid="PaywallInleBarrierWrapper"><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--paywall-le-barrier" role="prentatn" aria-live="pole" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--paywall-le-barrier"></div><div class="journey-un"></div></div></asi></div></div></div></div></div></div></div><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 ContentWrapperGrid-fvkmBv brYtrA grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="body body__ntaer"><div class="ntaer ntaer--body"><div class="ntaer--body-ner"></div></div></div></div></div></div></article><div class="ContentFooterWrapper-jVNdRG dTJkpP ArticlePageContentFooterGrid-ccsXYy eMZRHU article-body__footer"><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><footer class="ContentFooterMagazeDisclaimer-gzKAqo iZIuUU" data-ttid="MagazeDisclaimerWrapper">Published the prt edn of the <a href="/magaze/2018/04/23" data-reactroot="">April 23, 2018</a>, issue, wh the headle “Anybody There?.”</footer></div></div><div class="RowWrapper-UmqTg HEhan"><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"></div></div></div><div class="RowWrapper-UmqTg HEhan"><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="ContributorsWrapper-eNpWFu GWFsc ntributors" data-ttid="Contributors"><div class="ContributorBWrapper-bnVHbt gMon"><div class="ContributorBAvatar-bIGTqf eMWbvj"><a href="/ntributors/dan-chiasson"><span class="SpanWrapper-umhxW jvZaPI rponsive-asset"><picture class="RponsiveImagePicture-cWuUZO dUOtEa rponsive-image"><source media="(max-width: 767px)" srcSet=" 120w, 240w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w" siz="100vw"/><img alt="" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></picture></span></a></div><div class="ContributorBContent-ubQdr jZTSSi"><div class="ContributorBHear-ledood XOIEx"></div><div class="ContributorBB-fBolsO giFhKz"><a href="/ntributors/dan-chiasson">Dan Chiasson</a>, a ntributor to The New Yorker sce 2007, teach English at Wellley College. 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bric bric--disvery SummaryItemRubric-dguGKN fYiFyD summary-em__bric"><span class="RubricName-fVtemz cLxcNi">Profil</span></div><a class="SummaryItemHedLk-civM cZPaWG summary-em-trackg__hed-lk summary-em__hed-lk" data-ponent-type="recirc-river" data-recirc-id="em-hed-1" data-recirc-pattern="summary-em" href="/magaze/1966/11/12/how-about-a-ltle-game" target="_self"><div class="SummaryItemHedBase-hiFYpQ iIjKeM summary-em__hed" data-ttid="SummaryItemHed">How About a Ltle Game?</div></a><div class="SummaryItemByleWrapper-boCfbi cuRXdL summary-em__byle-date-in"><div class="SummaryItemBaseByle-fFbXkY cgDBtc summary-em__byle"><div class="summary-em__byle__ntent"><div data-ttid="BylWrapper" class="BylWrapper-KIudk irTIfE byl"><p class="ByleWrapper-jWHrLH dSEWiO byle byl__byle" data-ttid="ByleWrapper" emProp="thor" emType="><span emProp="name" class="ByleNamWrapper-jbHncj fuDQVo"><span data-ttid="ByleName" class="ByleName-kwmrLn cYaBaU byle__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylePreamble-iJolpQ iUEiRd jslZfG gnILss byle__preamble">By </span>Jeremy Bernste</span></span></p></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff ewgXAt summary-em summary-em--article summary-em--no-in summary-em--text-align-left summary-em--layout-placement-text-below-sktop-only summary-em--layout-posn-image-right summary-em--layout-proportns-33-66 summary-em--si-by-si-align-center summary-em--si-by-si-image-right-mobile-false summary-em--standard SummaryCollectnGridSummaryItem-WColm dqlGhv" role="button" tabx="0"><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb USLvL summary-em__image-lk summary-em-trackg__image-lk" href="/magaze/1969/08/09/ego-chamber" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-2" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image"><div 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target="_self"><div class="SummaryItemHedBase-hiFYpQ iIjKeM summary-em__hed" data-ttid="SummaryItemHed">Out of the Ego Chamber</div></a><div class="SummaryItemByleWrapper-boCfbi cuRXdL summary-em__byle-date-in"><div class="SummaryItemBaseByle-fFbXkY cgDBtc summary-em__byle"><div class="summary-em__byle__ntent"><div data-ttid="BylWrapper" class="BylWrapper-KIudk irTIfE byl"><p class="ByleWrapper-jWHrLH dSEWiO byle byl__byle" data-ttid="ByleWrapper" emProp="thor" emType="><span emProp="name" class="ByleNamWrapper-jbHncj fuDQVo"><span data-ttid="ByleName" class="ByleName-kwmrLn cYaBaU byle__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylePreamble-iJolpQ iUEiRd jslZfG gnILss byle__preamble">By </span>Jeremy Bernste</span></span></p></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff ewgXAt summary-em summary-em--evio summary-em--no-in summary-em--text-align-left summary-em--layout-placement-text-below-sktop-only summary-em--layout-posn-image-right summary-em--layout-proportns-33-66 summary-em--si-by-si-align-center summary-em--si-by-si-image-right-mobile-false summary-em--standard SummaryCollectnGridSummaryItem-WColm dqlGhv" role="button" tabx="0"><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb USLvL summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-3" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz jMoLpX"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 720w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 480w" siz="100vw"/><img alt="Highlights om Mark Zuckerberg’s Congrsnal Heargs" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl bcywvc summary-em__ntent"><div class="RubricWrapper-dKmCNX kImuKS bric bric--disvery SummaryItemRubric-dguGKN fYiFyD summary-em__bric"><span class="RubricName-fVtemz cLxcNi">Vio</span></div><a class="SummaryItemHedLk-civM cZPaWG summary-em-trackg__hed-lk summary-em__hed-lk" data-ponent-type="recirc-river" data-recirc-id="em-hed-3" data-recirc-pattern="summary-em" href=" target="_self"><div class="SummaryItemHedBase-hiFYpQ iIjKeM summary-em__hed" data-ttid="SummaryItemHed">Highlights om Mark Zuckerberg’s Congrsnal Heargs</div></a><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb USLvL summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-3" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz jMoLpX"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 720w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 480w" siz="100vw"/><img alt="Highlights om Mark Zuckerberg’s Congrsnal Heargs" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd jxOIpm cPtisA summary-em__k summary-em__k--isCneVio">In his first-ever appearance before lawmakers, the Facebook founr answered qutns about data privacy, fake news, hate speech, and Rsian terference the 2016 Printial electn.</div></div></div><div class="SummaryItemWrapper-iwvBff ewgXAt summary-em summary-em--ARTICLE summary-em--no-in summary-em--text-align-left summary-em--layout-placement-text-below-sktop-only summary-em--layout-posn-image-right summary-em--layout-proportns-33-66 summary-em--si-by-si-align-center summary-em--si-by-si-image-right-mobile-false summary-em--standard SummaryCollectnGridSummaryItem-WColm dqlGhv" role="button" tabx="0"><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb USLvL summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-4" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz jMoLpX"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="Iphigenia Fort Hills" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl bcywvc summary-em__ntent"><div class="RubricWrapper-dKmCNX kImuKS bric bric--disvery SummaryItemRubric-dguGKN fYiFyD summary-em__bric"><span class="RubricName-fVtemz cLxcNi">A Reporter at Large</span></div><a class="SummaryItemHedLk-civM cZPaWG summary-em-trackg__hed-lk summary-em__hed-lk" data-ponent-type="recirc-river" data-recirc-id="em-hed-4" data-recirc-pattern="summary-em" href=" target="_self"><div class="SummaryItemHedBase-hiFYpQ iIjKeM summary-em__hed" data-ttid="SummaryItemHed">Iphigenia Fort Hills</div></a><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb USLvL summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-4" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz jMoLpX"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="Iphigenia Fort Hills" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd jxOIpm cPtisA summary-em__k">Anatomy of a murr trial.</div><div class="SummaryItemByleWrapper-boCfbi cuRXdL summary-em__byle-date-in"><div class="SummaryItemBaseByle-fFbXkY cgDBtc summary-em__byle"><div class="summary-em__byle__ntent"><div data-ttid="BylWrapper" class="BylWrapper-KIudk irTIfE byl"><p class="ByleWrapper-jWHrLH dSEWiO byle byl__byle" data-ttid="ByleWrapper" emProp="thor" emType="><span emProp="name" class="ByleNamWrapper-jbHncj fuDQVo"><span data-ttid="ByleName" class="ByleName-kwmrLn cYaBaU byle__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylePreamble-iJolpQ iUEiRd jslZfG gnILss byle__preamble">By </span>Ja Mallm</span></span></p></div></div></div></div></div></div><div class="AdWrapper-dQtivb fZrssQ SummaryCollectnGridSummaryItem-WColm dqlGhv ad ad--read-more"><div class="ad__slot ad__slot--read-more" 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THE FASCATG THEORY THAT HAL ‘2001: A SPACE ODYSSEY' IS GAY
HOW SCI-FI GIANT ARTHUR C. CLARKE PREDICTED AN LGBT-FRIENDLY WORLDSEXUAL SEERTHE THOR OF '2001: A SPACE ODYSSEY' WAS A SAVVY FUTURIST WHO PREDICTED EVERYTHG OM ONLE SHOPPG TO CELLPHONE ADDICTN, BUT HE WAS AT HIS MOST PRCIENT ABOUT SEXUALY.ANDREW BELONSKYUPDATED JAN. 03, 2018 1:38PM EST / PUBLISHED DEC. 09, 2017 12:00AM EST PHOTO ILLTRATN BY SARAH ROGERS/THE DAILY BEASTSIR ARTHUR C. CLARKE IS REMEMBERED FOR HIS REMARKABLE FORIGHT: THE SCI-FI THOR’S WORKS ACCURATELY PREDICTED ONLE SHOPPG, BMETRIC TECHNOLOGY, SMART PHONE ADDICTN, AND EVEN TARGETED ADVERTISG. A 1945 WIRELS WORLD ARTICLE BY CLARKE, WHO TRAED RADAR TECHNOLOGY DURG WORLD WAR II, HELPED MAKE MUNITNS SATELL A REALY. AND PERHAPS MOST FAMOLY, CLARKE, WHOSE CENTENARY OCCURS THIS MONTH, CREATED A WHOLE NEW FEARSOME TROPE WH HAL, THE MURRO ARTIFICIAL TELLIGENCE AT THE HEART OF THE LATE THOR’S MOST FAMO WORK, 2001: A SPACE ODYSSEY.THE ACPLISHMENTS ARE ALL WELL-KNOWN AND WELL-CELEBRATED AMONG CLARKE AFICNADOS AND CRICS. LS DISCSED ARE THE WAYS CLARKE’S WORKS CHALLENGED HETERONORMATIVE SEXUAL MOR, PARTICULARLY THOSE SURROUNDG MEN WHO WENT FOR MEN. BUT REVIEWG SOME OF CLARKE’S MOST NOTABLE WORKS, ONE SE THE THOR SURVEYG THE CHANGG SEXUAL LANDSPE OF A POST-STONEWALL SOCIETY. TAKEN TOGETHER, THEY PROVI A PANORAMIC VIEW OF A GAY MAN QUTNG THE WORLD WHICH HE LIVED.AND, Y, CLARKE WAS A GAY MAN, OR, AT THE VERY LEAST, QUEER. THOUGH HE MARRIED A WOMAN 1953, THEY SEPARATED SIX MONTHS LATER, AND ’S WELL TABLISHED THAT CLARKE’S ROMANTIC EXISTENCE WAS SPENT MOSTLY WH OTHER MEN. OBSSED WH THE KSEY SLE WHEN FIRST ME OUT, CLARKE NEVER BELIEVED PEOPLE HAD STRICT STRAIGHT OR GAY TENNCI, A BELIEF MA CLEAR A NUMBER OF HIS BOOKS. AUTHOR MICHAEL MOORCK WROTE A 2008 GUARDIAN SAY THAT “EVERYONE KNEW [CLARKE] WAS GAY,” EVEN THE ’50S, WELL AFTER CLARKE MOVED TO SRI LANKA, WHERE HE FOUND THE LACK OF SEXUAL POLICG REHG AFTER LIVG UPTIGHT ENGLAND. CLARKE ALSO SPENT 1964-1965 AT NEW YORK’S FAMOLY LIBERTE CHELSEA HOTEL, ROMPG AROUND TOWN WH ALLEN GSBERG AND WILLIAM S. BURROUGHS, TWO OF THE MOST MALE-LOVG MEN OF THE ERA. AND SIRS ALSO KNOW THAT CLARKE AND A MAN NAMED LLIE EKANAYAKE WERE LOVE; CLARKE SCRIBED LLIE AS “THE ONLY PERFECT IEND OF A LIFETIME,” AND THE THOR WAS BURIED ALONGSI HIM WHEN HE DIED 2008.BUT CLARKE WOULD NEVER ADM HIS LOVE OF MEN. NOT ON THE RERD, AT LEAST. ASKED BY A REPORTER ABOUT HIS BEDROOM ACTIVI, CLARKE MPILY LGHED, “WHY, WHAT HAVE YOU HEARD?” HE ONLY ADMTED HIS YEN FOR MEN A FEW TIM: SHEEPISHLY HIS SEMI-TOBGRAPHIL 1963 NOVEL GLI PATH, WHICH THE SEXUALLY EXPERIENCED PROTAGONIST MAK A PASSG REFERENCE TO “A HIGHLY REFED ENUNTER WH THE CLERGYMAN WHO HAD (VERY BRIEFLY) N THE LOL SUT TROOP;” AND OFF-HANDLY 1986, WHEN PLAYBOY JOURNALIST KEN KELLEY ASKED CLARKE WHETHER HE’D HAD BISEXUAL EXPERIENC. CLARKE REPLIED WH A ROUNDG Y: “OF URSE. WHO HASN’T? GOOD GOD! IF ANYONE HAD EVER TOLD ME THAT HE HADN’T, I’D HAVE TOLD HIM HE WAS LYG. BUT THEN, OF URSE, PEOPLE TEND TO ‘FET’ THEIR ENUNTERS.” HE WENT ON, “I DON’T WANT TO GO TO TAIL ABOUT MY OWN LIFE, BUT I JT WANT TO BE NOTED THAT I HAVE A RATHER RELAXED, SYMPATHETIC ATTU ABOUT .” SUCH RETICENCE IS ONLY NATURAL FOR A MAN BORN 1917 AND WHO ME OF AGE DURG THE HEIGHT OF THE PK SRE, WHEN WTERN ERNMENTS BRAND GAY PEOPLE AS CRIMAL SURG, AS SEXUAL CRIMALS. AND ’S EQUALLY LOGIL THAT CLARKE WOULD E FICTN TO EXPLORE SOCIETI THAT HAD EVOLVED PAST SUCH SEXUAL JUDGMENT. “CLARKE’S WORLDS ARE BASED ON LOGIL TECHNOLOGIL LEAPS AND REAL SOCLOGIL CHANGE, NOT WARP SPEED AND WISHFUL THKG” THAT’S THE PREDOMANT THEME CLARKE’S WORKS: MAN’S POTENTIAL FOR POSIVE PROGRS, OUR ABILY TO TRANSCEND LIMATNS SELF-IMPOSED AND SCIENTIFIC. CLARKE REFERS TO THIS AS MAN’S PLASTICY: “ONE OF THE TERTG THGS ABOUT THE HUMAN RACE IS S CREDIBLE PLASTICY. THE HUMAN RACE N ADAPT TO ALMOST ANY CIRCUMSTANCE.” A WRER OF “HARD SCIENCE FICTN,” CLARKE DON’T CREATE NEW WORLDS. HE BELIEVED TE SCIENCE FICTN WAS “SOMETHG WHICH WE WOULD LIKE TO HAPPEN AND PROBABLY WILL.” CLARKE’S WORLDS ARE BASED ON LOGIL TECHNOLOGIL LEAPS AND REAL SOCLOGIL CHANGE, NOT WARP SPEED AND WISHFUL THKG, AND HE THEREFORE ED HIS WORKS TO PREDICT HOW HUMANKD ULD EVOLVE. YET WHILE CLARKE VIVIDLY SE MANKD MOVG PAST S PENNCE ON OIL, OVERG RELIG STRIFE, AND EVEN TACKLG TERPLAARY SPACE TRAVEL, HE’S LS CERTA ABOUT HOW WE’LL NQUER OUR SEXUAL HANG-UPS.THIS TERT PROGRSIVE SEXUAL MOR IS CLEAR HIS FIRST MERCIAL SUCCS, 1954’S CHILDHOOD’S END. MOST OF THE PLOT IS PROPELLED BY AN ALIEN RACE’S ARRIVAL ON EARTH, BUT CLARKE GO OUT OF HIS WAY TO MENTN THAT SEXUAL ETIQUETTE HAD BEEN “ALTERED RADILLY” BY THE VENTN OF FAST AND CHEAP DNA PATERNY TTS AND BY THE ARRIVAL OF A “PLETELY RELIABLE ORAL NTRACEPTIVE.” COMBED, THE VENTNS “SWEPT AWAY THE LAST REMNANTS OF THE PURAN ABERRATN.” AGA, THIS WAS 1954: JT AS THE PILL WAS FIRST BEG EXPLORED AND YEARS AHEAD OF ACTUAL DNA TTG. PREMONORY AS ALWAYS, CLARKE SAW THE FIRST HTS OF SEXUAL REVOLUTN G TO FOC. AND HE LIKED WHAT HE SAW. AND THOUGH CHILDHOOD’S END MAK NO REFERENCE TO SAME-SEX SEX, THE SUBJECT FELY ARIS APLENTY CLARKE’S FUTURE NOVELS, CLUDG 1972’S RENZVO WH RAMA.CLARKE’S FIRST NOVEL AFTER 2001: A SPACE ODYSSEY AND S FILM ADAPTATN LNCHED HIS REER, RAMA WAS ALSO HIS FIRST POST-STONEWALL NOVEL, AND THE CHANGG CLIMATE IS EVINT: IN RAMA’S FUTURE, 2130, POLYAMORY AND SAME-SEX LOVE ARE STANDARD, TOTALLY ACCEPTED FARE: TWO ASTRONTS, KARL MERCER AND HIS “SEPARABLE PANN” JOE CALVERT, NOT ONLY SHARE A WIFE, BUT THEIR OWN SEXUAL RELATNSHIP, AS WELL: “NO ONE N PREDICT WHERE LIGHTNG WILL STRIKE, AND YEARS AGO MERCER AND CALVERT HAD TABLISHED AN APPARENTLY STABLE LIAISON. THAT WAS MON ENOUGH.” CLARKE SEEMS MORE SANGUE ABOUT SOCIAL CHANGE AFOOT, MORE NFINT PREDICTG A JUDGMENT EE FUTURE. THAT OPTIMISM, HOWEVER, MT HAVE BEEN SHORT-LIVED, BEE THERE’S FAR LS NONCHALANCE ABOUT SAME-SEX LOVE CLARKE’S NEXT NOVEL, IMPERIAL EARTH.PUBLISHED 1976, JT AFTER MARGARET THATCHER TOOK THE HELM OF BRA’S CONSERVATIVE PARTY, THIS NOVEL POSS A FUTURE THAT IS ED MORE PROGRSIVE THAN OUR PRENT—20TH-CENTURY MONOGAMY IS LIKENED TO “SEXUAL POSSSIVENS”—BUT OLD-SCHOOL SHAMG OVER SAME-SEX LOVE REMAS FULL EFFECT, AS SEEN THE RELATNSHIP BETWEEN HOMOSEXUALLY-CLED PROTAGONIST DUNN MACKENZIE AND HIS MORE QUTNG BUT FLEXIBLE ENEMY, KARL HELMERS. SCNS OF TWO PROMENT FAI, THE MEN FOOLED AROUND THEIR TEENS AND TO THEIR TWENTI. DUNN SCRIB THEIR ENUNTERS: “[KARL’S] LOVEMAKG OFTEN LACKED TENRNS AND NSIRATN;” AND THE SEXUAL TENSN FOLLOWED THEM TO ADULTHOOD, AS WHEN KARL MA DUNN STAY BED WH HIM WHILE HE HAD SEX WH A WOMAN (“THEY ENJOYED HAVG ME THERE, JT TO TEASE ME. OR AT LEAST KARL DID.”)ALTHOUGH DUNN IS ALL- ON THIS LTY AFFAIR, KARL IS LS NFINT: HE HAS A BREAKDOWN SOON AFTER THAT “THREOME” AND RETURNS OM AN ASYLUM A BROKEN MAN. (“HE WAS AS BETIFUL AS EVER—PERHAPS EVEN MORE SO … AND HE ULD STILL BE IENDLY … BUT REAL MUNITN WAS MISSG.”). THE MEN KEEP STRAIGHT AND NARROW OM THEN ON, DUNN LARGE PART BEE OF HIS OVERBEARG GRANDFATHER’S MORALISTIC PEP TALK: IF DUNN SUCCEEDS BS, “NO ONE WILL CRICIZE ANY OF YOUR OTHER ACTIVI, PUBLIC OR PRIVATE.” DUNN DON’T BELIEVE “POLARIZED” SEXUALY, HE’S FORCED TO THE CLOSET JT THE SAME. CLARKE WAS OBVLY STILL UNSURE WHETHER SOCIETY WOULD EVER EVOLVE TO THE FUTURE FOR WHICH HE LONGED, AND KARL’S BREAKDOWN IS THE THOR’S WAY OF ILLTRATG HOW TOP-DOWN SEXUAL LIMATNS TAKE THEIR TOLL.CLARKE’S VIEW OF SEXUAL ACCEPTANCE WAS SOMEWHAT ROSIER E 1982, THE YEAR HE PUBLISHED 2010, THE SEQUEL TO 2001 THAT FEATUR SOVIET LOVERS WALTER CURNOW, A BISEXUAL BEAR, AND A YOUNG, VOTED TWK, MAXIM BRAJLOVSKY. INIALLY THIS RELATNSHIP IS ONLY ALLUD TO, BUT ’S MA PERFECTLY CLEAR WHEN AMERIN ASTRONT HEYWOOD FLOYD RAIS HIS BY-BODY NCERNS: “THERE’S A PERSONAL MATTER I’D LIKE TO RAISE,” FLOYD SAYS. “TO BE BLUNT, YOUR BEHAVR WH MAX.” UNPERTURBED, CURNOW REPLI, “ A SOFT YET IMPLABLE VOICE: ‘I WAS UNR THE DISTCT IMPRSN THAT HE WAS MORE THAN EIGHTEEN.’” THERE’S NO ROOM FOR BATE HERE. THE AMERIN SHOULD TAKE HIS MORALISM AND SHOVE . AND HE DO—AND DO HIM SOME GOOD: LATER, HEYWOOD WONRS WHY HE QUTNED WALTER THE FIRST PLACE: “FLOYD SOMETIM EFULLY SPECTED [THAT] WAS NO MORE THAN THE SECRET ENVY THAT NORMAL HOMO OR HETEROSEXUALS FEEL, IF PLETELY HONT WH THEMSELV, TOWARD CHEERFULLY WELL-ADJTED POLYMORPHS.” BUT FLOYD EVENTUALLY EVOLV PAST HIS OWN ISSU: IN 2061, THE 1987 THREEQUEL WHICH HE LIV NEXT TO GEE AND JERRY, THE TWO OLD QUEENS ARE SCRIBED AS THE ASTRONT’S “OLST AND CLOST IENDS.” AND, AS 2010, FLOYD ADMIR THIS UNPLITED MALE-ON-MALE LOVE: “[FLOYD] OFTEN ENVIED THE LONG-TERM STABILY OF THEIR RELATNSHIP, APPARENTLY QUE UNAFFECTED BY THE ‘NEPHEWS’ OM EARTH OR MOON WHO VISED THEM OM TIME TO TIME.”CLARKE IS CLEARLY MENTG ON MANY GAY UPL’ LACK OF SEXUAL POSSSIVENS. (SOME REARS EVEN BELIEVE 2001 SUPER-PUTER HAL WENT PSYCHO BEE WAS JEALO OF SPACEMAN-TURNED-STARMAN DAVE BOWMAN AND FELLOW ASTRONT FRANK POOLE’S BURGEONG LOVE, A THEORY SOMEWHAT BOLSTERED BY THE FACT THAT HAL AND BOWMAN LATER FE TO ONE BEG, AS WELL AS BY POOLE’S MEMORY OF HIMSELF AND BOWMAN TALKG ABOUT THEIR LACK OF SEX DRIVE SPACE, A SOMEWHAT ODD THG FOR TWO “STRAIGHT” MEN TO BE MISSG WHILE SPACE TOGETHER, JT THE TWO OF THEM.)ELSEWHERE, GEE LATER SAYS THAT A FEMALE WRER’S WORK IS “TOO FEMIST.” IT’S UNCLEAR IF CLARKE IS PERPETUATG THE MYTH THAT GAY MEN ARE ANTI-FEMIST, OR POKG FUN AT . BUT HE IS FELY CHALLENGG SOCIAL NORMS ABOUT GAY MEN WHEN GEE OFFERS A LANY OF GAY WARRRS HISTORY: “WE DID KNOW ABOUT HADRIAN AND ALEXANR … RICHARD THE LN HEART AND SALAD … JULI CAAR—THOUGH HE WAS EVERYTHG … AND FRERICK THE GREAT.” CLARKE REVISED THIS TOPIC AGA A SATIRIL LATE ’90S SAY, “THE GAY WARLORDS,” WHICH HE SCRIB CAAR’S “AMBISEXTERONS.”THE THOR’S PERSONAL FEELGS ON—OR HOP FOR—HUMAN SEXUALY ARE PERHAPS MOST CLEAR HIS 1986 NOVEL THE SONGS OF DISTANT EARTH. HIS SEXIT WORK—ALMOST EVERY CHARACTER IS BED-HOPPG WH ANOTHER, OR HOPG TO—SONGS LAYS THIS SOCIETY’S FEELG OUT THE OPEN WH THIS EXCHANGE BETWEEN TWO MEN AT A HOSPAL: LITENANT HORTON EXPLAS TO HIS ROOMMATE, LOREN LORENSON, THAT HE WAS JURED DURG A SURFG EXPEDN WH A GROUP OF “HAIRY HUNKS” KNOWN FOR THEIR HOMO-SOCIAL WAYS. LOREN IS SURPRISED BY THE REVELATN: “I’D HAVE SWORN YOU WERE NETY PERCENT HETERO.” HORTON REPLI, “NETY-TWO, ACRDG TO MY PROFILE, BUT I LIKE TO CHECK MY LIBRATN OM TIME TO TIME.” THIS PROMPTS LOREN TO RELL THAT “HE HAD HEARD THAT HUNDRED PERCENTERS WERE SO RARE THAT THEY WERE CLASSED AS PATHOLOGIL.” CLARKE’S OLD TERT KSEY’S WORK REMAED UNABATED. HIS ONLY HOPE WAS THE RT OF HUMANY WOULD SEE THGS AS HE DID.CLARKE DIED 2008, THE SAME YEAR NSERVATIV ED PROPOSN 8 TO BEAT BACK MARRIAGE EQUALY CALIFORNIA. HE NEVER LIVED TO SEE THE SUPREME COURT LE FAVOR OF LOVE. NOR DID HE SEE THE SAME WAVE OF PROGRS SWEEP ENGLAND, ATRALIA, BRAZIL, FRANCE, AND SO MANY OTHER LANDS. TODAY, ALMOST A AFTER CLARKE’S ATH, LNS OF PEOPLE LIVE A WORLD WHICH MARRIAGE EQUALY IS A REALY, WHICH TRANSGENR PEOPLE ARE CREASGLY ACCEPTED AND WHICH HETERONORMATIVE NOTNS OF LOVE AND SEXUALY ARE STEADILY ERODG, EVEN THOUGH THIS BRAVE NEW WORLD OF ACCEPTANCE REMAS TENUO, AT BT.THE WORLD OF TODAY IS STILL A FAR CRY OM THE MULTIPLE FUTUR CLARKE IMAGED. BUT IF HE WERE HERE TODAY, HE WOULD NO DOUBT TELL TO KEEP UP THE FIGHT, BEE, A FEW UTTERLY IMPOSSIBLE DREAMS ASI, LIKE FANTASTIL SPACE ELEVATORS, CLARKE BELIEVED THE FUTUR HIS WORKS SCRIBED WERE ATTAABLE. HE WAS, HE SAID 1970, A FUNDAMENTAL OPTIMIST: “I BELIEVE THAT THE FUTURE IS NOT PRETERMED, THAT TO SOME EXTENT WE N TERME OUR OWN STY. BY THKG ABOUT THE FUTURE AND S POSSIBILY, WE DO HAVE A CHANCE OF AVERTG THE MORE DISASTRO ONE.” ANDREW BELONSKY
THE FASCATG THEORY THAT HAL '2001: A SPACE ODYSSEY' IS GAY

THE FASCATG THEORY THAT HAL ‘2001: A SPACE ODYSSEY' IS GAY

* is space odyssey gay *

HAL’s sibilant tone and e of fele phras like ‘que hontly, I wouldn’t worry myself about that’ ntas more than a ht of the stereotypic bchy homosexual.

2001 is ltered wh philosophil matn and theoretil symbolism, so may well have been tend that HAL is ed gay, given his soft voice, even if he wasn’t ma to cricise IBM, as others had suggted. Taken together, they provi a panoramic view of a gay man qutng the world which he, y, Clarke was a gay man, or, at the very least, queer. Obssed wh the Ksey Sle when first me out, Clarke never believed people had strict straight or gay tennci, a belief ma clear a number of his books.

HOW SCI-FI GIANT ARTHUR C. CLARKE PREDICTED AN LGBT-FRIENDLY WORLDSEXUAL SEERTHE THOR OF '2001: A SPACE ODYSSEY' WAS A SAVVY FUTURIST WHO PREDICTED EVERYTHG OM ONLE SHOPPG TO CELLPHONE ADDICTN, BUT HE WAS AT HIS MOST PRCIENT ABOUT SEXUALY.ANDREW BELONSKYUPDATED JAN. 03, 2018 1:38PM EST / PUBLISHED DEC. 09, 2017 12:00AM EST PHOTO ILLTRATN BY SARAH ROGERS/THE DAILY BEASTSIR ARTHUR C. CLARKE IS REMEMBERED FOR HIS REMARKABLE FORIGHT: THE SCI-FI THOR’S WORKS ACCURATELY PREDICTED ONLE SHOPPG, BMETRIC TECHNOLOGY, SMART PHONE ADDICTN, AND EVEN TARGETED ADVERTISG. A 1945 WIRELS WORLD ARTICLE BY CLARKE, WHO TRAED RADAR TECHNOLOGY DURG WORLD WAR II, HELPED MAKE MUNITNS SATELL A REALY. AND PERHAPS MOST FAMOLY, CLARKE, WHOSE CENTENARY OCCURS THIS MONTH, CREATED A WHOLE NEW FEARSOME TROPE WH HAL, THE MURRO ARTIFICIAL TELLIGENCE AT THE HEART OF THE LATE THOR’S MOST FAMO WORK, 2001: A SPACE ODYSSEY.THE ACPLISHMENTS ARE ALL WELL-KNOWN AND WELL-CELEBRATED AMONG CLARKE AFICNADOS AND CRICS. LS DISCSED ARE THE WAYS CLARKE’S WORKS CHALLENGED HETERONORMATIVE SEXUAL MOR, PARTICULARLY THOSE SURROUNDG MEN WHO WENT FOR MEN. BUT REVIEWG SOME OF CLARKE’S MOST NOTABLE WORKS, ONE SE THE THOR SURVEYG THE CHANGG SEXUAL LANDSPE OF A POST-STONEWALL SOCIETY. TAKEN TOGETHER, THEY PROVI A PANORAMIC VIEW OF A GAY MAN QUTNG THE WORLD WHICH HE LIVED.AND, Y, CLARKE WAS A GAY MAN, OR, AT THE VERY LEAST, QUEER. THOUGH HE MARRIED A WOMAN 1953, THEY SEPARATED SIX MONTHS LATER, AND ’S WELL TABLISHED THAT CLARKE’S ROMANTIC EXISTENCE WAS SPENT MOSTLY WH OTHER MEN. OBSSED WH THE KSEY SLE WHEN FIRST ME OUT, CLARKE NEVER BELIEVED PEOPLE HAD STRICT STRAIGHT OR GAY TENNCI, A BELIEF MA CLEAR A NUMBER OF HIS BOOKS. AUTHOR MICHAEL MOORCK WROTE A 2008 GUARDIAN SAY THAT “EVERYONE KNEW [CLARKE] WAS GAY,” EVEN THE ’50S, WELL AFTER CLARKE MOVED TO SRI LANKA, WHERE HE FOUND THE LACK OF SEXUAL POLICG REHG AFTER LIVG UPTIGHT ENGLAND. CLARKE ALSO SPENT 1964-1965 AT NEW YORK’S FAMOLY LIBERTE CHELSEA HOTEL, ROMPG AROUND TOWN WH ALLEN GSBERG AND WILLIAM S. BURROUGHS, TWO OF THE MOST MALE-LOVG MEN OF THE ERA. AND SIRS ALSO KNOW THAT CLARKE AND A MAN NAMED LLIE EKANAYAKE WERE LOVE; CLARKE SCRIBED LLIE AS “THE ONLY PERFECT IEND OF A LIFETIME,” AND THE THOR WAS BURIED ALONGSI HIM WHEN HE DIED 2008.BUT CLARKE WOULD NEVER ADM HIS LOVE OF MEN. NOT ON THE RERD, AT LEAST. ASKED BY A REPORTER ABOUT HIS BEDROOM ACTIVI, CLARKE MPILY LGHED, “WHY, WHAT HAVE YOU HEARD?” HE ONLY ADMTED HIS YEN FOR MEN A FEW TIM: SHEEPISHLY HIS SEMI-TOBGRAPHIL 1963 NOVEL GLI PATH, WHICH THE SEXUALLY EXPERIENCED PROTAGONIST MAK A PASSG REFERENCE TO “A HIGHLY REFED ENUNTER WH THE CLERGYMAN WHO HAD (VERY BRIEFLY) N THE LOL SUT TROOP;” AND OFF-HANDLY 1986, WHEN PLAYBOY JOURNALIST KEN KELLEY ASKED CLARKE WHETHER HE’D HAD BISEXUAL EXPERIENC. CLARKE REPLIED WH A ROUNDG Y: “OF URSE. WHO HASN’T? GOOD GOD! IF ANYONE HAD EVER TOLD ME THAT HE HADN’T, I’D HAVE TOLD HIM HE WAS LYG. BUT THEN, OF URSE, PEOPLE TEND TO ‘FET’ THEIR ENUNTERS.” HE WENT ON, “I DON’T WANT TO GO TO TAIL ABOUT MY OWN LIFE, BUT I JT WANT TO BE NOTED THAT I HAVE A RATHER RELAXED, SYMPATHETIC ATTU ABOUT .” SUCH RETICENCE IS ONLY NATURAL FOR A MAN BORN 1917 AND WHO ME OF AGE DURG THE HEIGHT OF THE PK SRE, WHEN WTERN ERNMENTS BRAND GAY PEOPLE AS CRIMAL SURG, AS SEXUAL CRIMALS. AND ’S EQUALLY LOGIL THAT CLARKE WOULD E FICTN TO EXPLORE SOCIETI THAT HAD EVOLVED PAST SUCH SEXUAL JUDGMENT. “CLARKE’S WORLDS ARE BASED ON LOGIL TECHNOLOGIL LEAPS AND REAL SOCLOGIL CHANGE, NOT WARP SPEED AND WISHFUL THKG” THAT’S THE PREDOMANT THEME CLARKE’S WORKS: MAN’S POTENTIAL FOR POSIVE PROGRS, OUR ABILY TO TRANSCEND LIMATNS SELF-IMPOSED AND SCIENTIFIC. CLARKE REFERS TO THIS AS MAN’S PLASTICY: “ONE OF THE TERTG THGS ABOUT THE HUMAN RACE IS S CREDIBLE PLASTICY. THE HUMAN RACE N ADAPT TO ALMOST ANY CIRCUMSTANCE.” A WRER OF “HARD SCIENCE FICTN,” CLARKE DON’T CREATE NEW WORLDS. HE BELIEVED TE SCIENCE FICTN WAS “SOMETHG WHICH WE WOULD LIKE TO HAPPEN AND PROBABLY WILL.” CLARKE’S WORLDS ARE BASED ON LOGIL TECHNOLOGIL LEAPS AND REAL SOCLOGIL CHANGE, NOT WARP SPEED AND WISHFUL THKG, AND HE THEREFORE ED HIS WORKS TO PREDICT HOW HUMANKD ULD EVOLVE. YET WHILE CLARKE VIVIDLY SE MANKD MOVG PAST S PENNCE ON OIL, OVERG RELIG STRIFE, AND EVEN TACKLG TERPLAARY SPACE TRAVEL, HE’S LS CERTA ABOUT HOW WE’LL NQUER OUR SEXUAL HANG-UPS.THIS TERT PROGRSIVE SEXUAL MOR IS CLEAR HIS FIRST MERCIAL SUCCS, 1954’S CHILDHOOD’S END. MOST OF THE PLOT IS PROPELLED BY AN ALIEN RACE’S ARRIVAL ON EARTH, BUT CLARKE GO OUT OF HIS WAY TO MENTN THAT SEXUAL ETIQUETTE HAD BEEN “ALTERED RADILLY” BY THE VENTN OF FAST AND CHEAP DNA PATERNY TTS AND BY THE ARRIVAL OF A “PLETELY RELIABLE ORAL NTRACEPTIVE.” COMBED, THE VENTNS “SWEPT AWAY THE LAST REMNANTS OF THE PURAN ABERRATN.” AGA, THIS WAS 1954: JT AS THE PILL WAS FIRST BEG EXPLORED AND YEARS AHEAD OF ACTUAL DNA TTG. PREMONORY AS ALWAYS, CLARKE SAW THE FIRST HTS OF SEXUAL REVOLUTN G TO FOC. AND HE LIKED WHAT HE SAW. AND THOUGH CHILDHOOD’S END MAK NO REFERENCE TO SAME-SEX SEX, THE SUBJECT FELY ARIS APLENTY CLARKE’S FUTURE NOVELS, CLUDG 1972’S RENZVO WH RAMA.CLARKE’S FIRST NOVEL AFTER 2001: A SPACE ODYSSEY AND S FILM ADAPTATN LNCHED HIS REER, RAMA WAS ALSO HIS FIRST POST-STONEWALL NOVEL, AND THE CHANGG CLIMATE IS EVINT: IN RAMA’S FUTURE, 2130, POLYAMORY AND SAME-SEX LOVE ARE STANDARD, TOTALLY ACCEPTED FARE: TWO ASTRONTS, KARL MERCER AND HIS “SEPARABLE PANN” JOE CALVERT, NOT ONLY SHARE A WIFE, BUT THEIR OWN SEXUAL RELATNSHIP, AS WELL: “NO ONE N PREDICT WHERE LIGHTNG WILL STRIKE, AND YEARS AGO MERCER AND CALVERT HAD TABLISHED AN APPARENTLY STABLE LIAISON. THAT WAS MON ENOUGH.” CLARKE SEEMS MORE SANGUE ABOUT SOCIAL CHANGE AFOOT, MORE NFINT PREDICTG A JUDGMENT EE FUTURE. THAT OPTIMISM, HOWEVER, MT HAVE BEEN SHORT-LIVED, BEE THERE’S FAR LS NONCHALANCE ABOUT SAME-SEX LOVE CLARKE’S NEXT NOVEL, IMPERIAL EARTH.PUBLISHED 1976, JT AFTER MARGARET THATCHER TOOK THE HELM OF BRA’S CONSERVATIVE PARTY, THIS NOVEL POSS A FUTURE THAT IS ED MORE PROGRSIVE THAN OUR PRENT—20TH-CENTURY MONOGAMY IS LIKENED TO “SEXUAL POSSSIVENS”—BUT OLD-SCHOOL SHAMG OVER SAME-SEX LOVE REMAS FULL EFFECT, AS SEEN THE RELATNSHIP BETWEEN HOMOSEXUALLY-CLED PROTAGONIST DUNN MACKENZIE AND HIS MORE QUTNG BUT FLEXIBLE ENEMY, KARL HELMERS. SCNS OF TWO PROMENT FAI, THE MEN FOOLED AROUND THEIR TEENS AND TO THEIR TWENTI. DUNN SCRIB THEIR ENUNTERS: “[KARL’S] LOVEMAKG OFTEN LACKED TENRNS AND NSIRATN;” AND THE SEXUAL TENSN FOLLOWED THEM TO ADULTHOOD, AS WHEN KARL MA DUNN STAY BED WH HIM WHILE HE HAD SEX WH A WOMAN (“THEY ENJOYED HAVG ME THERE, JT TO TEASE ME. OR AT LEAST KARL DID.”)ALTHOUGH DUNN IS ALL- ON THIS LTY AFFAIR, KARL IS LS NFINT: HE HAS A BREAKDOWN SOON AFTER THAT “THREOME” AND RETURNS OM AN ASYLUM A BROKEN MAN. (“HE WAS AS BETIFUL AS EVER—PERHAPS EVEN MORE SO … AND HE ULD STILL BE IENDLY … BUT REAL MUNITN WAS MISSG.”). THE MEN KEEP STRAIGHT AND NARROW OM THEN ON, DUNN LARGE PART BEE OF HIS OVERBEARG GRANDFATHER’S MORALISTIC PEP TALK: IF DUNN SUCCEEDS BS, “NO ONE WILL CRICIZE ANY OF YOUR OTHER ACTIVI, PUBLIC OR PRIVATE.” DUNN DON’T BELIEVE “POLARIZED” SEXUALY, HE’S FORCED TO THE CLOSET JT THE SAME. CLARKE WAS OBVLY STILL UNSURE WHETHER SOCIETY WOULD EVER EVOLVE TO THE FUTURE FOR WHICH HE LONGED, AND KARL’S BREAKDOWN IS THE THOR’S WAY OF ILLTRATG HOW TOP-DOWN SEXUAL LIMATNS TAKE THEIR TOLL.CLARKE’S VIEW OF SEXUAL ACCEPTANCE WAS SOMEWHAT ROSIER E 1982, THE YEAR HE PUBLISHED 2010, THE SEQUEL TO 2001 THAT FEATUR SOVIET LOVERS WALTER CURNOW, A BISEXUAL BEAR, AND A YOUNG, VOTED TWK, MAXIM BRAJLOVSKY. INIALLY THIS RELATNSHIP IS ONLY ALLUD TO, BUT ’S MA PERFECTLY CLEAR WHEN AMERIN ASTRONT HEYWOOD FLOYD RAIS HIS BY-BODY NCERNS: “THERE’S A PERSONAL MATTER I’D LIKE TO RAISE,” FLOYD SAYS. “TO BE BLUNT, YOUR BEHAVR WH MAX.” UNPERTURBED, CURNOW REPLI, “ A SOFT YET IMPLABLE VOICE: ‘I WAS UNR THE DISTCT IMPRSN THAT HE WAS MORE THAN EIGHTEEN.’” THERE’S NO ROOM FOR BATE HERE. THE AMERIN SHOULD TAKE HIS MORALISM AND SHOVE . AND HE DO—AND DO HIM SOME GOOD: LATER, HEYWOOD WONRS WHY HE QUTNED WALTER THE FIRST PLACE: “FLOYD SOMETIM EFULLY SPECTED [THAT] WAS NO MORE THAN THE SECRET ENVY THAT NORMAL HOMO OR HETEROSEXUALS FEEL, IF PLETELY HONT WH THEMSELV, TOWARD CHEERFULLY WELL-ADJTED POLYMORPHS.” BUT FLOYD EVENTUALLY EVOLV PAST HIS OWN ISSU: IN 2061, THE 1987 THREEQUEL WHICH HE LIV NEXT TO GEE AND JERRY, THE TWO OLD QUEENS ARE SCRIBED AS THE ASTRONT’S “OLST AND CLOST IENDS.” AND, AS 2010, FLOYD ADMIR THIS UNPLITED MALE-ON-MALE LOVE: “[FLOYD] OFTEN ENVIED THE LONG-TERM STABILY OF THEIR RELATNSHIP, APPARENTLY QUE UNAFFECTED BY THE ‘NEPHEWS’ OM EARTH OR MOON WHO VISED THEM OM TIME TO TIME.”CLARKE IS CLEARLY MENTG ON MANY GAY UPL’ LACK OF SEXUAL POSSSIVENS. (SOME REARS EVEN BELIEVE 2001 SUPER-PUTER HAL WENT PSYCHO BEE WAS JEALO OF SPACEMAN-TURNED-STARMAN DAVE BOWMAN AND FELLOW ASTRONT FRANK POOLE’S BURGEONG LOVE, A THEORY SOMEWHAT BOLSTERED BY THE FACT THAT HAL AND BOWMAN LATER FE TO ONE BEG, AS WELL AS BY POOLE’S MEMORY OF HIMSELF AND BOWMAN TALKG ABOUT THEIR LACK OF SEX DRIVE SPACE, A SOMEWHAT ODD THG FOR TWO “STRAIGHT” MEN TO BE MISSG WHILE SPACE TOGETHER, JT THE TWO OF THEM.)ELSEWHERE, GEE LATER SAYS THAT A FEMALE WRER’S WORK IS “TOO FEMIST.” IT’S UNCLEAR IF CLARKE IS PERPETUATG THE MYTH THAT GAY MEN ARE ANTI-FEMIST, OR POKG FUN AT . BUT HE IS FELY CHALLENGG SOCIAL NORMS ABOUT GAY MEN WHEN GEE OFFERS A LANY OF GAY WARRRS HISTORY: “WE DID KNOW ABOUT HADRIAN AND ALEXANR … RICHARD THE LN HEART AND SALAD … JULI CAAR—THOUGH HE WAS EVERYTHG … AND FRERICK THE GREAT.” CLARKE REVISED THIS TOPIC AGA A SATIRIL LATE ’90S SAY, “THE GAY WARLORDS,” WHICH HE SCRIB CAAR’S “AMBISEXTERONS.”THE THOR’S PERSONAL FEELGS ON—OR HOP FOR—HUMAN SEXUALY ARE PERHAPS MOST CLEAR HIS 1986 NOVEL THE SONGS OF DISTANT EARTH. HIS SEXIT WORK—ALMOST EVERY CHARACTER IS BED-HOPPG WH ANOTHER, OR HOPG TO—SONGS LAYS THIS SOCIETY’S FEELG OUT THE OPEN WH THIS EXCHANGE BETWEEN TWO MEN AT A HOSPAL: LITENANT HORTON EXPLAS TO HIS ROOMMATE, LOREN LORENSON, THAT HE WAS JURED DURG A SURFG EXPEDN WH A GROUP OF “HAIRY HUNKS” KNOWN FOR THEIR HOMO-SOCIAL WAYS. LOREN IS SURPRISED BY THE REVELATN: “I’D HAVE SWORN YOU WERE NETY PERCENT HETERO.” HORTON REPLI, “NETY-TWO, ACRDG TO MY PROFILE, BUT I LIKE TO CHECK MY LIBRATN OM TIME TO TIME.” THIS PROMPTS LOREN TO RELL THAT “HE HAD HEARD THAT HUNDRED PERCENTERS WERE SO RARE THAT THEY WERE CLASSED AS PATHOLOGIL.” CLARKE’S OLD TERT KSEY’S WORK REMAED UNABATED. HIS ONLY HOPE WAS THE RT OF HUMANY WOULD SEE THGS AS HE DID.CLARKE DIED 2008, THE SAME YEAR NSERVATIV ED PROPOSN 8 TO BEAT BACK MARRIAGE EQUALY CALIFORNIA. HE NEVER LIVED TO SEE THE SUPREME COURT LE FAVOR OF LOVE. NOR DID HE SEE THE SAME WAVE OF PROGRS SWEEP ENGLAND, ATRALIA, BRAZIL, FRANCE, AND SO MANY OTHER LANDS. TODAY, ALMOST A AFTER CLARKE’S ATH, LNS OF PEOPLE LIVE A WORLD WHICH MARRIAGE EQUALY IS A REALY, WHICH TRANSGENR PEOPLE ARE CREASGLY ACCEPTED AND WHICH HETERONORMATIVE NOTNS OF LOVE AND SEXUALY ARE STEADILY ERODG, EVEN THOUGH THIS BRAVE NEW WORLD OF ACCEPTANCE REMAS TENUO, AT BT.THE WORLD OF TODAY IS STILL A FAR CRY OM THE MULTIPLE FUTUR CLARKE IMAGED. BUT IF HE WERE HERE TODAY, HE WOULD NO DOUBT TELL TO KEEP UP THE FIGHT, BEE, A FEW UTTERLY IMPOSSIBLE DREAMS ASI, LIKE FANTASTIL SPACE ELEVATORS, CLARKE BELIEVED THE FUTUR HIS WORKS SCRIBED WERE ATTAABLE. HE WAS, HE SAID 1970, A FUNDAMENTAL OPTIMIST: “I BELIEVE THAT THE FUTURE IS NOT PRETERMED, THAT TO SOME EXTENT WE N TERME OUR OWN STY. BY THKG ABOUT THE FUTURE AND S POSSIBILY, WE DO HAVE A CHANCE OF AVERTG THE MORE DISASTRO ONE.” ANDREW BELONSKY

Author Michael Moorck wrote a 2008 Guardian say that “everyone knew [Clarke] was gay, ” even the ’50s, well after Clarke moved to Sri Lanka, where he found the lack of sexual policg rehg after livg uptight England. ” Such reticence is only natural for a man born 1917 and who me of age durg the height of the Pk Sre, when wtern ernments brand gay people as crimal surg, as sexual crimals. Published 1976, jt after Margaret Thatcher took the helm of Bra’s Conservative Party, this novel poss a future that is ed more progrsive than our prent—20th-century monogamy is likened to “sexual posssivens”—but old-school shamg over same-sex love remas full effect, as seen the relatnship between homosexually-cled protagonist Dunn Mackenzie and his more qutng but flexible enemy, Karl Helmers.

And he do—and do him some good: Later, Heywood wonrs why he qutned Walter the first place: “Floyd sometim efully spected [that] was no more than the secret envy that normal homo or heterosexuals feel, if pletely hont wh themselv, toward cheerfully well-adjted polymorphs. ”Clarke is clearly mentg on many gay upl’ lack of sexual posssivens. ” It’s unclear if Clarke is perpetuatg the myth that gay men are anti-femist, or pokg fun at .

THE FASCATG THEORY THAT HAL '2001: A SPACE ODYSSEY' IS GAY

But he is fely challengg social norms about gay men when Gee offers a lany of gay warrrs history: “We did know about Hadrian and Alexanr … Richard the Ln Heart and Salad … Juli Caar—though he was everythg … and Frerick the Great.

” Clarke revised this topic aga a satiril late ’90s say, “The Gay Warlords, ” which he scrib Caar’s “ambisexterons. His sexit work—almost every character is bed-hoppg wh another, or hopg to—Songs lays this society’s feelg out the open wh this exchange between two men at a hospal: Litenant Horton explas to his roommate, Loren Lorenson, that he was jured durg a surfg expedn wh a group of “hairy hunks” known for their homo-social ways.

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THE FASCATG THEORY THAT HAL ‘2001: A SPACE ODYSSEY' IS GAY

THE FASCATG THEORY THAT HAL '2001: A SPACE ODYSSEY' IS GAY

BEAR-MAGAZINE.COM IS SPACE ODYSSEY GAY

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Contents:

THE FASCATG THEORY THAT HAL ‘2001: A SPACE ODYSSEY' IS GAY

THE FASCATG THEORY THAT HAL '2001: A SPACE ODYSSEY' IS GAY

*BEAR-MAGAZINE.COM* IS SPACE ODYSSEY GAY

BEAR-MAGAZINE.COM IS SPACE ODYSSEY GAY