Helliconia

INTRODUCTION

The premise of Helliconia can be set out in a sentence, but it takes hundreds of pages to understand fully what it means. The planet Helliconia is locked into an orbit around two stars that gives it a ‘great year’ equivalent to 2,592 of ours. The three volumes making up the trilogy — originally published as Helliconia Spring (1982), Helliconia Summer (1983), and Helliconia Winter (1985) — chart this cycle. As the planet warms, the human-like inhabitants gain ascendancy over the savage phagors, but this pattern is reversed as the great year turns back to winter.

Helliconia is not the last science fiction work by Brian Aldiss — he has had 25 years of productive writing since it was published — but it’s easy to see it as a capstone for his work. It certainly embodies ideas he was working out in earlier books like Non-Stop (1958) and Hothouse (1962). They were concerned with how humanity discovers, or fails to discover, its place in a universe shaped by forces out of its control. In those books, knowledge of the true situation isn’t especially consoling, but there’s still great value attached to applying rationality to the world.

Helliconia marks something new in Aldiss’ work in the detail of its invention and the rigour with which the setting is presented. In a book like Hothouse, the flora and fauna of the garish future are described with a kind of joyous abandon. In Helliconia, there’s still the same fascination with how the world works, but a more rigorous sense of how the ecosystem fits together. Aldiss acknowledges many scientists who helped him put together the picture of Helliconia: not least is James Lovelock, whose Gaia Hypothesis proposes that the elements of the Earth’s ecosystem interact far more intricately than we might think. Helliconia’s ecosystem is certainly elaborate, and the relationships within that system — between humans and phagors, say — are gradually revealed through the story.

In his history of SF, Billion Year Spree (1973), Aldiss talks at length about his admiration for writers of the scientific romance such as H. G. Wells and Olaf Stapledon. They too valued empirical investigation even as they warned about its limits and dangers. The scientific romance tends to use the viewpoint of a detached observer rather than a participant in the events described — think of the traveller in The Time Machine or the disembodied narrator of Star Maker. Yet Aldiss has always been interested too in individual humans and their struggles. In Helliconia, the detached viewpoint is provided by the Earth space station Avernus, orbiting Helliconia and relaying its events back to our solar system. But what occupies the bulk of these books is the story of people like Yuli or Luterin and their efforts to fight for or preserve what seems most precious to them.

A couple of things can be picked out from this vast tapestry. The first, as I suggested above, is the idea of struggle. Helliconia is the very opposite of an abstract book because it’s so rooted in personal stories. There’s always the sense that what’s most valuable about human society is potentially at risk and needs to be fought for. The second is self-knowledge. It’s always significant in Aldiss’ work when someone knows, or becomes aware of, their place in the universe. So the dialogue between science and religion, as for instance between the king and CaraBansity in Chapter II of Helliconia Summer, is especially important. The third is how images of cyclical change recur throughout the work, from the quotations by Lucretius that start the first and third books to the waves climbing and retreating from the shore at the start of the second.

Helliconia is so rich with invention that I could easily spend ten times as long as this introduction discussing it. One final image, though, is how often the human story we’re shown argues against the environment it’s in. At the very end of the sequence, Luterin feels ‘exhilaration’ even though the vast winter is closing in; so even though the wind smothers his shouts, we know that spring will come again.

Graham Sleight