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Edgar Allan Poe- Science-Fiction Pioneer
By Clarke Olney
EDGAR the
themodern Allan mystery
modern Poe is or generally
mystery detective acknowledged
or detective story. story.His
His tales to be ofoftheratiocination,
tales ratiocination, father of
as he delighted in calling them, instituted formulas, techniques, and
conventions which were later adopted by Sir Arthur Conan Doyle in
his Sherlock Holmes stories and continued by the Dickson Carrs and
Agatha Christies of today.
What is perhaps not so widely recognized is that Poe was also the
originator of a genre which has come to rival the mystery story in
popularity. It probably cannot be maintained that Poe intended to
invent the science-fiction tale. But he was in effect doing so when
he established standards for the telling of such stories which have
been accepted by most subsequent practitioners.
The science-fiction story in its modern form has characteristic fea-
tures and conventions which warrant its being considered a distinct
genre. The device upon which modern science-fiction writers prin-
cipally rely is "extrapolation." This term, borrowed from statistics,
may be defined as the imaginative projecting of developments which
might conceivably be possible on the basis of present scientific knowl-
edge, and the assumption that such developments have, in fact, been
made. Thus a great deal of science-fiction has to do with events oc-
curring in the future. For example, when man first learned that he
could leave the surface of the earth in free flight, it might be ex-
trapolated that he could soar even higher into the then unexplored
stratosphere. The next step, by extrapolation, would be for him to
rise above the stratosphere and journey to the moon. That is as far
as Poe attempted to carry the sequence. The modern science-fiction
writer, of course, with a substantial body of aeronautical and as-
tronomical data from which to extrapolate, projects his voyager into
interplanetary space and beyond, and scorns distances not measured
in light years.
Additionally, the modern writer of science-fiction, if he would
play the game according to the rules, must avoid any use of the super-
natural and be able to account for the happenings in his story by
natural laws, once his extrapolations have been established.
[4^ ]
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EDGAR ALLAN POE 417
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4I8 THE GEORGIA REVIEW
tales as "The Gold Bug," "Maelzel's Chess Player," "A Descent into
the Maelstrom," and even "The Pit and the Pendulum," which have
nothing to do with criminal affairs. What really mattered, to Poe at
least, was that the problem- whether it be an unsolved crime, a crypto-
gram, or a matter of survival- be solved by a strictly ratiocinative
process: the application of severely logical reasoning to observed data
in order to arrive at a solution.
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EDGAR ALLAN POE 419
to the moon, he said, had there been "any effort at plausibility in the
details of the voyage itself. ... In 'Hans Pfaall' the design is original,
inasmuch as regards an attempt at verisimilitude, in the application of
scientific principles ... to the actual passage between the earth and
the moon." This is Poe's own statement of the principle of extrapola-
tion, a word to him unknown but in which he would undoubtedly
have delighted.
The story begins on a somewhat farcical note when a comical little
man (a moon-dweller) in a balloon made of old newspapers drops a
manuscript into the midst of a crowd gathered in the public square
in Rotterdam, and then soars away out of sight. This episode, which
serves only as an introduction, is clearly not science-fiction; but the
main part of the story- the adventure related in the manuscript- clearly
is. This proves to be a factual account of one Hans Pfaall, who has
constructed a practical balloon, equipped it with a variety of scientific
instruments, and journeyed in it to the moon. Poe has carefully extra-
polated the difficulties of space travel- at least some of them- such as
the absence of oxygen outside the earth's atmosphere, and by various
ingenious devices has enabled his hero to surmount them.
The title of "The Balloon Hoax" was not given to that story until
some time after its original publication. It was written as a newspaper
stunt and was actually published in the New York Sun as a sensational
news story, a scoop. Its subject matter is best described by its original
caption or headline: "Astounding News by Express, via Norfolk!
The Atlantic Crossed in Three Days, Signal Triumph of Mr. Monck
Mason's Flying Machine! Arrival at Sullivan's Island, near Charleston,
S. С.- After a Passage of Seventy-Five Hours, etc."
What follows is a most convincing account of a guided and powered
balloon flight across the Atlantic, with a plausible and circumstantial
explanation of mechanical details, such as the air screw (spring driven! ) ,
the use of drag ropes to control altitude, and the rudder. It is not sur-
prising that readers of the Sun believed the story authentic. There is
no nonsense or farce involved, and no suggestion of a hoax. Poe had
evidently learned that this new form he had discovered needed no
mummery to make it acceptable to his readers.
The last of the balloon stories, "Mellonta Tauta" ("These things
belong to the future"), is less successful than the others in that it is
overloaded with rather immature satire and philosophizing. It does,
however, project man into the future (A.D. 2848), and with some
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420 THE GEORGIA REVIEW
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EDGAR ALLAN POE 42 1
until at last the narrator decides to break the mesmeric spell. In the
process the corpse speaks tortured words, pleading for release; and
when the trance is broken, the flesh melts away before the observers'
eyes in horrible corruption.
It must be granted that Poe's science-fiction stories are relatively
few, and not among his best. There can be no doubt that Jules Verne
and H. G. Wells, among others, far surpassed him in this field. But
Poe should be looked upon not as a master but as a pioneer of modern
science-fiction. For one thing, he did not have at his command the
body of scientific information that later writers have profited by.
For another, the genre was not ready-made for him. It was he who
originated the conventions and form of this new kind of fiction, just
as in his ratiocinative tales he had originated the classic conventions
and form of the mystery story. And remembering his widespread
reputation and influence abroad and at home, it is not surprising that
other writers of science-fiction were willing to accept the principles
which his stories had established.
Verne and Wells, like Poe, were literary artists, and felt the obliga-
tion to endow their stories with plausible plots and to people them
with recognizable human beings. It is to be feared that most con-
temporary science-fiction writers- with their sub- and super-human
characters and their absurd pseudo-scientific jargon of space-time
vectors, telekinesis, mind-matrices, and the like- have taken to writing
a kind of comic-book fantasy which has insulted and alienated many
intelligent readers. But the principles of good science-fiction, a genre
which Poe pioneered and whose conventions he largely established,
will no doubt find other dedicated and conscientious practitioners in
the years to come.
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