There must be some sort of logic hidden here, but if there is, it’s beyond me.
This beautiful boy would be bound to return her love. Cosmos and creation would not make sense otherwise. Of course, you and I know that Cosmos and creation make no sense at all and never have. Poor Echo was about to discover the truth of this.
I only desire to know the truth for the sake of the truth, and not for the purpose of obtaining any selfish advantage. Teach me these secrets, and I will forget my own self, and devote my life to benefit the universal brotherhood of humanity.
We seek truth in all human experience, principally because we want security; we want that certainty that we are not deceiving ourselves. The question is, how do we know when we have attained truth? To most of us, truth consists of the substantiation of our ideas.
Arthur C. Clarke’s “Odyssey sequence” straddles strangely the media of cinema features and text novels. 2001: A Space Odyssey was plotted by the author in collaboration with filmmaker Stanley Kubrick and then written in dialogue with the production of the movie. The mutually-informing parallel products were not identical; a few significant differences separated their plots. Clarke’s book 2010: Odyssey Two is a sequel to the 2001 movie. In every case where narrative continuity forces him to choose, he follows the film. No doubt he was motivated by the hope (fulfilled in 1984) that 2010 would also be a movie, and he wanted to make the book digestible into a screenplay without extra retconning.
In fairness, it’s likely that many more people saw the 2001 movie than read the novel. So the choice made sense for their sake as potential 2010 readers also. Still, it creates some strangeness for a 21st-century reader now approaching the books as a series.
After reading 2001 and detecting an esoteric pattern in its structure, I wondered if there would be similar references and effects in the next book. I believe there are. The most conspicuous of these is the title shared by the final section and its last chapter: “Lucifer Rising.” While it seems unlikely that Clarke took this title from the 1972 avant-garde film by Kenneth Anger, they may have had some occult inspiration in common. Another echo of magick was in the title of the second section “Tsien” (the name of the Chinese spaceship in the story) after the onetime GALCIT rocketry colleague of Jack Parsons in Pasadena.
The central character of 2010 is Heywood Floyd, the protagonist of the early lunar “TMA-1” section of 2001. Understood via a Rosicrucian-Thelemite template, Floyd is an astronaut-initiate who becomes an adept by means of his 2010 adventure to Jupiter, in a mission to recover the lost Discovery and to advance human knowledge regarding the great black monolith at the Lagrange-1 point in the Jupiter-Io system. The Star Child who had been Dave Bowman serves as a magus of the ineffable gods, giving a Word to humanity, who struggle to comprehend it.
Floyd’s 2010 expedition is a joint USSR-USA undertaking, which had become historically impossible before the end of the 20th century. But Clarke could duck any plot adjustments for those political eventualities in the next book 2061: Odyssey Three, which he managed to write a few years prior to the end of the Soviet Union. Of greater concern to Clarke was accounting for scientific developments, especially the 1979 disclosures from the probe Voyager.
Although the pacing and voice of 2010 are very similar to those of 2001, I thought the effect of the second book was much different than the first. Bowman’s ascension had been awfully lonely. The crew of the Leontov, by contrast, produce two marriages, and they witness the appearance of a new “companion” on an astronomical scale, and even the solitary Star Child redeems an old friend in 2010.
Although I know that the set-up in the first two books differs enough from the reality of our 21st century that 2061 will tell an impossible tale, I am looking forward to the first book of the sequence that we haven’t already caught up with on the calendar.
Will there be a day when someone discovers the secrets of these supernatural events, that reflection of the shadow of the soul that manifests itself between awakening and sleep, in a state of purgatory and unconsciousness?