THANK YOU FOR THE MUSIC
The father of scientology may have founded an interesting genre of jazz, but his 1980s throwback should not be considered a sci-fi classic.
LRon Hubbard was once regarded as a legend in the world of sci-fi literature. He is now more infamously known as the founding father of Scientology. Which would not surprise anyone after they picked up Battlefield Earth. While I was too young to watch the Hollywood adaptation (when I got through the first act of the book, I made sure to avoid it), I do have vague memories of its cast that included John Travolta, and the backlash it received. It is often described as the worst film ever made.
While I enjoyed the earlier chapters — I opted to listen to all 42 hours of the audiobook — I was praising Hubbard as a pivotal force for 20thcentury sci-fi. A genre I rarely cared for until this year when I stumbled upon the world of sci-fi works.
The beauty of sci-fi and its importance to society is its ability to explore themes, particularly discrimination and liberation, in new and different ways.
After a harrowing start to the year, I was listening to Janelle Monae’s 2010 album The ArchAndroid. Now I understand the narrative. Her work explores a futuristic world where society is governed by a bureaucracy that uses time travel to control life on earth. I mention her music in particular because back in 1982, Battlefield Earth spawned its album Space Jazz, with legend Stanley Clarke involved.
Hubbard composed the music for the album. Thank goodness I listened to the audiobook as this was my favourite thing about this story, although the album was not well received when it was first released. The Vinyl Factory’s reviewer Amar Ediriwira said: “If this isn’t one of jazz’s worst, it’s certainly its craziest.”
But back to Monae’s world of strife and sorrow, we understand her alter ego Cindi Mayweather’s motivations, whose weapon against an austere world power is love.
Her preceding and succeeding albums help us understand her journey with two lovers. And no, it’s not a love triangle but rather a throuple.
In Battlefield Earth we must be content with Johnny Goodboy. Charged with a sudden need to fight back the oppression humans face via the Psychlos, Goodboy becomes a stereotypical macho man who wants to save the world from eight-foot space invaders.
Between his sheer lack of wit and a series of soap-style luck, Goodboy comes face to face with the second narrator Terl. An oafish alien who is part of the colony that has taken over Earth. His job is to watch over the humans who are mining metals for the Psychlos.
One of the notable qualities of the Psychlos is their love of brute force. It is not only how they dominate each other, but also how they take over Earth. Although they are written like 1980s teenlit villains, we get to see how cunning Terl can be when he uses the bureaucratic laws of the Psychlos to have those who stand in his way sentenced to death.
However, the conflicts are really just too boring to follow: the outer space jocks are victims of a capitalistic society that feels too similar to Earth.
For all his imagination, Hubbard’s story lacks originality when it comes to imagining alien life forms or their parallels to oppression. Something Hubbard can’t seem to capture is the feeling of subjugation, opting instead to have Goodboy receive exposition that you might assume is foreshadowing if it were not the plot’s way of giving him all the necessary tools to destroy the Pyschlos.
The book is prefaced with Hubbard’s reasons for a foray into sci-fi, how he was at the forefront of the genre and his views on why it is an important genre that must be accessible to all. While his intentions may have been somewhat noble, Battlefield Earth is an example of how not to do it. The trials and tribulations of Goodboy are lacklustre and trite.
We deserve better sci-fi. Sci-fi that looks at gender roles, societal responsibilities and reflects the varied experiences of oppression in society. What could have been a timeless classic is filled with comical villains, boring battles and some unforgettable jazz. This 21st century edition features the author’s never-before-published handwritten notes, an exclusive author interview, original lyrics for the novel written by Hubbard and cover art by Frank Frazetta.