For the upcoming conference on “The Intellectual Geography of Albert Camus” on the 3rd of May, 2019, at the Alliance Française, New Delhi. Watch this space..
Imagine the real world extending into the fictive milieu, or its mirror image, the fictive world territorializing the real leaving it to portend such an intercourse consequent to an existential angst. Such an imagination now moves along the coordinates of hyperreality, where it collaterally damages meaning in a violent burst of EX/IM-plosion. This violent burst disturbs the idealized truth overridden by a hallucinogenic madness prompting iniquities calibrated for an unpleasant future. This invading dissonant realism slithers through the science fiction of Richard Morgan before it culminates in human characteristics of expediency. Such expediencies abhor fixation to being in the world built on deluded principles, which in my reading is Camus’ recommendation of confrontation with the absurd. This paper attempts to unravel the hyperreal as congruent on the absurd in a fictitious landscape of “existentialism meets the intensity of a relatable yet cold future”.
What I purport to do in this paper is pick up two sci-fi works of Richard Morgan, the first of which also happens to be the first of the Takeshi Kovacs Trilogy, Altered Carbon, while the second is Market Forces, a brutal journey into the heart of conflict investment by way of conscience elimination. Thereafter a conflation with Camus’ absurdity unravels the very paradoxical ambiguity underlying absurdism as a human condition. The paradoxical ambiguity is as a result of Camus’ ambivalence towards the neo-Platonist conception of the ultimate unifying principle, while accepting Plotinus’ principled pattern or steganography, but rejecting its culmination.
Richard Morgan’s is a parody, a commentary, or even en epic fantasy overcharged almost to the point of absurdity and bordering extropianism. If at all there is a semblance of optimism in the future as a result of Moore’s Law of dense hardware realizable through computational extravagance, it is spectacularly offset by complexities of software codes resulting in a disconnect that Morgan brilliantly transposes on to a society in a dystopian ethic underlining his plot pattern recognitions. This offsetting disconnect between the physical and mental, between the tangible and the intangible is the existential angst writ large on the societal maneuvered by the powers that be…..to be continued…