مقدمه

Preface

What Is a Tripod?

Well, there’s a brief description in the first chapter of The White Mountains: “… we could see it over the roofs of the houses to the south: the great hemisphere of gleaming metal rocking through the air above the three articulated legs, several times as high as the church. Its shadow came before it, and fell on us when it halted, two of its legs astride the river and the mill.… one of the enormous burnished tentacles came down, gently and precisely, and its tip curled about Jack’s waist, and it lifted him up, up, to where a hole opened like a mouth in the hemisphere, and swallowed him.” So a Tripod is a monstrous machine, some sixty feet high. It travels on three metal legs and has tentacles (three, we discover later) which can reach down and sweep a boy up into an opening in the metal pod which seems to represent its head. But is a Tripod an intelligent machine? Or some extraordinary form of transportation? And if the latter, are there creatures inside the pod, driving this weird sort of tank on stilts the way we might drive a car?

At the end of The White Mountains, the reader may have his or her own guess about exactly what kind of thing a Tripod is, but he or she doesn’t really know. I’ll let you into a secret: at that point the writer didn’t know, either.

Thirty-five years ago I received a letter which was to prove much more important than it seemed at the time. By then I had been a professional writer for over ten years, writing different kinds of fiction but principally what was commonly known as science fiction.

The letter was from my London agent. A publisher who had read my adult novels was wondering if I would write something for a younger audience. This would be a new departure for me, and I wasn’t sure I wanted to get involved. But it was encouraging that someone was actually asking me to write something, instead of just waiting till I sent a manuscript in. I also reckoned that, children’s novels being normally much shorter, I wouldn’t be squandering more than a month of precious writing time.

But what sort of a book was it going to be? The publisher obviously wanted science fiction, but I was getting tired of destroying the world—by famine or freezing or earthquakes—and I was no longer interested in exploring the universe outside our planet. There was a reason for that.

When I was the age of the boys and girls for whom it was now proposed I write, I’d been very excited about the possibilities of space travel, but those had been different days. In the early thirties we knew just enough about the solar system for its possibilities to be a magnet to the imagination. The Moon might be cold and dead, but the planets offered scope for dreaming. Mars, for instance, was colder than our earth and had a thinner atmosphere, but possibly not too cold or airless to support life.

And Mars had those canals. An Italian astronomer called Schiaparelli, looking through his telescope in the nineteenth century, said he had seen canali on Mars’s rust-red surface. In Italian that just meant “channels,” but it got translated as “canals,” which was much more intriguing. Maybe in that thin but breathable atmosphere there were long waterways, built by an ancient race of Martians, dotted with Martian cities that were lit by day by a smaller sun and at night by the magic gleam of two low-lying moons. An ancient race, because one might suppose that on that chillier planet the process of life’s evolution had been in advance of ours. Apart from being older, the Martians might well be wiser and able to pass on to us the fruits of their knowledge. Or, if they were so ancient as to have become extinct, the ruins of their cities might still be there to be explored.

Then there was Venus—closer to the sun and much hotter than the earth—with its perpetual blanket of clouds. What might lie beneath the clouds? Perhaps a planet in an earlier period of evolution, as Mars was in a later one. Something like our own Carboniferous era, perhaps. Did tropical swamps teeming with dinosaurs and hovering pterodactyls await the arrival of our first spaceship?

Because that was something else we felt confident about: early experiments with rockets had already made the eventual conquest of space more than plausible. It could happen in our lifetime, and with it bring unthinkable wonders. It was a bit like being in Elizabethan England, reading stories about what might be found in the new world which was opening up on the far side of the barely explored western ocean.

But in three short decades everything changed. By the 1960s we knew more about the universe and the solar system—but what we’d learned was much less interesting than what we’d imagined. We knew that Mars was not just cold but an altogether hostile environment, Venus a choking oven of poisonous gases. The chance of any kind of life existing on either planet—or anywhere within reach of our probing rockets—was incredibly remote. That brave new world on the other side of the ocean of space had turned into a lifeless desert.

A couple of years after I wrote The White Mountains, space itself was finally conquered. The landing on the Moon was televised around the world, timed to coincide with prime-time U.S. television viewing. That meant the early hours of the morning in the Channel Islands, where I then lived. The boy I had been at fourteen would never have believed that I couldn’t be bothered to stay up to watch it.

I had seen the future, and found it disappointing; so what remained? Well, there was the past. The color which had bleached out of our interplanetary speculations was still bright in human history and there was life there, and romance and action. I doubted if my inquiring publisher would be much impressed by getting a story set in feudal England, but there might be a way around that.

Imagine a race of aliens who conquer the earth. They have a means of controlling their human slaves, which involves putting a metal Cap on their heads when they reach puberty. Through the Cap they can subdue people individually, suppressing rebellious impulses. To exercise a more general control they need to impose a social organization which is orderly and hierarchical. The chaotic capitalist system which they first encounter, with its emphasis on individual enterprise, is not suitable for this purpose. So they delve into human history and find a system which is. Out go bankers and inventors and those awkward types who just want to do something different; back come kings and nobles, farmers and peasants—people accustomed to order imposed from above, in a world which only changes with the seasons.

The publisher wanted the future; I was more interested in the past. I reckoned I might satisfy both of us by combining the two, in a medieval world threatened and dominated by monstrous futuristic machines.

Somehow it worked. Over and over again in the letters I’ve had from young readers there have been comments along these lines: “What really got me about the book was not knowing whether I was in the past or the future.”

So I wrote The White Mountains and sent it off. The London publisher approved of it. Another copy went to New York. My agent there wrote back to say he had offered the book to a children’s book publisher, who had turned it down but said they might be interested if I rewrote it. He enclosed a long letter from the children’s books editor.

Basically, what she said was that she loved the first chapter but the rest of the book was a mess: it would need a complete reworking from Chapter 2 onward. This was something that had not happened to me before. My adult novels had either been taken or rejected as they stood. I was not used to rewriting and certainly not eager to start doing so with a mere children’s book. Macmillan had been the first U.S. publisher to see the book; another firm might take a different view.

Then I read thoroughly the letter I’d previously only skimmed. I realized the observations were sharp, the suggestions very much to the point. And I was forced to accept that my own attitude had been badly flawed. I was to learn a hard but invaluable lesson: there’s no such thing as a “mere children’s book,” and children’s book editors are some of the brightest and most dedicated people in the field. So, after fuming a little, I went back to work and rewrote the book from the end of Chapter 1. I sent the revised version to the London publisher, who said yes again. Then it came back from New York with another letter: The beginning and the end were okay, but the middle was still wrong. I sighed, and went back to the typewriter. The third version met her high critical standards. The London publisher simply agreed yet again.

It isn’t easy to start an apprenticeship when you are the author of thirty published books, but it’s certainly good for you. With the sequel, The City of Gold and Lead, the New York editor only asked me to rewrite the beginning. When she received The Pool of Fire, the last book in the trilogy, she cabled an immediate acceptance.

I thought then that I’d licked it, but I still had a lot to learn about writing for young people. The next book I wrote was rejected as a total mess, only salvaged when my American and British editors brought me to London and sat over me till we (one of them, actually) came up with a solution to the chief and seemingly intractable problem. Over the years I was to be grateful for much advice and help from children’s book editors, something I had never encountered while writing my thirty previous adult books.

My editor in New York was Susan Hirschmann. The original version of The White Mountains was probably just about worth publishing: the London editor thought so. But would it, without Susan, have remained in print and worthy of a commemorative relaunch, three and a half decades after its original publication? I’ve no doubt about the answer to that.

John Christopher 2003