The Colors of Space

By Marion Zimmer Bradley

This is a classic science fiction novel by Marion Zimmer Bradley. This work tells the story of the Space Academy graduate, Bart Steele, and his attempt to travel undercover to the Lhari home-world on a mission to steal the secret of faster-than-light travel.
This work is part of our Vintage Sci-Fi Classics Series, a series in which we are republishing some of the best stories in the genre by some of its most acclaimed authors, such as Isaac Asimov, Harry Harrison, and Robert Sheckley. Each publication is complete with a short introduction to the history of science fiction.

• Language: English
• Publisher: Vintage Sci-Fi Classics
• Release date: Mar 16, 2018
• ISBN: 9781528781879

Marion Zimmer Bradley

Marion Zimmer Bradley is the creator of the popular Darkover universe, as well as the critically acclaimed author of the bestselling ‘The Mists of Avalon’ and its sequel, ‘The Forest House’. She lives in Berkeley, California.

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THE

COLORS OF SPACE

BY

MARION ZIMMER BRADLEY

Copyright © 2017 Read Books Ltd.

This book is copyright and may not be

reproduced or copied in any way without

the express permission of the publisher in writing

Contents

An Introduction to the History of Science Fiction

SUDDEN PANIC

CHAPTER ONE

CHAPTER TWO

CHAPTER THREE

CHAPTER FOUR

CHAPTER FIVE

CHAPTER SIX

CHAPTER SEVEN

CHAPTER EIGHT

CHAPTER NINE

CHAPTER TEN

CHAPTER ELEVEN

CHAPTER TWELVE

CHAPTER THIRTEEN

CHAPTER FOURTEEN

An Introduction to the

History of Science Fiction

The origins of the literary genre of science fiction continue to be hotly debated. Some scholars cite recognisable themes as appearing in the first known work of recorded literature, the Epic of Gilgamesh, (2000 BCE). Science fiction writer, Pierre Versins (1923-2001), argues that this ancient Sumerian epic poem should be included in the genre due to how it deals with the subjects of human reason and the quest for immortality. It also contains a flood scene that can be seen as resembling apocalyptic science fiction. However, other experts in the field prefer to limit the genre’s scope to the period following the Scientific Revolution in the 17th century, claiming that it was only possible to write science fiction once certain major discoveries in astronomy, mathematics, and physics had been made. Wherever we decide to put the pin in the timeline, it is clear that many of the tropes of what is generally considered to be science fiction have sparked the imagination since the early days of literature.

One such theme is that of the space ship. A form of this kind of technology can be found in the Hindu epic poetry of India. In the Ramayana (5th to 4th century BCE) Amazing machines called Vimana travel into space, underwater, and even have advanced weaponry that can destroy cities. Time travel was also foreshadowed in such works as Mahabharatha (8th and 9th centuries BCE) in which a king travels to heaven and on his return finds that many ages have passed in his absence.

The Syrian-Greek writer Lucian (c. CE 125–after CE 180) uses the themes of space travel and alien races to act as mechanisms of satire in True History to make comment on the use of exaggeration within travel literature and debates. These themes are however mainly utilised for comic effect, and as Bryan Reardon, a translator of Lucian comments, it is an account of a fantastic journey – to the moon, the underworld, the belly of a whale, and so forth. It is not really science fiction, although it has sometimes been called that; there is no ‘science’ in it.

Some elements of the genre can also be identified within One Thousand and One Nights (Arabian Nights) (8th-10th century CE) where themes of cosmic travel and immortality appear. Combine this with first millennia tales from Japan, such as Nihongi (720 CE) in which a young fisherman visits an undersea kingdom, staying for three days, only to return home to find himself three hundred years in the future, and it is easy to see that many literary cultures developed themes of what could be called proto-science fiction.

In the 16th century humanist thinker Thomas More (1478-1535) wrote Utopia (1516) in which he describes a fictional island with a perfect society that he uses to espouse his views on political philosophy. This tale gave the name to the Utopia motif that became a theme in sci-fi writing and together with its antithesis, ‘dystopia’, is still used widely in the genre – most notably in George Orwell’s classic work Nineteen Eighty-Four (1949).

The 17th and 18th centuries brought with them the ‘Age of Reason’, and a new found interest in scientific discoveries spawned fiction that more closely resembles modern science fiction. Johannes Kepler’s Somnium (The Dream 1634) about a voyage to the moon, is a notable example of this, with influential figures such as Carl Sagan and Isaac Asimov citing it as the first true work in the genre. Other works from this era with recognisable tropes are Shakespeare’s The Tempest (1610-11) containing a prototype for the ‘mad scientist story’, Jonathan Swift’s Gulliver’s Travels (1726) with its descriptions of alien cultures, and Louis-Sébastien Mercier’s L’An 2440 (1771) which gives a predictive account of life in the 25th century.

Some authors, such as Brian Aldiss (born 1925) in his book Billion Year Spree (1973), claim that Mary Shelly’s Frankenstein (1918) is actually the first seminal work to which the label SF can be logically attached. Although generally found under the heading ‘Gothic Horror’, its use of futuristic technology and its exploration of the human condition from an outsider’s viewpoint, find it blurring the lines between the genres.

The late 19th century saw the arrival of two undeniably classic authors of sci-fi, Jules Verne (1828-1905) and H. G. Wells (1866-1946). The former produced popular scientific romances such as Journey to the Centre of the Earth (1864) and Twenty Thousand Leagues Under the Sea (1869). These classic tales of adventure captured the public imagination and brought him great commercial success, making him what L. Sprague de Camp called the world’s first full-time science fiction novelist. As opposed to Verne’s romantic adventures, Wells tended to use the mechanisms of the genre to provide himself with tools for making social commentary and rarely delved into the hard science of the technology he created. For example, in his classic tale The Time Machine (1895) the technicalities of the machine itself are largely glossed over in favour of the didactic points on English society he intends to make. The difference between these two giants of the genre typifies a debate that continues to this day about how to strike the right balance between exciting story telling and a social message. This time period also found several other notable writers dipping into the genre, with authors such as Sir Arthur Conan Doyle (1859-1930), Rudyard Kipling (1865-1936), and Charlotte Perkins Gilman (1860-1935), also making valuable contributions.

The early 20th century saw a critical period in the history of science fiction with the birth of the pulp magazines Amazing stories, Weird Tales, Astounding Stories, and Wonder Stories, among others. It was the work of Hugo Gernsback (1884-1967), writer and editor, in setting up Amazing Stories in 1926 that really spearheaded the movement. He encouraged his authors to produce stories of scientific realism intended to both entertain and inform their readership. This publishing of magazines solely devoted to the genre led to the birth of the ‘Golden Age of Science Fiction’ in the 1940s and 1950s. Under the editorship of John W. Campbell Jr. Astounding Science Fiction had a stable of pioneering authors such as Robert A. Heinlein (1907-1988), Isaac Asimov (1920-1992), and Arthur C. Clarke (1917-2008). It was characterised by hard science fiction stories that celebrated scientific achievement and progress. This format of short story magazines was continued with publications such as Astounding stories and Galaxy, and still continues today with magazines such as Asimov’s Science Fiction and Strange Horizons.

The second half of the 20th century saw sci-fi becoming evermore mainstream and accepted as a reputable literary genre. Work’s such as Frank Herbert’s (1920-1986) Dune (1965), with its complex interweaving of future galaxies, political intrigue, and religion, did much to raise its respectability. It was during the 1960s that a new movement appeared. Dubbed ‘The New Wave’ it stretched the genre, approaching topics such as sexuality and contemporary political issues, as in J. G. Ballard’s (1930-2009) cautionary tales of future societies. It was this movement that inspired the change in direction of science fiction in the film industry, where it started exploring worrisome futures like those portrayed in Stanley Kubrick’s 2001: A Space Odyssey (1968) and A Clockwork Orange (1971).

Following on from ‘The New Wave’ was ‘Cyberpunk’ with authors such as William Gibson (born 1948) focussing on themes of an imagined underworld of the future and the ‘punks’ that inhabited it.

All of these developments of have given modern science fiction a diverse canon from which to draw. At the beginning of the 21st century, the genre shows no sign of disappearing, and the popularity of both novels and short story magazines online is a testament to its enduring appeal.

This work is part of our Vintage Sci-Fi Classics Series, a series in which we are republishing some of the best stories in the genre by some of its most acclaimed authors. Enjoy.

THE

COLORS OF SPACE

BY

MARION ZIMMER BRADLEY

To

DAVID STEPHEN

SUDDEN PANIC

It was a week before the Lhari ship went into warp-drive, and all that time young Bart Steele had stayed in his cabin. He was so bored with his own company that the Mentorian medic was a welcome sight when he came to prepare him for cold-sleep.

The Mentorian paused, needle in hand. Do you wish to be wakened for the time we shall spend in each of the three star systems, sir? You can, of course, be given enough drug to keep you in cold-sleep until we reach your destination.

Bart felt tempted—he wanted very much to see the other star systems. But he couldn’t risk meeting other passengers.

The needle went into his arm. In sudden panic, he realized he was helpless. The ship would touch down on three worlds, and on any of them the Lhari might have his description, or his alias! He could be taken off, unconscious, and might never wake up! He tried to move, to protest, but he couldn’t. There was a freezing moment of intense cold and then nothing....

CHAPTER ONE

The Lhari spaceport didn’t belong on Earth.

Bart Steele had thought that, a long time ago, when he first saw it. He had been just a kid then; twelve years old, and all excited about seeing Earth for the first time—Earth, the legendary home of mankind before the Age of Space, the planet of Bart’s far-back ancestors. And the first thing he’d seen on Earth, when he got off the starship, was the Lhari spaceport.

And he’d thought, right then, It doesn’t belong on Earth.

He’d said so to his father, and his father’s face had gone strange, bitter and remote.

A lot of people would agree with you, Son, Captain Rupert Steele had said softly. The trouble is, if the Lhari spaceport wasn’t on Earth, we wouldn’t be on Earth either. Remember that.

Bart remembered it, five years later, as he got off the strip of moving sidewalk. He turned to wait for Tommy Kendron, who was getting his baggage off the center strip of the moving roadway. Bart Steele and Tommy Kendron had graduated together, the day before, from the Space Academy of Earth. Now Tommy, who had been born on the ninth planet of the star Capella, was taking the Lhari starship to his faraway home, and Bart’s father was coming back to Earth, on the same starship, to meet his son.

Five years, Bart thought. That’s a long time. I wonder if Dad will know me?

Let me give you a hand with that stuff, Tommy.

I can manage, Tommy chuckled, hefting the plastic cases. They don’t allow you much baggage weight on the Lhari ships. Certainly not more than I can handle.

The two lads stood in front of the spaceport gate for a minute. Over the gate, which was high and pointed and made of some clear colorless material like glass, was a jagged symbol resembling a flash of lightning; the sign, in Lhari language, for the home world of the Lhari.

They walked through the pointed glass gate, and stood for a moment, by mutual consent, looking down over the vast expanse of the Lhari spaceport.

This had once been a great desert. Now it was all floored in with some strange substance that was neither glass, metal nor concrete; it looked like gleaming crystal—though it felt soft underfoot—and in the glare of the noonday sun, it gave back the glare in a million rainbow flashes. Tommy put his hands up to his eyes to shield them. The Lhari must have funny eyes, if they can stand all this glare!

Inside the glass gate, a man in a guard’s uniform gave them each a pair of dark glasses. Put them on now, boys. And don’t look directly at the ship when it lands.

Tommy hooked the earpieces of the dark glasses over his ears, and sighed with relief. Bart frowned, but finally put them on. Bart’s mother had been a Mentorian—from the planet Mentor, of the star Deneb, a hundred times brighter than the sun. Bart had her eyes. But Mentorians weren’t popular on Earth, and Bart had learned to be quiet about his mother.

Through the dark lenses, the glare was only a pale gleam. Far out in the very center of the spaceport, a high, clear-glass skyscraper rose, catching the sunlight in a million colors. Around the building, small copters and robotcabs veered, discharging passengers; and the moving sidewalks were crowded with people coming and going. Here and there in the crowd, standing out because of their height and the silvery metallic cloaks they wore, were the strange tall figures of the Lhari.

Well, how about going down? Tommy glanced impatiently at his timepiece. Less than half an hour before the starship touches down.

All right. We can get a sidewalk over here. Reluctantly, Bart tore his eyes from the fascinating spectacle, and followed Tommy, stepping onto one of the sidewalks. It bore them down a long, sloping ramp toward the floor of the spaceport, then sped toward the glass skyscraper; came to rest at the wide pointed doors, depositing them in the midst of the crowd. The jagged lightning flash was

Reviews for The Colors of Space

[kendallone · Rating: 5 out of 5 stars]

I think this is first science fiction story I ever read. My brother had a copy and I read it in the late 60s. I still have that original paperback and read it again every few years. Well written and very imaginative.

[karlstar_1 · Rating: 4 out of 5 stars]

This was an interesting sort of scifi/fantasy story. Space 'elves', the Lhari, brought spaceflight to humanity, but have used it to subjugate humans and other races ever since. Some humans are trying to fight back and earn the ability to travel space without relying on them. A short novel in the tradition of 60's scifi, without being over complicated or too detailed. Its also not as preachy as some of Bradley's later works. Good reading.