Posts Tagged ‘L. Ron Hubbard’

Astounding front cover(Astounding, by Tim Nevala-Lee. New York, Dey St., 2018, $28.99, 532 pp.)

reviewed by Zeke Teflon

While the subtitle mentions Heinlein, Hubbard, and Asimov along with John W. Campbell, this is primarily a biography of Campbell centering on his activities as editor of Astounding Science Fiction (later Analog), the largest-circulation and most influential science fiction magazine in the 1940s through the 1960s; the book has a special focus on Campbell’s relationships with the authors he published, his influence on their work, and on the authors’ relationships with each other.

The level of detail in this exceedingly well documented 500-plus-page book is, well, astounding, and the amount of work Nevala-Lee did to produce it must have been equally astounding. The dust jacket copy notes that the author drew on “unexplored archives, thousands of unpublished letters, and dozens of interviews.” It shows.

This is not, however, a dry academic history. Nevala-Lee does a fine job of bringing to life the decidedly oddball quartet listed in the subtitle, along with their wives and girlfriends (some of whom did much uncredited work) and many other sci-fi authors of the time. Nevala-Lee has not, however, produced a hagiography: the portraits of all of these figures are nuanced, bringing out both their attractive and unattractive traits. The attractive traits include. in all but Hubbard, dedication to work and writing, the authors’ and Campbell’s mutual support, and in Campbell’s case a messianic belief in the transformative power of science fiction. The unattractive traits include spousal abuse and pathological lying (Hubbard), right-wing authoritarian politics (Hubbard, Campbell, and Heinlein) and denunciations of associates to the FBI as “communists” (Hubbard). (For a good dissection of Heinlein’s most authoritarian work, see Michael Moorcock’s famous takedown of Starship Troopers, “Starship Stormtroopers.”) Even Asimov, who comes off as by far the most sympathetic of the quartet, had a serious flaw: engaging in serial sexual harassment.

For those interested in cults, there’s also a great deal of material on Hubbard’s and Campbell’s formulation of dianetics — basically a rehashing of Alfred Korzybski’s tedious and trivial “general semantics” concepts along with (though they wouldn’t have known the term) abreaction therapy (which can be quite dangerous), all with a “cybernetics” overlay — and their subsequent falling out prior to Hubbard’s coming up with the term Scientology, founding of that “church,” and installation of himself as that money-making machine’s glorious leader.

This brief summation only scratches the surface, and anyone interested in science fiction and its history should have a great time delving into this well researched, well written book.

Highly recommended.

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Zeke Teflon is the author of Free Radicals: A Novel of Utopia and Dystopia (pdf sample here). He’s currently working on the sequel, a nonfiction book on the seamier sides of Christianity, two compilations, and an unrelated sci-fi novel.

Free Radicals, by Zeke Teflon front cover

“The core belief of Scientology is that you are a spiritual being. L. Ron Hubbard had reached, obviously, the highest level of Scientology there was to reach, promoting this idea that there’s an afterlife, and he found the answer to it by deciding to discard this body to go explore new OT [Operating Thetan] levels. All of this is bullshit. L. Ron Hubbard died of a stroke.”

–Former Scientologist Leah Remini quoted by Jethro Nededog on Business Insider

Master(The Master, 2012. Starring Philip Seymour Hoffman and Joaquin Phoenix, directed by Paul Thomas Anderson)

A few years ago, my GF (a former high ranking Scientologist) and I went to see, with high hopes, “The Master,” the Philip Seymour Hoffman film supposedly about L. Ron Hubbard and the birth of Scientology. (My GF is a “squirrel,” who thinks some of the lower-level Scientology material — basically abreaction “therapy,” a dangerous therapy (similar to “co-counseling”) with no scientific evidence of efficacy — is valid, and that LRH was genuinely insightful and wasn’t a megalomaniacal, pathologically dishonest charlatan.)

Well, to put it mildly, we were disappointed. The primary problems are that this film has essentially no plot, and that both lead characters are simply loathsome. There’s no one to root for, and not even enough structure to allow you to root for a sympathetic character if one existed — and there are none.

The sequence of events (not plot) follows the chance encounters of Phoenix’s intellectually challenged, alcoholic (to be PC about it — “dumbshit” drunk in plain language) character as he intersects with Hoffman’s LRH character in chance encounters in the early 1950s. There is simply nothing to hold this film together, other than than Hoffman’s and Phoenix’s portrayals of these two disgusting characters in familiar (to those who have studied Scientology) locations. Anyone not already familiar with the history of Scientology would be totally lost.

The only positive things to say about the movie are the Hoffman’s performance is great, and that Anderson really got some of the bizarre “training routines” right. Beyond that, it’s a total waste of time. On the way out of the theater, we stopped to chat in the lobby with an older couple. We looked at each other, and the guy asked, “What the hell was that!?”

Very much not recommended.

The two fairly current Scientology documentaries, “Going Clear” and “My Scientology Movie,”  haven’t shown yet in Tucson. If the likely venue (The Loft)  hasn’t been intimidated into not showing them, I’ll review them when they appear.

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What brings this relatively ancient history up is that I have a new musical project — “Enturbulation Blues” — which will consist almost entirely of COS jargon.  If anyone can suggest any especially bizarre terms to incorporate, please leave a comment.

To give you an idea of the tone of “Enturbulation Blues,” here’s a recent song on a somewhat similar topic, Abductee Blues.