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Let’s get something straight before we begin: I am neither pro- or anti-religion. I feel it’s necessary to lay that out at the beginning because there is a natural instinct in our society when reading anything about religion in popular culture to divine through the tea leaves the spiritual orientation of the author. My interest in how religion is discussed in Star Trek (and science fiction in general) is in the undeniable fact that religion is something that a vast number of humans continue to practice in their daily lives and, as such, religion is fair game for science fiction the same way any topic of human society is. Of course, if Star Trek never addressed religion that would be a point in and of itself, but from time to time Star Trek does address the topic of religion in various alien cultures. Since the aliens of Star Trek serve as reflections of contemporary Western society, how Trek approaches religion is a reflection of how the writers view religion. So how does Star Trek view religion?
First we should acknowledge that science fiction generally does a bad job of addressing religion, and science fiction television is a particularly poor venue. Perhaps the most deep reflections on religion in science fiction television come from the 2004 reboot of Battlestar Galactica, in which religion featured prominently throughout. I’m a huge fan of that series, and if you’re familiar with the show you might be aware that the final episode was extremely contentious and angered many fans (I’m not one of them). The final episode of Battlestar is the clearest indicator I’ve ever had of whether or not someone is comfortable with the concept of religion in science fiction. Can an atheist accept that God can exist in a work of fiction? In my experience there are a lot of atheist fans of science fiction for which the answer is a clear “no.” Truth is that Star Trek addressing religion at all is going to put the show in a precarious position. Which is why it’s so surprising that the show not only decides to touch on the topic, but so often fumbles it. There are two episodes of Star Trek that stand out in my mind when thinking about religion. The first is the Next Generation episode “Who Watches the Watchers”. In that episode the Enterprise races to a hidden anthropology research station which is studying a primitive Bronze Age alien race called the Mintakans. The Mintakans are described as “proto-Vulcan” meaning that although they are primitive they are “highly logical” and thus not superstitious. One of the Mintakans witnesses the Enterprise crew beaming away while the hidden observation post is temporarily made visible by a malfunction, which quickly convinces the Mintakans that gods do exist and that Captain Picard is their leader. The episode focuses on Picard’s attempts to undo the damage the Enterprise has inadvertently done to the Mintakan’s culture. At one point Counselor Troi, disguised as a Mintakan, is going to be sacrificed to please The Picard. Troi asks the man about to shoot her if he is certain that her death is what The Picard wants. “That’s the problem in believing in a supernatural being,” she says, “trying to determine what He wants.” This is a fair and true statement, but it is also not the logical trap that it is portrayed as in the episode. The overt statement made in the episode is that by making the naturally logical Mintakans once again believe in gods, the Enterprise has reverted their culture to a less developed state. Secular logic good. Religion bad. Science good. Faith in god bad. In the end Picard convinces the Mintakans that they are actually just technologically advanced aliens from another planet, which is clearly easier to believe than that they are gods, and nowhere near as horrible for their culture. In the end the leader of the Mintakans asks Picard to remember her people, and I couldn’t help but think Picard was wishing that they would all forget about his. Undoubtedly this culture was contaminated by an understanding of aliens from other worlds, which is somehow less problematic than a very natural belief in supernatural beings. Another standout episode is from Voyager titled “Prophecy”. Seventy years into deep space, Voyager encounters a hundred year old Klingon ship which has been converted into a generation ship by a group of Klingon pilgrims in search of a savior. Their search is based on an ancient scripture, and they have searched for decades for the Klingon messiah. They come to believe that the pregnant B'Elanna Torres is carrying the messiah, and paste together some Nostradamus logic to make the case. This episode intrigued me, as it is a setup to explore some interesting issues between religion and the Federation belief system. However the episode quickly deteriorates. We learn that the Klingon’s leader posses no faith, and is simply trying to save his people after the destruction of their ship. He wants to settle on a nearby planet, and is willing to use his people’s beliefs to manipulate them into settlement, asking the Voyager crew to assist in the deception. Captain Janeway agrees, and Torres helps the Klingon leader to manipulate the story of her life to fit the sacred scrolls. In the end, stem cells from Torres’s hybrid Klingon-Human fetus heal a disease the Klingon pilgrims have suffered from for decades, thus the messiah has healed their people and they settle on a nearby planet, never to be heard from or discussed again. Religion in this episode is nothing but a flawed belief system that fools adopt, leading their families to suffering and pain, and that can ultimately be used by leaders to exploit the masses. It has to be the single most cynical portrayal of religion in all of Star Trek, and the ease with which the supposedly enlightened Starfleet officers agree to exploit a community’s spiritual beliefs is shocking. Any discussion of religion in Star Trek has to touch on the whole of Deep Space Nine, whose main character, Captain Benjamin Sisko, is found to be the Emissary of the gods of the Bajoran people. The Bajoran people have just recently exited from a Holocaust at the hands of their nearest celestial neighbors, the Cardassians. The gods of the almost universally adopted Bajoran religion are the Prophets, who scripture says reside in a “Celestial Temple” that is meant to be a physical place. Sisko discovers a stable wormhole near Bajor that is the home of a non-corporeal race of aliens that live outside time, which he quickly realizes to be the Prophets of the Bajoran faith, as they admit to guiding the Bajorans throughout history. The series explores the themes of belief in enigmatic gods and the influence religion can have on a troubled society. Even in this fertile ground most of the storylines that come up portray religion as a system of control (one recurring villain is the Bajoran Pope) or which dismisses the Prophets as nothing more than weird aliens. In numerous episodes Starfleet leadership argues with Sisko about the Prophets, calling them “wormhole aliens” and trying to either distance him from his role as the Emissary, or to get him to exploit his position to convince the Bajorans to join the Federation. Even when faced with the fact of an alien race that lives outside of time which frequently guides the Bajoran race, the Federation citizens criticize the Bajorans for their faith in these same beings. The Prophets never claim to be something they’re not, but still, religion is bad, even when that faith is placed in scientifically verifiable claims. The ultimate issue is that Star Trek can never bring itself to acknowledge the most basic fact about religion: that religious faith gives many people comfort. This form of spiritual comfort is fundamentally incompatible with the Star Trek ethos because the utopia that the Federation embodies is one of materialistic comfort. Nobody is hungry, there is no poverty, and war is largely unheard of. The body is nourished, leaving only the mind. In the Federation, the mind is nourished by science and the freedom to pursue your worldly desires. But the basic comfort of belief in a higher power, in an ordering force for the Universe… that is absent from this utopia. There is a closed mindedness that comes from this worldview, because if we embrace an unbending belief that religion is nothing but a cynical system of control for fools, that ignores the appeal of religion for many in modern society. This belief robs us of the opportunity to understand one another. It is a fact that religion has sometimes led to human suffering, but it is a fact that science has as well. Religion, like science, is not inherently good or evil, it is what we do with them that matters. A belief that religion is always bad is a belief that is simply not based on factual evidence, and Star Trek itself would criticize such a belief. There are so many writers that I can do Vintage Sci-Fi Trifecta articles on that it usually doesn’t take much to tip me toward a specific author. The impetus for this article was too good to pass up. Jason Kehe has a recent article on Wired that is making the rounds about how R. A. Lafferty is the best science fiction short story writer that you’ve never heard of. Fun fact: I had heard of him. As Kehe argues, if you come across the name R. A. Lafferty it tends to stick with you, and indeed it did, as I recalled the name from browsing my vintage sci-fi anthologies. But even then I only knew him as one name among many, so after reading Kehe’s article I dug through my collection, using Kehe as a guide, and selected three stories. Each is mentioned at least in passing in Kehe’s article, and each was originally published in Galaxy Science Fiction Magazine and is available for free on the Internet Archive! Which means you can join me in the fun this time, if you were so inclined.
Let’s dig in! Primary Education of the Camiroi Originally published in Galaxy Science Fiction, December 1966 Read in same Kehe describes Lafferty’s writing as kind of punch-drunk satirical. I have to say that reading these stories I didn’t get the sense of his writing not making sense, as Kehe implied. I’ve read some 1970s sci-fi that is more about syllable beat than good sentence structure (I’m not a fan, for the most part), but I didn’t get that impression from Lafferty. In fact, I really liked his writing and found it had a nice poetic cadence. I absolutely did experience Lafferty’s timeless satire, especially in this story. I don’t often burst out laughing when reading, but I did during this story. The basic premise if that a group of humans travel to the Camiroi homeworld to observe their system of education at work. I won’t spoil it for you, but if you’ve ever talked with any parents stuck up about how their kids go to the best schools… well, there’s a pretty clear indictment of cultural superiority complexes here. It felt as accurate and timely now as I’m sure it did in 1966. My only real criticism is that about a third of its ten page length is dedicated to a Camiori syllabus, which is little more than a bullet list. It got a bit tedious for me, but I did find some laughs throughout. I chalk that more up to the evolved taste of modern science fiction, as I’m pretty sure it was jabbingly clever in 1966. Slow Tuesday Night Originally published in Galaxy Science Fiction, April 1965 Read in same This is oddity on full display. The sci-fi premise is dispensed with very quickly and in a sentence or two; some achievement blocker in the human brain has been removed in everyone, so now our full brain power is unlocked. Not the most original premise, but read enough science fiction and original premises are extremely rare; the trick is what an author does with it. Lafferty uses “unleashed human intellect” to describe a world where every night is an opportunity to live a lifetime. Fortunes are made and lost in minutes. A homeless man becomes the richest man on Earth seven times in a single night. The storytelling is factual and unemotional, which heightens the satire to an expert level. I consider satire the highest form of comedy, and science fiction the highest form of fiction (it’s my blog and I’m entitled to my opinions), so this story was stand out for me. Thus We Frustrate Charlemagne Originally published in Galaxy Science Fiction, February 1967 Read in same Kehe calls this one of Lafferty’s best, so of course I ended the trifecta with it. Again a satire, here I did start to see a bit of the confusing side of Lafferty’s writing, particularly in the climax. Essentially a protracted joke about the “smartest people on Earth” trying to alter history and watch it change before their eyes, only failing to realize that changing history changes their history as well. Kind of a “time travel for dummies” idiot plot, but rendered in a satirical way so as to be fun, not frustrating. (For more on idiot plots see my article on Damon Knight, which I admit is not a flattering statement.) One thing that struck me about all three of these R. A. Lafferty stories is just how short they were – around ten pages each. He clearly realized his own talent at the short story form, and by my accounts he was a master at it. Kehe is right, it really is a tragedy that more science fiction readers aren’t familiar with Lafferty, and I’ll definitely be reading every one of his short stories that I can get my hands on. Kehe’s article seems timed to coincide with the release last month of Tor’s The Best of R. A. Lafferty which features a list of introductions that reads as a who’s who of not only sci-fi but Western culture: Neil Gaiman, John Scalzi, Harlan Ellison, and Patton Oswalt, to name a few. (I can see Patton Oswalt totally loving Lafferty, the style fits.) So here’s my plug. Read the above stories for free, and if you liked them, consider picking up that new Tor book. Despite having quite a few Lafferty stories randomly sprinkled through my collection I’m strongly considering ordering it at my local book store. There’s something nice about a curated collection. It’s been a few months since my first round of recommendations for the horror streaming service Shudder so I thought I’d throw together another five films to watch if you’re looking for some clever entertainment off the beaten path. Most of these are either Shudder Originals or exclusive to the streaming site, but a few are also on Amazon Prime or available to rent, so check around.  Coherence I watched this one prior to its appearance on Shudder, but I was happy to see it show up there. More of a suspenseful sci-fi drama than a horror movie, Coherence follows a group of friends at a dinner party that just happens to coincide with the passing of a comet that turns out to have the ability to shatter the walls between parallel universes. Past wrongs, personal failings, and dark secrets collide in this creative and well executed indy film. Fans of Buffy may get a kick out of Nicholas Brendon’s performance, especially if they’re familiar with the actor’s personal history. Looks like this one is also available on Amazon Prime, and can be rented.  The Mortuary Collection A movie so fun I watched it twice. Within a week. A great anthology film with an even better framing sequence tying it all together. Excellent writing, directing, acting, and music… yeah, it’s basically perfect. Fans of the original Creepshow movie will love this one. Evidently my opinion is not an island, as there are rumors of a sequel – or even a franchise – in the works. Yes, please.  Head Count Probably the weakest entry on this list, it is still a film worthy of your time, but to explain why I feel that way might require a short rant. (This is a blog, after all.) My biggest peeve when watching a movie is bad writing. This isn’t, as you might suspect, because I’m a writer. It is a pure economic objection. Beyond a doubt, when it comes to filmmaking the absolute cheapest component is the script. To hire even three actors will generally cost more than the script. The time investment of the cast and crew is immense. Supplying sets? Expensive. I contend that this scales. Big budget movies are built on big names and big set pieces. Small movies are built on small names and small sets. No matter the scale though, the writing is the cheapest part, and is only limited by one or more people sitting around imagining and typing. Knowing that immense time and money is going to go into filming the script, what’s the justification for a crummy one? I’ve seen five minute films that were better than some two hour Hollywood “blockbusters.” Okay, so Head Count. This is not a perfect movie, and to be honest I didn’t love the ending. That being said, I have a soft spot for any film that even closely approaches a one room drama (it is probably worth mentioning that Coherence also fits into this category). Head Count largely takes place in an Air BnB vacation home occupied by a bunch of college kids. The college kid drama is actually minimal, and we’re shown a generally welcoming group of young adults who are partying on spring break. Into this scene comes a supernatural entity, invited through a minimalistic – though clever – plot technique. What ensues is a fun head scratcher with lots of enjoyable twists and turns, with quality writing and directing. Also available on Amazon Prime.  Color Out of Space Adaptations of Lovecraft’s stories are perhaps more numerous than the stories themselves, but good adaptations are more rare than an unracist Lovecraft story. One exception to the quality aspect is adaptations of The Colour Out of Space. It is undoubtedly one of his best stories, and easy to adapt while still being true to the original. The basic premise is that a weird-noncorporeal-space-thing comes down from the stars to live in a farmer’s well, poisoning the land and his family. Of course, we’re talking Lovecraft here, so the poisoning is of their minds and souls. That story presents a very fertile ground (pun intended) to play in. Add to that setup the possibility of another film featuring a screaming mad Nicholas Cage (re. Mandy, also available on Shudder) and you have the makings of one hell of a crazy ride. This one is classic Lovecraftian fun, and is actually a great movie on its own. I would be remiss if I didn’t mention another outstanding Colour adaptation which precedes this one. Die Farbe is an underappreciated German adaptation which delivers a much more toned down and sinister experience. To my knowledge this one can only be seen if purchased as a DVD from the H. P. Lovecraft Historical Society store, but if you’re a die hard Lovecraft fan and movie buff it’s worth it.  One Cut of the Dead
My opinion of this film is summed up in two points. First, it is a perfectly executed ode to passionate filmmaking that is practically a masterpiece. Second, this is not a zombie movie. It’s hardly even a horror movie, but given the fact that humans like categories a horror streaming service is the natural home for this film. This Japanese film was made on a slim budget of $25,000 with an unknown cast. At last estimate it had grossed nearly $27,000,000 internationally. This is exactly what I was ranting about: it has a stellar script, quality acting (from prior unknowns), and skilled directing. One of its claims to fame is that the movie starts with a single camera – uncut – 37 minute long zombie film. This is a real uncut sequence, not some camera trickery, and it is incredible. That gets you about 40% of the way through the film, so what is the rest of the runtime about? That’s where the genius of this movie comes in. I’m not going to spoil it because I knew nothing but the above going in, and the discovery was a lot of fun for me. What I do think has to be said is that there are no “real” zombies in this movie, since we’re talking about a movie about making a zombie movie. This means that all the tropes familiar to zombie movie fans don’t play out, but I can’t hold that against such an amazing accomplishment. Highly recommended. That’s all for now, but I managed to sneak more than five movie recommendations into this post, so I’ve left you all with plenty of extra credit work. My selection of Kate Wilhelm for this column is something of a companion piece, as I’d just recently read my first three stories by her husband, Damon Knight. After not liking Knight’s work I wasn’t sure how his wife would fair (in my experience husband and wife writers tend to converge to the same style) but I was pleasantly surprised by Wilhelm’s offerings.
Kate Wilhelm, apart from having a fifty year writing career, is perhaps best known to science fiction writers as the co-founder (along with Damon Knight) of the Clarion Writers Workshop which has produced many of the world’s leading science fiction writers of the last few decades. Something you might notice about our three stories is that they all appeared in the original science fiction anthology series Orbit. This made me a little weary at first, as Orbit was edited by Damon Knight, so there’s clearly some back patting going on. That fear was not justified as these are all top quality, even by today’s standards. Baby, You Were Great Originally published in Orbit 2 Read in The Future is Female This story was reprinted in several anthologies I own, and that’s generally an indicator that it is among the author’s best, so what better place to start? One of the many definitions of science fiction floating around is that the genre explores mankind’s relationship to technology. This story takes that view quite literally, exploring man’s – and through what is done to them, women’s – relationship to technology to a logical peak. The story opens with an audition where two men are trying to find a woman who will react in a suitably emotional manner to being raped. (Suitably emotional because some women simply shut down, not feeling what was going on, which is not what they are after.) Believe it or not, from there the story gets even darker. Predicated on a technology that allows for the recording and broadcasting of emotional responses, the most successful television show in the world is a Truman Show like experience where a particular woman is subjected to various emotional highs and lows. I don’t want to give more away, as I went into this one cold and was deeply shaken by it, but if you have the chance to read this one definitely do so. It’s not an entirely comfortable or enjoyable ride, but it’s an exemplary story. It’s no surprise that this story was nominated for the Nebula Award for Best Short Story in 1968, which led me to wonder what it lost to. The culprit was Samuel R. Delany’s Aye, and Gomorrah… which sounds like a perfect candidate for a future edition of this column. The Planners Originally published in Orbit 3 Read in same Having been robbed of the Nebula the year before, Wilhelm took the prize home in 1969 for this short story. I have to admit with substantial embarrassment that I didn’t really understand this story. As a testament to her writing, I don’t think it was bad, and I did enjoy reading it, but I wasn’t able to pull all the strings together in my head. It does give off a heavy Rise of the Planet of the Apes and Flowers for Algernon vibe, which I enjoyed a lot and I suspect are part of why it got the Nebula. This story did succeed in cementing in my mind a perception of Wilhelm’s fiction as visceral. Her writing bleeds emotion that touched raw nerves within me. April Fool’s Day Forever Originally published in Orbit 7 Read in same This one was a random selection based on the title, and though I’m not sure what I was expecting it definitely wasn’t this. A long and meandering story (definitely novella length), April Fool’s Day Forever takes its time to get where it’s going, but the journey is enjoyable. Once revealed, the plot is intriguing, and the slow roll of the story makes it all the more natural it the way it comes out. For that reason I’m not even going to tell you what the plot is, just that in the end I was left shaken once again by Wilhelm’s raw emotional undercurrents. There’s lots of reasons to read science fiction, but my love of sci-fi comes from its ability to hold a funhouse mirror to society and show us the best and worst parts of ourselves. Often when that is done the writing lacks emotion. Kate Wilhelm succeeds in showing us the absolute worst parts of ourselves in stories steeped in science fiction tradition, while still managing to make us feel something. As a closing, I found this delightful short clip of an interview where she talks about selling her first short story. I have to say that the technical skill of her writing is definitely high craft, so her statement that “I can do that” rings true across time.
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AuthorDr. Andrew Porwitzky is a scientist and freelance writer living in Albuquerque, New Mexico. He is the author of numerous works of fiction, scientific articles, and essays. 
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