Q: What kind of book is The Big God Network?
A: I would call it near-future science fiction mixed
with political satire.
Q: Who are your literary influences?
A: Kurt Vonnegut, Mark Twain, Voltaire, the Russian
science-fiction writers Boris and Arkady Strugatsky (Roadside Picnic),
and Hunter S. Thompson. All of whom are satirists, in different ways. Also
Arthur C. Clarke and Philip K. Dick.
Q: What is the genesis of The Big God Network?
A: It started with a short story I wrote in 1992,
which was a satire of cyberpunk fiction and UFO culture, set in the near future
against a backdrop of a divided United States. The West Coast has become part of
liberal Pacifica and the Heartland has turned into a fundamentalist New America.
The story morphed into a novel that warned of the growing sway of the Christian
right and incorporated them into new virtual realms. Set amidst all of this was
the story's otherworldly main plot, which involved the search for
extraterrestrial intelligence, and the protagonist's own spiritual journey. I
finished the first draft, called Virtual Spirit in 1996, then set it on
the shelf for years before completing the new version in 2007.
Q: Were you trying to write “the great Post-American
novel”?
A: I wish. [Laughs.] Actually, I've used the term
Post-American myself in describing the book. Before starting the book in the
early ‘90s, I was certain that we were coming apart as a country. I was deeply
concerned about the growth of Christian fundamentalism in the U.S. Believing
literally in the Bible, thinking the Earth is only 6,000 years old, discarding
Evolution, waiting for the Rapture. It was a descent into medievalist thinking,
into superstition, that didn’t bode well for our future. Scared the hell out of
me, in fact. There were abortion clinics being blown up in that era, and
Christian right-wing militias rising up. All that’s died down for now, but I’m
not comforted.
Q: You don’t agree with Barack Obama that there’s room for
everyone?
A: I don’t think so. I felt in the ‘90s that there are
different groups of Americans who were extremely different from each other, and
I’d say it’s worse now. The evangelicals don’t want to be governed by secular
liberals, and liberals don’t want to be ruled by a Christian theocracy. These
are two extremely different mindsets.
Q: So, in the novel, some twenty years from now, what has
happened to the United States?
A: It’s come undone. The Christian Right that has split
the country, through their efforts to enforce their fundamentalist sharia
and wage their moral jihads. The Republic has fragmented into several new
nations. The West Coast has become liberal Pacifica. New York and New England
have merged into a new country. Much of the rest of the country is part of
conservative New America, a theocracy that Jerry Falwell would have loved. And
the Navajos have Dinee, in the Southwest, which plays a small role in the book.
Q: Tell us about the book’s hero.
A: Franz Sampaio lives in Pacifica and hosts a wideband
show called Transmigrations that deals with world religions and new Net
religions, and his partners are his wife Dolores and their friend Takeshi, who
lives in Tokyo. Franz is a spiritual person who’s lost his spirituality, and is
reluctantly drawn into defending Pacifica against a conspiracy by New America to
take back the West Coast. There is new communications technology developed that
could threaten Pacifica’s freedom.
Q: The Christian Right rules New America. Did you research
fundamentalist and evangelical Christianity before writing the book?
A: I was always curious about both, and Pentecostalism.
I once attended a rally in downtown L.A. with the legendary faith-healer Ernest
Angley. For the book, I read a lot of recent books about such subjects. And I
was an avid watcher of the TBN (Trinity Broadcasting Network) channel, the one
run by Paul and Jan Crouch, two prosperity-gospel types. They have a weird
lavish set that seems like it was designed by Liberace, and Jan looks like a
cousin to Tammy Faye Bakker. Late at night, TBN would have people talking about
handling snakes, recounting their meetings with angels, getting into a fever
about the End Time, and so forth. I took notes and used some of the dialogue in
the book. I was fascinated by their use of technology, and having fund-raising
drives to pay for communications satellites. They were so high-tech! So I
extrapolated, and took their operation into virtual reality. The “Big God
Network” is the name of Reverend Jawbone’s evangelical wideband system in the
book, and has some other meanings as well.
Q: Are all your evangelicals bad guys?
A: Of course not! In the book, the ex-Yakuza
pentecostalist preacher Yuji goes from hit man to hero. I want to say I have
great respect for evangelicals who are tolerant and compassionate. Give me that
old time religion, those 19th century evangelicals who were on the
side of the poor and downtrodden! I am satirizing greedy preachers who are
fleecing their followers, modern neocon Christians who think Jesus was a pro-war
capitalist, Pat Robertson-type fanatics who are leading us into a theocracy by
mixing church and state, and the end-timers who think the rapture is coming and
are ready to ruin the here-and-now for the rest of us.
Q: You’ve got a lot of religion of all types in the book,
not just evangelicals. There are UFO cults, new-age religions, and pagan
Wiccans, for starters.
A: Absolutely! The witch Owinda, who is the high
priestess of a chain of covens in Pacifica, is a wise heroine in the book.
Q: One of the most interesting things about The Big God
Network is the way it posits an intersection between science and religion,
two things that would seem at first glance to be mutually exclusive.
A: There’s a connection. At
its heart, religion is about awe and wonder, and mystery and reverence. Doesn’t
that sound like Carl Sagan and Cosmos?
Q: You also bring up technology worship, especially with
futuristic sci-tech, when you mention the netopians, technutopians and
technopagans in the book.
A: There is rampant
techno-fetishism evident among some science-fiction authors and readers. And
think of Wired magazine, which was founded in 1993 and really captured a
certain mindset at the time. Wired is a religious magazine on one level,
perhaps more so in the ‘90s than now. Their readers and other digerati exhibit
cultish behavior regarding technological products and advances. Think of how
Apple made headlines when they hired their first Technology Evangelist, a
position that’s now common, and employed what were essentially faith-based
marketing tactics. On another level, the geeks and digerati reflect a type of
millennial thinking in which people are strongly dissatisfied with present
reality, with the limitations of their human bodies and the tedium of their
human lives. They have this blind faith in technological change, and yearn to
live in a futuristic fantasy land, even if it’s portrayed as a rather dark place
by some authors. Instead of waiting for a messiah to come, they’re waiting for
some transformative high-tech future. It’s future lust, instead of future shock.
Q: Are they just trying to be cool?
A: Yes, a nerd’s strategy of being hipper-than-thou by
being ahead of the curve, knowing about the latest gadgets and tech before their
peers do, looking down at others who are a few steps behind and moving on before
they can catch up. It’s an accelerated pretentiousness.
Q: How did you get into the digital culture?
A: I have always been interested in science fiction and
then got interested in interactive entertainment and virtual reality when I was
a reporter for Billboard magazine. I wrote about the first immersive
video games and interactive laserdiscs. Later I authored a book called
Entertainment in the Cyber Zone for Random House, and for that I interviewed
people like the VR guru Jaron Lanier, science-fiction writers Arthur C. Clarke
and Bruce Sterling, and Will Wright (The Sims). I was interviewed by
various NPR radio shows at the time about CD-ROM and multimedia.
Q: Do you see virtual reality as positive or negative? In
the book, the cyberspace experienced by Franz and Takeshi and others is quite
intriguing. Yet, there’s also the sad experience of the retiree Matthew, who’s
been in the Rainbow.
A: Yes, he’s an old coot who’s been tucked away in a
rest home where the patients are all hooked into VR and left there, neglected.
There’s great potential and great danger in virtual reality. Of course, it could
be incredible in terms of exploring new places and interacting with other
people. And in the book I try to show it as part of everyday life for most
people, either with full immersion or interactions with VR in public spaces. I
think that once the technology of virtual reality advances sufficiently, it’s
going to be so incredibly seductive that we’ll all be in danger of wanting to
spend most of our time in cyberspace. Just look at the popularity of things like
Second Life, which are so low-tech. Imagine when the video games and
virtual worlds are truly realistic in terms of sight, touch, temperature, smell,
etc.
Q: That leads us to virtual sex. What’s your opinion? Pro
or con?
A: I’m cybersex-neutral (laughs). Of course that will be
a huge temptation. And in the book Takeshi falls prey to the siren call of VR
sex. Of course, he meets the alluring Sally Simkin in the Yabyum Palace, so
that’s a good thing.
Q: Back to religion, could you tell us about Baba Ed’s
UFO cult in the book, called Offworld?
A: Carl Jung identified the sighting of UFOs as a
religious phenomenon, many decades ago. That’s not to say I don’t think
something fishy was going on at Roswell. But I’m fascinated with this whole
culture of UFO abductees. There are tens of thousands of them all over the
world. And so many people strongly believe that governments, of the U.S. and
elsewhere, are hiding vital information from them. Covering up divine
revelations, so to speak. So Baba Ed is the leader of an extremely wealthy group
called Offworld, which worships the stars and UFOs and believes that life came
from space. Baba Ed is desperately seeking to contact ETs, and has bankrolled a
new technology that involves radio waves, AI and quantum neurology. That’s the
tech that New America wants to get its hands on, that Franz reluctantly must
help safeguard.
Q: In the Heaven’s Gate tragedy in 1997, members of a cult
committed suicide so they could ride aboard a spaceship hiding behind the Comet
Hale-Bopp. Did that surprise you?
A: Yes and no. Heaven’s Gate again demonstrated the
religious aspect of UFO culture, this time played out to tragic extremes. They
wanted to go to the mothership, i.e., heaven. It was horribly weird in the
details, but we’ve had so many cults and so much fanaticism in the last few
decades. I wondered how such an obvious fruitcake like Marshall Applewhite could
have such a hold on those people. Yet we must also ask why so many people follow
Pat Robertson, Ayatollah Khomeini, Jim Jones, and other deranged religious
leaders. Not to mention Pat Boone.
Q: What about all the cosmology in The Big God Network and the search for
extraterrestrial intelligence in the book. Aren’t those religious elements, too?
A: Guilty as charged. Modern cosmology is part of my
personal spirituality. A meeting of science and mysticism, I guess you could
say. My personal beliefs are a little like those of the character Arwin, who
worships both the cosmos and Gaia, with awe and wonder. But without
superstition, I hope.
Q: When did you become converted?
A: I have long been a nature worshipper, being a
lifelong hiker and environmentalist. I think my conversion to cosmos worship
really began in the late '80s. I was backpacking with friends in the Sierra
Nevada mountains of California. We were stargazing at night, watching shooting
stars and constellations. One friend, Barry, sipped whiskey from his Sierra cup
and rapturously extolled the wonders of the universe, the Big Bang, the
strangeness of the cosmos, and the ultimate nature of reality. Barry, an ardent
atheist, asked, 'Who needs religion?' I had been a fan of Carl Sagan's Cosmos
series, but Barry's enthusiasm for the stars inspired me to plunge further into
books by Timothy Ferris, Michio Kaku, Stephen Hawking, and others that explored
the universe and cosmic creation. I was also intrigued by SETI and its search
for extraterrestrial intelligence via radio waves. All of this is the new
religion, I thought at the time. This became a big part of The Big God
Network, through the characters of both Baba Ed and Arwin, and their
respective groups Offworld and Cosmogaia.
Q: Where is the USA going from here? Are we close to
Post-America?
A: Yes, I see great potential for trouble for the U.S.
in the decades to come. Americans as a whole have been consistently ignoring the
expansive political power and cultural influence of the religious right, which I
consider very dangerous for the future of this country. Although the Democrats
seem to be gaining power right now, and Team Bush is in disgrace, the country is
still deeply divided. Look at how well Huckabee has done, and he has little to
offer except his faith. The percentage of Americans who are evangelicals or
fundamentalists is still growing. Half the country doesn’t believe in evolution.
Or Carbon-14 dating. Faith trumps science. It’s not going to produce innovative
scientists, rational politicians, or enlightened human beings.
Q: How did Bush’s election in 2000 affect your rewrite of
the book?
A: Well, it confirmed some of my worst fears. I watched
with dismay as extremists and fundamentalists gained power in the United States
and Dubya stole the election in Florida. My nightmares were becoming reality,
and post-America loomed ever closer. As a result, the book became more
political, and I amplified my satire of the Christian right. Oh, the horror! The
horror!
Q: What kinds of readers do you think would be attracted
by the material in The Big God Network?
A: Perhaps those who read books about black holes and
baby universes, who are fascinated with world religions and the global village,
who are intrigued by cyberspace and immersion in virtual reality, who wonder
whether religion will one day split America apart, or who are intrigued by
interesting near-future scenarios.
Q: Tell us about the cover art for The Big God Network,
which is quite striking.
A: The cover was designed by Brazilian graphic artist
Cristina Portella, who combined a Hubble Telescope image of a spiral galaxy with
an interior image I shot of a modern cathedral in downtown Rio. She’s done
beautiful book covers in Brazil, and CD covers for famous Brazilian musicians,
including Maria Rita, Milton Nascimento and Gilberto Gil.
Q: One last question: where would you like to be twenty
years from now?
A: In Pacifica, of course! [laughs].
(*J.C. McGowan
interviewed by writer and friend C. V. Lord, January 28, 2008).