If Jack L. Chalker’s vision has any validity, Nietzsche was well ahead of himself when he wrote that “God is dead.” In Chalker’s future, humanity began to colonize and ever major (and even minor) religion wanted their own world. When a catastrophe of unknown origin destroys the intergalactic infrastructure of worm holes and effectively balkanizes known space by culture and religion, one prophetic, messianic missionary builds what is effectively an “ark.” It is not, however, an ark carrying the genetic archives of all nature (as with Noah), but more of an “ark” carrying the message of what prophet and disciples consider to be the gospel. (I wrote “consider to be” because there is an earthy, pragmatic quality to the prophet’s message that seems to minimize “grace” as it is presented in the New Testament.)
The “ark” is called “The Mountain” and the prophet is Dr. Karl Woodward, Ph.D. The prophet is a world-class physicist who felt a greater calling to a pragmatic application of faith than to the deliberations and speculation of the academic practice of physics on an intergalactic scale. Woodward, the messianic figure in Balshazzar’s Serpent, is less the protagonist of the novel than the force majeure in service of the Force Majeure. The protagonists are a team of missionaries on their first planetside mission, a male-female duo who, both together and apart, must discover the meaning and power of faith or figure out how to jettison it without destroying their lives. It is obvious that there are superficial similarities to Battlestar Galactica in my description, but this isn’t about a Cylon threat or even finding Old Earth.
The real action begins when “The Mountain” discovers a cul-de-sac of human civilization which simply should not be where it is. Nothing was close to it before “The Great Silence” (the aforementioned catastrophe) and there was no artifact or energy source to indicate how the indicated inhabitants had arrived in the first place. As described by Chalker, the colonies appear to have a value system equivalent to the Amish of today’s earth. Yet, the missionary team assigned to be the advance personnel for the space exploration equivalent of a tent revival became aware that something isn’t quite as it seems to be. There is a classic bit of obfuscation that is difficult for the missionaries to discern, and this isn’t revealed until the entire mission of “The Mountain” is threatened.
During the revelation of that ultimate threat to the mission, some horrific and inhumane events occur. One antagonist challenged Eve, the female protagonist on the advance team, that “faith” is, “Easy to spout until it’s live or die time or worse, isn’t it?” (p. 129) But Eve recognized that while “evil” was now being described as “wrong,” “bad,” or “psychotic,” it was more than that. “I have the honor by the grace of God to be the first of my generation to face true evil, she thought. And I don’t know if I have the guts for it. Please, God! Tell me what you want me to do?” (p. 129) I always liked the definition of faith as believing God even when it looks bad for God. That seems to be the way faith works in Chalker’s narrative. “The question really was, when was faith truly faith and when was it a synonym for doing something stupid? How many cult types in human history had jumped off cliffs or taken poison because they were convinced it was the act of faith God wanted?” (p. 135) That’s an honest question that any person of faith has to consider at more than one point of her/his life.
Even the messianic prophet admits, “There is a fine line between faith and common sense in some of this.” (p. 212) And the male protagonist in the book, John Robey, even struggles with the very topical question of whether there is any real difference between Islam, Judaism, Hinduism, Zoroastrianism, Baha’I, pagan naturism, and his personal faith. One of his friends suggests that finding answers and support in a guild hall or bar would work as well as institutional religion. The response? “’So, you’re a true believer but you haven’t figured out what you believe in?’ Robey pressed. ‘That sounds about as confused as the First Church of Atheism.” (p. 224) At a later point, Eve tells Robey, “Too often we take things like faith for granted, and we pay lip service to our beliefs. Maybe we have to get slapped or kicked in the rear and then scared silly in order to fully understand and appreciate it all.” (p. 242)
Sometimes, Christians are hesitant to apply difficult biblical solutions to their life situations. They follow “science” or “superstitition” until things go awry and then, turn to faith. The counsel Chalker vicariously gives his readers is: “Then study God’s word as you have studied God’s work. You will found that its logic is sound and that the truth is not what you or most religions think.” (p. 244) Allegedly, this admonition came from an angel. There is an honest and open question, though. The character who receives this revelation has to consider: “Had the angel been a figment of his imagination, a psychological construct to deliver what his mind had already suspected, or was it divine intervention and warning?” (p. 245) Any believer that doesn’t struggle with that question isn’t being honest with herself/himself.
But though this review has focused on the religious aspects of the book, Balshazzar’s Serpent has mystery, combat, desperate gambles, torture, and a bit of romance. Balshazzar’s Serpent is the first of a trilogy named after the traditional names of the magi (not really identified in the Bible, but named in ancient tradition). Once one comes to the conclusion of a tremendous gamble (or act of faith) in the story, the reader will understand the significance of the trilogy. I don’t know if the consideration of faith continues in the other two novels, but the faith discussions in Balshazzar’s Serpent were a delightful aspect of what, even without that consideration, would have been an interesting story. Fortunately for me, Chalker didn’t stop with the unadorned story.
I once thanked Chalker in person for his marvelous insights about temptation as expressed in his comedy/science-fiction novel, And the Devil will Drag You Under (from the song about “rocking the boat” in Guys and Dolls) where the demon who sets off events is essentially part of the devil’s “advertising agency”). If my memory is correct, I thanked him and he said that novels are about humanity and he thought it was impossible to write about humanity without considering religion. It hadn’t registered to me how true this was for him and I wish I would have had time to explore this further before we were interrupted by other fans (this was at a science-fiction/fantasy convention). But that doesn’t mean I can’t and won’t finish this series and then, check out the Soul Rider series.
Satisfying in so many ways, I just couldn’t resist Balshazzar’s Serpent.