Angélica Gorodischer, Trafalgar

I read Angélica Gorodischer’s Trafalgar because I’d enjoyed her earlier Kalpa Imperial–earlier in English translation, I mean; I think Kalpa Imperial is a later work. Trafalgar isn’t as good. I enjoyed it, but the premise–an Argentine traveling salesman who, over coffee, regales his friends (including a thinly-disguised Gorodischer) with his fabulous (in the “fable-like” sense) adventures on alien worlds–is up my particular alley. I can’t guarantee the same experience to anyone else.

Cover of Trafalgar

Trafalgar is a series of club stories, stories told by a character within a frame story (often, in older work, guys gossiping at their club; hence the name). Gorodischer uses a structure I haven’t often come across. Club stories often begin with the frame, then launch into straight first person narration. Most of the stories in Trafalgar are conversations straight through, punctuated by questions and interjections from Trafalgar’s friends, notes on what’s happening around him, and regular reports on the state of his coffee.

Here’s my problem. Trafalgar was first published in 1979 and Trafalgar is a very 1979 kind of dude. In his original 1979 context Trafalgar was probably lovably roguish but now he just comes off as thoughtless. What I’m saying is, he’ll fall into bed with any interested woman, and because his author looks after him someone is interested wherever he goes, and that wouldn’t be so bad except he won’t shut up about it. I mean, show him a planet and his second thought, after “what can I sell here,” is “am I going to get lucky?” Also, in the first story a woman who Trafalgar believes is seducing him, due to circumstances too complicated to explain, actually thinks he’s a holographic Mandrake the Magician. Which, whatever Angélica Gorodischer thought 35 years ago, is not funny. Also, there’s a story where Trafalgar finds a planet where it’s 1492 and he thinks giving Columbus a ride to the New World would be cool.[1] So, 1979, then.

(To be fair to Trafalgar, in the last story we learn he’s started traveling with his daughter, and she takes the lead and rescues him when he gets into trouble, and I think we’re meant to take it as a sign that he’s maturing. You could also take it as a sign that he needs a babysitter.)

But! When Trafalgar is not thinking about sex Trafalgar can be interesting. One planet exists in a different random year every day. On another planet undead ancestors nag their descendants into halting scary, unfamiliar progress. On another the locals, having come to understand the universe completely, decided they were ready to drop out and stop using their conscious minds.

I’ll cut a certain amount of slack for a book if it does a thing I like, even when it does the thing with indifferent success. I found myself cutting Trafalgar a certain amount of slack. I thought it might be worth considering what it was doing to earn it. The answer, I think, is that the part of the genre Trafalgar is working in is home to some better books I’ve loved, including Stanislaw Lem’s The Star Diaries and The Cyberiad and Ursula K. Le Guin’s Changing Planes. It’s also a staple of Doctor Who (as in “The Happiness Patrol” or “The Sun Makers”).

Trafalgar, in short, is one of those space operas that have a lot in common with Gulliver’s Travels. Obviously compared to Swift Trafalgar is superficial–the big problem with the Columbus story is that it doesn’t actually think about its central idea! But there’s a certain distant similarity in approach. The biggest hint is how the planets Trafalgar visits read as islands, with small populations, modest economies, and a single major city. A lot of space opera planets work like this. Sometimes you can chalk this up to the writers’ lack of imagination, or failure to appreciate scale–but not always. I’d argue more space opera stories share DNA with Gulliver’s Travels than most SF fans assume, and they share an approach that’s interestingly opposite to much of that genre.

For such a fanciful genre, so much space opera is so serious: either military SF, or grimly earnest thrillers. Look at Star Wars, our iconic space opera, which we also think of as the quintessential light, fun space opera: for all the cute robots and cool spaceships, the dominant recurring image is a genocide machine the size of a moon. Space opera aspires to be not just serious but epic, which usually translates into galaxy-spanning conspiracies, planetary disasters and mass death.

What’s different about Trafalgar, The Star Diaries, et cetera, is a sense of play. Gorodischer’s universe incorporates anything, no matter how fantastic, that will accept a handwavy science fictional veneer: an exact duplicate of Earth, a planet of ghosts. Other books in the same vein incorporate literalized metaphors and wordplay, social satire, and reducto ad absurdum.

These stories avoid high stakes, epic scale, and operatic emotions. Take the not-uncommon SF trope of the time warp that lets the heroes meet themselves. Some of these stories might be after Sense of Wonder (TM), or existential angst, or an excuse to show off the author’s grasp of technobabble. In The Star Diaries, it’s a story about how Ijon Tichy can’t get along with himself for the five minutes it takes to tighten a bolt. As the Tichies multiply they form a dysfunctional government that immediately loses itself in bureaucratic minutae. This is small-stakes comedy with a domesticity unusual in space opera: Tichy wakes himself in the middle of the night, squabbles with himself over breakfast. The fantastic, here, is not mind-blowing sense-of-wonder stuff: it’s everyday–maybe even disappointing.

The comic style is different, too. The fashion in humorous SF is snarky banter, or overt comedy in the vein of (but rarely as successful as) The Hitchhiker’s Guide to the Galaxy. Gorodischer, Lem, and company are more wry, taking a straight-faced, matter-of-fact tone. Tichy is a poker-faced narrator; Trafalgar is, if a bit more flippant, also sincere about his crazy stories. This subgenre shades into a less comic, more Borgesian kind of SF; Le Guin’s Changing Planes is an example.[2] I’d argue this style is a close relative of more satirical stories. The satirical and philosophical strands tend to mix–even Trafalgar alternates between slapstick and grasping at profundity.

An occasional weakness of Swiftian space opera is that, in the interest of satire, futuristic or alien societies might be their authors’ own cultures wearing a hat. For a lot of SF that’s the wrong approach: different and challenging futures can challenge default assumptions, suggest different possibilities, even just create interesting environments for adventure stories[3]. Also, as Trafalgar demonstrates, cultural assumptions date fast.

On the other hand, the science fiction genre could use a little more playfulness and a little less self-conscious earnestness. I suppose as long as that’s true, I’ll be forgiving towards books like Trafalgar.


  1. Trafalgar emphasizes he brought the Spanish over as “settlers,” not “conquistadors,” but the story doesn’t think to ask whether this makes any difference at all and it barely mentions Native Americans.  ↩

  2. I’d also give an honorable mention to Leena Krohn’s Tainaron; it’s off topic inasmuch as there’s no reason to believe the city of Tainaron is on another planet, or in another dimension, or anywhere else space opera usually takes us, but it has the same feel.  ↩

  3. Despite how I might sound sometimes, I’m not totally down on those!  ↩

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