By Arthur C. Clarke
One of the 35 booklet (digital-only) 2012 RosettaBooks releases comprising the full Arthur C. Clarke Collection.
A thousand years after being forged into the frozen void of house via the supercomputer HAL, Frank Poole is introduced again to life—and thrust right into a international extra technically complex than the single he left at the back of. He discovers a global of human minds without delay interfacing with desktops; genetically engineered dinosaur servants; and big area elevators equipped round the Equator.
He additionally discovers an drawing close risk to humanity—lurking in the enigmatic monoliths. To struggle it, Poole needs to sign up for forces with David Bowman and HAL, now fused into one corporeal consciousness—and the single being with the ability to thwart the monoliths' mysterious creators.
A continuation of Arthur C. Clarke's groundbreaking Space Odyssey sequence, 3001: the ultimate Odyssey takes readers on a trip jam-packed with mysticism, ask yourself, and suspense.
Read or Download 3001: The Final Odyssey (Space Odyssey, Book 4) PDF
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Extra resources for 3001: The Final Odyssey (Space Odyssey, Book 4)
This tradition is usually discussed in terms of race and fantasy, but the “racing” of heroes and villains is in part a consequence of a rhetoric that posits insight in terms of visual perception. The narrativization of memory also aﬀects the description of action. It is not action that is of interest but response; action has to be “seen” by the protagonist and the protagonist cannot see “his” own physical movements. In this form, expression and feeling cannot be interpreted; they must be described, pinned down for the reader.
Knowledge is ﬁxed and it is recursive, and in this it demonstrates the peculiar and speciﬁc Christian heritage of the modern portalquest fantasy. As Northrop Frye wrote, “How do we know that the Gospel story is true? Because it conﬁrms the prophecies of the Old Testament. But how do we know that the Old Testament prophecies are true? Because they are conﬁrmed by the Gospel story. Evidence, so called, is bounced back and forth between the testaments like a tennis ball” (Code 78). This circularity creates a reductiveness that utterly undermines any real notion of learning in the portal fantasy and has led me to muse on what a truly Jewish fantasy—with all the argument endemic to my religion—might look like.
It reminds us again that this is a tale being told. Pilgrim’s Progress’s omniscient narrator is ultimately a ruse. The point of view is Christian’s: we experience only Christian’s doubt, are told that of Faithful. But once the narrator admits that this is allegory, he hastens to explain things to us, not through Christian’s eyes, but through his own: “I saw then that they went on their way to a pleasant River, which David the King The Portal-Quest Fantasy 21 called The River of God; but John, The River of the water of life” (90).