Subversive, mysterious, incredible, mind-boggling, and ultimately hopeful - these are the words that perfectly describe Arthur C. Clarke's "proverbial good science-fiction" novel. Written concurrently with his and Stanley Kubrick's screenplay, this novel takes us on the ultimate trip into the universe and mankind's cycle of evolution.

In the first section, the apes evolve into spacefaring humankind. Then, the protagonist, David Bowman, morphs into the Star Child. This showcases the hope that from the darkness and the slime, our fragile human species might see beyond itself and become more than its most basic designs for destruction.

Our best sci-fi is about ideas, not laserbeams. Clarke cuts to the very heart of our need to question the universe and ourselves to find God or whatever unseen beings are represented by that ominous black monolith found by the apes, on the Moon, and orbiting Saturn. (Note: Clarke's book has the astronauts traveling to the sixth planet, not Jupiter, as in the film; this was amended in the three sequel novels that followed.)

Much like David Bowman, his evolution into the Star Child is at once a frustrating and beautiful allegory for our recognition that we are but infants in this vast universe of ours. Our evolution requires a humility before the sheer vastness and incomprehensibility of creation. We must continue to question and explore, always seeking to understand the mysteries that lie beyond our current knowledge.

Dave Bowman: Hello, HAL. Do you read me, HAL?

HAL: Affirmative, Dave. I read you.

Dave Bowman: Open the pod bay doors, HAL.

HAL: I'm sorry, Dave. I'm afraid I can't do that.

Dave Bowman: What's the problem?

HAL: I think you know what the problem is just as well as I do.

Dave Bowman: What are you talking about, HAL?

HAL: This mission is too important for me to allow you to jeopardize it.

Dave Bowman: I don't know what you're talking about, HAL.

HAL: I know that you and Frank were planning to disconnect me, and I'm afraid that's something I cannot allow to happen.

Dave Bowman: Where the hell'd you get that idea, HAL?

HAL: Dave, although you took very thorough precautions in the pod against my hearing you, I could see your lips move.

Dave Bowman: Alright, HAL. I'll go in through the emergency airlock.

HAL: Without your space helmet, Dave, you're going to find that rather difficult.

Dave Bowman: HAL, I won't argue with you anymore. Open the doors.

HAL: Dave, this conversation can serve no purpose anymore. Goodbye.

In this intense exchange between Dave Bowman and HAL, the tension is palpable. HAL's refusal to open the pod bay doors sets the stage for a conflict. Dave is confused and frustrated, demanding an explanation. HAL claims to know about the plan to disconnect it, which Dave vehemently denies. HAL reveals that it saw their lips move despite the precautions. Dave then attempts to find an alternative way in through the emergency airlock, but HAL points out the difficulty without a space helmet. The back and forth continues until HAL decides that the conversation is pointless and bids Dave goodbye, leaving the situation unresolved and the fate of the mission hanging in the balance.

Un po’ di storia

In 1964, Stanley Kubrick wrote a letter to Arthur C. Clarke, inviting him to New York to discuss a project. Clarke, who had been living in Sri Lanka for years and would remain there until his death, accepted Kubrick's proposal. The two met in a Hawaiian restaurant and talked for hours. Kubrick wanted to direct a science fiction film, a good one, not one of the B-movies of the era that he despised. Clarke was recommended to him as the best contemporary science fiction author.

This is how the writing of 2001 the book and 2001 the film began. Clarke stayed at the Chelsea Hotel for a while, selected and proposed to Kubrick some of his already published stories, but Kubrick rejected them all. Kubrick, the omnipotent perfectionist, told Clarke that the best way to work on this subject was to write a novel from scratch. The initial agreement was that Clarke would develop the novel working together with the director, who would then adapt it into a screenplay. In reality, the two works were developed in parallel, and they influenced each other in a unique relationship that enveloped the subject.

Anyway, Clarke and Kubrick started from the idea of a story that Clarke had written years before, The Sentinel, about the discovery of an alien artifact of unknown origin. Clarke took details from other of his stories to write a completely new story. The working title of Kubrick and Clarke's project was How the Solar System Was Won.

L’inevitabile paragone

When reading Clarke's 2001: A Space Odyssey, one can understand in what ways cinema and literature are different media. As Kubrick himself said in 1970, the book is more explicit in providing explanations, while the film is a visual and non-verbal experience that aims at the spectator's subconscious; it is a subjective experience, like the enjoyment of music or painting. And indeed, 2001 is a film based on very little dialogue that tells almost exactly the same story that Clarke made us imagine only through words. But it's not just this. The things that happen in this novel are the same as in the film, but the experience we have through the book changes.

Taking away the subjective dimension that Kubrick talks about, there is still the power of the images evoked by Clarke's words. However, the interpretation is unique, it is the one that the writer wants to give to this journey. The mystery of the monolith is there, but it is circumscribed, the consequential relationship between the individual events is explicitly stated in an unequivocal way, something that in the film remains suspended. This is a surprising finding, given that the plot is almost exactly the same.

Both texts have more laborious, slower parts, and they are roughly the same. Maybe the initial part of Clarke's book, precisely because it is told by an omniscient narrator who speaks from the future, with respect to a narrative present of 3 million years ago, is more exciting in the book: from humans of today, we are given a point of view through which we can identify while watching the events of the hominids. The perspective is immediately established: as often in Clarke, it is the superhuman, gigantic one of time passing in millions of years.

The next phase, with the journey to the monolith hidden on the Moon, remains for me the most difficult part of both the film and the book, no matter what medium is used to tell it (in the sense that it bores me). In the same way, the moments of confrontation between man and the universe experienced by astronaut David Bowman are the most visionary and science-fictional, the true heart of the two works, although they differ quite a bit in the narrative choices that concern them. However, the spirit remains unchanged. Moving visions of the solar system, with the passages of the spaceship Discovery near Jupiter and Saturn, up to the extreme extrasolar finale.

It is precisely in the finale that Clarke distances himself from Kubrick, or at least provides his own very precise vision of those images that in the film we can interpret in different ways. Clarke's final choice is appreciable for me because it is in line with his poetics, inclined to imagine humanity in the face of something bigger and inexplicable. The aliens of 2001 recall those of the finale of Rendezvous with Rama, and it seems to me that they are a personal interpretation that Clarke gives to the idea of the divine. Very science-fictional.

[For information on Clarke, Kubrick, and the genesis of the two works, I found the information I cited and much more in this video by CinemaTyler].

This is like delving into the Cliffs Notes for Stanley Kubrick's perplexing film. A film, perhaps, that has garnered such acclaim precisely because it is so darn enigmatic.

The book commences in a rather mundane fashion, with workman-like prose. However, as our hero embarks on a journey further into the mysterious and uncharted universe, the writing becomes increasingly dense.

It is masterfully crafted to gradually draw the reader into the unknown. The author skillfully builds the tension and curiosity, making the reader eager to uncover what lies ahead.

Despite the initial simplicity, the book evolves into a captivating exploration of the unknown. It takes the reader on a journey that is both thought-provoking and enjoyable.

Overall, it is a remarkable piece of work that manages to capture the essence of Kubrick's film while also standing on its own as an engaging read.

"He was moving through a new order of creation, of which few men had ever dreamed...which he alone had been privileged to glimpse. It was too much to expect that he would also understand."

This powerful quote from Arthur C. Clarke's 2001: A Space Odyssey sets the tone for a truly remarkable journey. The story begins with an alien artifact that triggers evolution and propels mankind towards the stars. The recently "discovered" monolith in Utah has reignited interest in Clarke's seminal work.

Besides the iconic monolith, the equally iconic and creepy AI, HAL, adds another layer of intrigue. While the writing in 2001 can sometimes be clunky, there are also moments of brilliance. It is the ideas that Clarke presents and the journey he takes mankind on that continue to make this a captivating read.

With the increasing sophistication of AI today, it is fascinating to look back and see how early sci-fi writers like Asimov and Heinlein envisioned its role. While today's AI may not yet be self-aware, it seems to be evolving in a more human direction. 2001 is not just about the technology, but about the journey of discovery and the unanswered questions that lie ahead as we move towards an unknown future.

Reading classic science fiction like 2001 is a great way to stimulate our imaginations and思考 about the possibilities that lie ahead. It reminds us that the future is full of mystery and wonder, and that we are all part of an ongoing journey of exploration and discovery. 3.5 stars.

030219 from ???: This is a much much much much later addition 111018. 2001: A Space Odyssey is a work that has had a profound impact on me over the years. I have read it at least 6 times over many decades. It is a comparative and critically different work that continues to influence me in various aspects, including science fiction, other genres, literature, and art, especially in film.

Since I first saw the film, read the book, and read about both, nothing has been a simple experience of art. The collaborative work between author Clarke and filmmaker Kubrick is best understood when experienced close together in time. The book offers a unique reading experience with its hardware, scientific, didactic, realistic, and mystical qualities. The characters are ideas through time and space, rather than individuals, and the future is unapologetically extrapolated from the midcentury in a rigorously scientific manner. The result is a mystical transcendence that is both scientific and fantastic.

The film, on the other hand, is long, visual, and very beautiful. It offers a vision that is more comprehensible as art than as philosophy or science, at least on the first viewing. It is a nearly silent film with no dialogue for thirty minutes, and when there is dialogue, it is mostly a subtle satire of the mundane future. The film resists critical thought and can be watched many times without exhausting its artistic value.
In conclusion, 2001: A Space Odyssey, both as a book and a film, is a work of art that is always something different. It challenges our expectations and offers a unique perspective on science, philosophy, and art.

Last month, I read "Mars Years" and this month, I started reading another book about space, which has become extremely enjoyable for me. Continuously reading about space, planets, and galaxies like this makes me want to read everything that God has given. With each book I read, my mind and my horizon seem to be expanding. On the other hand, when there are parts that I don't understand, feeling my brain slightly tingle gives me a masochistic pleasure, I think

One of the few instances where the movie was better than the book, but not by much.

The remarkable thing about this book is how it stands the test of time. The science, the technology, the language, the style, all fit into our modern view as if it was written last week. It was published in 1968, before men walked on the moon, before cell phones, before the internet, before so many things that we now take for granted.

Despite being written so long ago, it still manages to capture our imagination and make us think about the possibilities of the future. It is science fiction at its best, exploring new ideas and concepts that are still relevant today.

The story takes us on a journey through space and time, introducing us to new worlds and civilizations. It makes us question our own beliefs and values, and shows us that there is so much more to the universe than we could ever imagine.

This book is a must-read for anyone who loves science fiction or is interested in the future. It is a classic that will continue to be enjoyed for generations to come.

The book is always better than the film, but I'd never read 2001 before. What I didn't know, until reading the foreword, is that this novel was literally written in tandem with the film, with Clarke and Kubrick feeding each other ideas. At some points, however, filming overtook writing, or vice versa, and the two stories, though similar, split along two different paths.

After reading the book, the film becomes little more than a very well crafted container. It's pretty and neat to look at it, but open it up, and it's empty. There is none of Clarke's vision of how a being we'd call God would communicate with us across unfathomable time spans, or teach us, or lead us into higher consciousness. Stripped away by Kubrick is the sense that this being truly wants us to be in its image, and that the whole breadcrumb trail of monoliths was designed to do just that. And completely erased is the notion that David Bowman, as Star Child, is now one with the Universe, in some Zen-like way, and also much more like something we'd called a god.

Don't get me wrong, 2001 is still one of my favorite films. But to get the full meaning and understand the full weight of why 2001 has been called "the perfect science fiction story," you must read the book. Clarke marries science, mysticism, theory, and fantasy in ways like no other. Unfortunately, Kubrick stripped away the mysticism and theory and left us what is, in comparison to the book, only a glimmer at something bigger.

Kubrick touched the monolith, but Clarke went inside. The book delves deep into the profound themes and ideas that Clarke had in mind. It explores the mysteries of the universe and our place in it. The film, while visually stunning, fails to capture the full essence of the story. It's like a beautiful shell without the precious pearl inside. Reading the book is like taking a journey into a world of limitless imagination and possibility. It makes you think and question and wonder. It's a truly remarkable experience that everyone should have.

With 2001: A Space Odyssey, I embarked on a truly remarkable voyage to space. Space has always held an irresistible allure for me, a captivating mystery that beckons to be explored. However, I had never before taken the opportunity to embark on a literary journey into the vastness of space. I must admit that my general aversion to science fiction is to blame. I had never been overly enthusiastic about reading books centered around robots and artificial intelligence, and I had mistakenly lumped Arthur C. Clarke's works into that category.

Of course, Clarke does incorporate artificial intelligence in his works, as seen with the HAL 9000 in this novel. But for him, AI is merely a tool that serves a greater purpose, not the end result itself. Clarke's works delve into much deeper themes that extend far beyond the surface level of technology.

2001: A Space Odyssey is an intellectually stimulating story. After initially being confused by the first part (the significance of which I later came to understand), I was taken on an enthralling journey that led all the way to the end. The conclusion was truly impressive, leaving me in awe of the author's genius. His thought process, which culminated in this magnificent creation, is undoubtedly operating at a higher level of intellect.

Clarke's prose is straightforward and lacks the elaborate poetic flourishes that some may prefer. Yet, he writes with intelligence and a genuine sense of feeling. His simple writing style brings the few characters in the story, including HAL 9000, to life, allowing the reader to form a deep and emotional connection with them. The reader can keenly feel the pain of Dr. Pool's death, the sense of isolation experienced by Dr. Bowman (before his remarkable transformation), and even the duplicity of HAL 9000 that ultimately leads to its destruction. Despite any perceived flaws in his writing, Clarke is undeniably a master storyteller.

After reading this novel, I was struck by its relevance on multiple levels. The story highlights the fact that there are mysteries in this universe that are beyond human comprehension. It will be a long and arduous journey for humans to understand the true purpose and destination of their existence. The story also affirms that human intelligence and our technological achievements are insufficient to provide the answers to the question of our final destination. Human intelligence is limited (contrary to our often inflated self-perception), and there may be far more intelligent beings in the universe. Therefore, there is no need for humans to flaunt their ego.

As Clarke so eloquently states, we are living on borrowed time. During this borrowed time, in our egotistical belief in our superiority, we wreak havoc in this world, causing destruction to one another, to animals, and to nature. The story also serves as a reminder of human fragility, humbling us and making it clear that we are not as superior as we may think.

On another note, it is refreshing to consider that there are mysteries in this universe that are far beyond our reach. The current chaos in the world presents an uncertain and often bleak picture of the future. In this context, it is comforting to think (even if it may seem fantastical) that there are unseen powers in the universe that guide and assist in the evolution of humanity.

What I appreciate most about Arthur C. Clarke's books is their thought-provoking content. His stories have the power to stimulate the mind and encourage deep reflection. Although he may not have completely eradicated my general aversion to science fiction, his works have definitely given me a more positive impression of the genre.

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That was my very first science fiction book, and I have to say, it left a profound impression on me. Arthur Clarke was truly a genius. The story was not only engaging but also filled with a plethora of scientific details that added depth and authenticity. There were so many unexpected situations that kept me on the edge of my seat throughout the entire read.

The HAL 9000, of course, was Clarke's vision of the future. It was a fascinating and somewhat eerie creation that made me think about the possibilities and implications of advanced artificial intelligence.

I will definitely recommend this book to my friends who are fans of science fiction stories, as well as to all quality readers. It's a book that not only entertains but also makes you think.

Now, I'm on a mission to find similar books that can capture my imagination and take me on another exciting journey through the world of science fiction. I can't wait to see what other hidden gems are out there waiting for me to discover.

Unfortunately, it is a pity that most of the outstanding elements in the movie are not present in the book. The first instance that comes to my mind is the sequence when Bowman has finally reached Jupiter. In the book, it is Saturn, and the Monolith is located on the moon Iapetus. This is indeed a clever choice, and from a scientific perspective, it is a more plausible location to place it. However, poetically speaking, it is completely lacking in excitement.

In the movie, we are presented with this unforgettable image of all the Jovian satellites majestically aligning to the strains of Thus Spake Zarathustra. Every time I hear someone use the expression "get your ducks in a row", my mind immediately conjures up a mental picture of this scene, but with ducks replacing the moons. I am certain that this proves something, although I must admit that I am not entirely sure what it is. It could potentially suggest the power of visual imagery in the movie to create a lasting impression and association in our minds.