After “To See the Invisible Man,” (review) Robert Silverberg published five more short stories* before embarking on a series of five novelettes, all published in Galaxy, which were collected as To Open the Sky (1967). The blurb to my 1984 Bantam paperback says it is “filled with a scope and vision comparable to Asimov’s Foundation series.” This is hyperbole, as Asimov invented a science, set it in a galaxy-spanning epic, and covered a half-millennium of the fall and rise of interstellar empires, initially in three volumes. To Open the Sky invents a technophilic religion, is bound to this solar system (specifically, Earth, Venus, and Mars), and covers about a century of effort towards longevity and interstellar travel in one volume. Still, the comparison is interesting, for there is a master visionary (Vorst in the role of Seldon) who creates a social force which takes over a world and then creates a schism for even greater control. However, with the religion and the longevity, there’s as much of Heinlein’s Future History as Asimov’s Foundation Universe.
“Blue Fire” (June 1965) is set in 2077 and introduces Reynolds Kirby, a U.N. diplomat, who has to play host to Nathaniel Weiner, a Martian settler. Kirby tries to hold the drunken and rambunctious visitor in check and that hard-bitten frontiersman comes into conflict with a religious cult, The Brotherhood of Immanent Radiance or Vorsters, whose members “worship” science, as symbolized by the glow of Cerenkov radiation. An initially skeptical Kirby, on the other hand, find that his internal emptiness (indicated by his dependence on a Nothing Chamber, or ultimate sensory deprivation chamber) might possibly be filled by something these cultists have.
“The Warriors of Light” (December 1965) advances to 2095 and introduces Christopher Mondschein as a man desperate for the immortality the Vorsters promise to achieve. His overzealous efforts to gain entry to their scientific citadel lead to his being compromised by the schismatic sect of Harmonists. They turn him into a spy and send him to the very redoubt, governed by Brother Capodimonte, which started his troubles. The somewhat melodramatic plotting for this tale is more action-oriented than most of the stories.
“Where the Changed Ones Go” (February 1966, set in 2135) sends the orthodox Brother Martell to Venus. There, he finds Mondschein settled in to a position of power among the heretics and a minority of susceptible Venusians, despite most of the society being violently opposed to them. Martell high-handedly tries to convert them to the orthodox faith with bad results which compels him to fall in with the schismatic group, himself. This tale expands on the notion of a poisonous Venus which is habitable only with radical changes to one’s body which also results in radical changes to one’s offspring, including the manifestation of psi powers.
“Lazarus Come Forth” (April 1966, set in 2152) is a sort of origin story for the Harmonist schism. The sacred texts of the Harmonists tell how Vorst, or his acolytes, martyred David Lazarus. Thus Lazarus’ being found on Mars in a suspension chamber causes some consternation. This story shows the ruthlessness of Noel Vorst and his devious machinations, particularly as seen by Kirby, who has risen from empty diplomat to being Vorst’s right hand man. Vorst draws the powers and resources of the disparate societies of the three worlds together through this prophet ex machina and continues to drive towards his goal of interstellar immortality.
“To Open the Sky” (June 1966, set in 2164) deals with the final stage. (I won’t spoil its doings but will note that, somewhat as Silverberg “invented the CD player” in a 1961 article (fascinatingly described in his Reflections column in the September/October 2018 Asimov’s) so he has a prescient description of the exoplanet hunt which began in earnest in 1992: “Astronomers had found hundreds of planets scattered through other systems. Some could dimly be picked up by telescopic sensors; other could only be inferred by computations of disturbed stellar orbits. But the planets were there.” This sounds like Doppler spectroscopy which was postulated in 1952 but not practicable until four decades later.)
With its relatively small set of recurring characters and its overarching goals and themes, it reads very much like a novel though, with its changing settings, time jumps, and shifts in focus, it also reads like a set of stories. I’m not sure how satisfying each story would be alone, as there is relatively little action and few cataclysmic conclusions to end each tale but, as a single book, it reads well. The characters are all strangely interesting, the conceptions of Mars and, especially Venus, are vivid, and the drive for the satisfaction of lofty goals pursued by flawed men keeps the pages turning. This wasn’t a masterpiece and its themes would be visited again in later works such as Tower of Glass (1970) and The Book of Skulls (1971), but I did enjoy it.
* Four of the five stories are “The Shadow of Wings” (If, July 1963) which may be a misfired alien contact joke, “The Pain Peddlers” (Galaxy, August 1963) which is a biter-bit involving reality television, “Neighbor” (Galaxy, August 1964) which is set on a malicious version of Solaria and involves a weirdly mortal conflict between neighbors, and “The Sixth Palace” (Galaxy, February 1965) which may be a metaphor for getting the most out of an irrational universe when an almost Fafhrd and Gray Mouser-like duo confront a riddling robotic guardian of treasure. The last two are more interesting than the first two. The other is the uncollected “The Unbeliever” (Magazine of Horror, August 1963) which may have been written before the Pohl phase. Similarly, early in the course of the To Open the Sky novelettes (and possibly written before them), he also published the uncollected “At the End of Days” in New Worlds (which was reprinted in the May 1969 Magazine of Horror).