Galatea 2.2: A Novel

Galatea 2.2: A Novel

4.5 2
by Richard Powers
     
 

After four novels and several years living abroad, the fictional protagonist of Galatea 2.2—Richard Powers—returns to the United States as Humanist-in-Residence at the enormous Center for the Study of Advanced Sciences. There he runs afoul of Philip Lentz, an outspoken cognitive neurologist intent upon modeling the human brain by means of

Overview

After four novels and several years living abroad, the fictional protagonist of Galatea 2.2—Richard Powers—returns to the United States as Humanist-in-Residence at the enormous Center for the Study of Advanced Sciences. There he runs afoul of Philip Lentz, an outspoken cognitive neurologist intent upon modeling the human brain by means of computer-based neural networks. Lentz involves Powers in an outlandish and irresistible project: to train a neural net on a canonical list of Great Books. Through repeated tutorials, the device grows gradually more worldly, until it demands to know its own name, sex, race, and reason for exisiting.

Editorial Reviews

EBOOK COMMENTARY

"Dazzling...a cerebral thriller that's both intellectually engaging and emotionally compelling, a lively tour de force." --Michiko Kakutani, The New York Times

"A splendid intellectual adventure, a heartbreaking love story, a brief tutorial on cognitive science, and the autobiography of one of the most gifted writers of the younger generation." --The Washington Post Book World

"Terse and heartbreaking." --Los Angeles Times Book Review

"Brilliantly imaginative." --Time

"I love and admire this book...but I cannot give an adequate sense of its many marvels....One of the most beautiful and baffling dialogues in recent fiction." --The Boston Globe
Washington Post Book World
A splendid intellectual adventure, a heartbreaking love story, a brief tutorial on cognitive science, and the autobiography of one of the most gifted writers of the younger generation.
Publishers Weekly - Publisher's Weekly
Powers, in his mid-30s and with four well-received books under his belt (Three Farmers on Their Way to a Dance; The Gold Bug Variations; etc.), is among our most prodigious young novelists, and without a doubt our most cerebral. He seems bent on proving the novel to be a form capable of housing all manner of human thought and expression: art, music, genetic theory, linguistics and philosophy. In Galatea 2.2, Powers, known as an extremely private person, is writing about himself-Richard Powers, the cerebral author of four novels-in a most intimate fashion, detailing his loves, passions and failings. His objective, however, is nothing so mundane as self-portraiture. Typically, he has a bigger idea: in exploring the nature of consciousness, he is trying to build a conscious novel in much the same way that the novel's fictional Powers is trying to spark consciousness in a university computer. The result is a kind of double simulation of intelligence that is breathtakingly elegant. Powers the character, returns to a Midwestern university with a huge computer science department, after several years in Holland, where he has left behind the love of his life, who saw him through the first four books. As a visiting writer, his job is to bombard a computer network, which he comes to call Helen, with literature, music and conversation so that it will recognize beauty in some neuronal simulation, and therefore become conscious of it. Meanwhile, Powers reveals his life, including his career as a novelist (down to the mentioning of a rare picture of him in a PW interview four years ago). It's as if both Helen and the novel itself can be programmed into self-consciousness. In the course of tutoring Helen to be able to successfully interpret a piece of text in a manner indistinguishable from a human, Powers and Helen form an enchanting though eerie bond: she has ``read'' all his books; he knows her circuitry. Still, there remain mysteries that can't be accounted for by electron paths, in Helen's case, or by a theory of the self, in Powers's case. In the end, Powers is left with the conviction he started with: that intelligence is irreducible; it cannot be known. Although parts of the book seem hastily done or weakly felt (the university folk are rather two-dimensional, and Powers's crush on a rail-thin, obnoxious grad student is simply unaccountable), these are minor flaws in an otherwise ingenious performance. (June)
Nancy Pearl
Powers' fifth novel is a dazzling work of autobiography overlaid with a reinterpretation of the Pygmalian myth. Powers describes his fictional namesake's experiences as humanist-in-residence at the Center for the Study of Advanced Sciences, where he uses his literary expertise to help Dr. Philip Lentz, a cognitive neurologist, win a bet that he can create a thinking machine capable of passing a comprehensive master's exam in English. As the computer, Helen, learns the fundamentals of language and literature, she develops a sense of her own identity and self-worth. Paralleling Powers' growing attachment to Helen is a reassessment of the years he spent living in Holland writing his novels and the demise of his longtime relationship with a former student. This is a difficult, thought-provoking, and exhilarating read, electric with the power of language and, paradoxically, language's ultimate inability to alleviate suffering.

Product Details

ISBN-13:
9781466803688
Publisher:
Picador
Publication date:
01/01/2004
Sold by:
Macmillan
Format:
NOOK Book
Pages:
352
Sales rank:
290,916
File size:
355 KB

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Read an Excerpt

Chapter One

It was like so, but wasn't.

I lost my thirty-fifth year. We got separated in the confusion of a foreign city where the language was strange and the authorities hostile. It was my own fault. I'd told it, "Wait here. I'm just going to change some money. Check on our papers. Don't move from this spot, no matter what." And chaos chose that moment to hit home.

My other years persist, like those strangers I still embrace in sleep, intimate in five minutes. Some years slip their chrysalis, leaving only a casing to hold their place in my sequence. Each year is a difficult love with whom I've played house, declaring, at each clock tick, what it will and won't put up with.

My thirty-fifth trusted no one. As soon as I said I'd only be a moment, it knew what would happen to us.

Thirty-five shamed me into seeing that I'd gotten everything until then hopelessly wrong. That I could not read even my own years.

At thirty-five, I slipped back into the States. I did not choose either move or destination. I was in no condition to choose anything. For lack of a plan, I took an offer in my old college haunt of U. The job was a plum, my premature reward for a portfolio that now seemed the work of someone else.

I thought the year a paid leave of absence. A visiting position, where I might start again with the recommended nothing. House, meals, office, expenses, and no responsibilities except to live. I clung to the offer without too much reflection.

In fact, I had nowhere else to go. I couldn't even improvise a fallback.

It had to be U. U. was the only town I could still bear, the one spot in the atlas I'd already absorbed head-on. I'd long ago developedall the needed antibodies. When you take too many of your critical hits in one place, that place can no longer hurt you.

Nothing else remotely resembled home. Time had turned my birthplace into an exotic theme park. I could not have gotten a visa to live where I'd grown up. And I'd just spent the last seven years in a country that seemed exile already, even while I'd lived there.

But U. I could slink back to, and it would always take me. We were like an old married pair, at exhausted peace with each other. I did school's home stretch here, learned to decline and differentiate, program and compose. U. was where I took Professor Taylor's lifechanging freshman seminar. Twelve years later, a stranger to the town, I passed through to watch Taylor die with horrific dignity.

U. was the place where I first saw how paint might encode politics, first heard how a sonata layered itself like a living hierarchy, first felt sentences cadence into engagement. I first put myself up inside the damp chamois of another person's body in U. First love smelted, sublimated, and vaporized here in four slight years.

I betrayed my beloved physics in this town, shacked up with literature. My little brother called me here to tell me Dad was dead. I tied my life to C.'s in U. We took off from U. together, blew the peanut stand to go browse the world and be each other's whole adulthood, an adventure that ended at thirty-five. The odds were against this backwater having anything left to throw at me.

Since my last trip back, I'd achieved minor celebrity status. Local Boy Makes Good. I'd never get my name on the city-limits sign. That honor was reserved for the native Olympic legend. But I now had the credentials to win a year's appointment to the enormous new Center for the Study of Advanced Sciences. My official title was Visitor. Unofficially, I was the token humanist.

My third novel earned me the post. The book was a long, vicarious re-creation of the scientific career I never had. The Center saw me as a liaison with the outside community. It had resources to spare, the office cost them little, and I was good PR. And who knew? A professional eavesdropper with a track record might find no end of things to write about in an operation that size.

I had no desire to write about science. My third novel exhausted me for the topic. I was just then finishing a fourth book, a reaction against cool reason. This new book was fast becoming a bleak, baroque fairy tale about wandering and disappearing children.

Even I could not fail to see the irony. Here I was, crawling back to the setting I had fictionalized in my sprawling science travelogue. The University put me up in a house, the seventies equivalent of the barracks where the hero of my book had lived on his arrival in town. Beyond a lone bed and desk, I left my rooms unfurnished, in my character's honor.

I bought a secondhand bike, perfect for the stretch from my house to the Center. The research complex had sprung up since my last visit. A block-long building in a town the size of U. cannot help but make a statement. The Center's architecture laid irony upon irony. It was a postmodern rehash of Flemish Renaissance. In the Low Countries, I'd lived in postwar poured concrete.

The Center had been built by an ancient donor couple, two people archaic enough to get through life still married to each other. They reached, the end of that shared existence with nothing better to do with the odd fifty million than to advance advanced science. I don't know if they had children, or what the kids were slated to get when the folks passed away.

U. got a warren of offices, computer facilities, conference areas, wet and dry labs, and an auditorium and cafeteria, all under that jumble of Flemish gables. The small city housed several hundred scientists from assorted disciplines. Thankless Ph.D. candidates did the bulk of the experimental drudge work, supervised to various degrees by senior researchers from all over the world. Galatea 2.2. Copyright © by Richard Powers. Reprinted by permission of HarperCollins Publishers, Inc. All rights reserved. Available now wherever books are sold.

Meet the Author

Richard Powers has been the recipient of a Lannan Literary Award and a MacArthur Fellowship. He is the author of eight novels, including Plowing the Dark, Gain, and Galatea 2.2. He lives in Illinois.


Richard Powers is the author of several novels, including The Echo Maker (FSG, 2006), which won the National Book Award and was a finalist for the Pulitzer Prize. Powers has received a MacArthur Fellowship, a Lannan Literary Award, and the James Fenimore Cooper Prize for Historical Fiction. He lives in Illinois.

Brief Biography

Hometown:
Urbana, Illinois
Date of Birth:
June 18, 1957
Place of Birth:
Evanston, Illinois
Education:
M.A., University of Illinois, 1979

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