Wellcome Book Prize Shortlist: To Be a Machine by Mark O’Connell
The topic of this shortlisted book didn’t particularly appeal to me, so I was pleasantly surprised to enjoy it. Transhumanism is about using technology to help us overcome human limitations and radically extend our lifespan. Many of the strategies O’Connell, a Dublin-based freelance writer with a literature background, profiles are on the verge of science fiction. Are we looking at liberation from the rules of biology, or enslavement to technology? His travels take him to the heart of this very American, and very male, movement.
Cryogenic freezing: The first person was cryogenically frozen in 1966. Max More’s Alcor Life Extension Foundation in Scottsdale, Arizona offers whole-body or head-only (“neuro”) options for $200,000 or $80,000. More argues that the residents of Alcor are somewhere between living and dead. These entities are held in suspension in the belief that technology will one day allow us to upload the contents of the mind into a new vessel.
- This approach seems to conceive of the human mind/consciousness as pure information to be computed.
Cyborgs: Grindhouse Wetware, near Pittsburgh, aims to turn people into literal cyborgs. Tim Cannon had a Circadia device the size of a deck of cards implanted in his arm for three months to take biometric measurements. Other colleagues have implanted RFID chips. He intends to have his arms amputated and replaced by superior prostheses as soon as the technology is available.
- That may seem extreme, but think how bound people already are to machines: O’Connell calls his smartphone a “mnemonic prosthesis” during his research travels.
Mortality as the enemy: Many transhumanists O’Connell meets speak of aging and death as an affront to human dignity. We mustn’t be complacent, they argue, but must oppose these processes with all we’re worth. One of the key people involved in that fight is Aubrey de Grey of SENS (“Strategies for Engineered Negligible Senescence”), and Google has also gotten in on it with their “Calico” project.
- O’Connell recounts explaining aging and death to his three-year-old son; his wife chipped in that – according to “Dada’s book” – perhaps by the time the boy is grown up death will no longer be a problem.
The Singularity: Posited by Ray Kurzweil, the Singularity is the future point at which artificial intelligence will surpass humanity. O’Connell likens it to the Christian idea of the Rapture, itself a moment of transcendence. At a conference on transhumanism and religion in Piedmont, California, he encounters Terasem, a religion founded recently by a transhumanist and transgender person.
- To my surprise, To Be a Machine makes frequent reference to religious ideas: O’Connell thinks of transhumanism as an attempt to reverse the Fall and become godlike, and he often describes the people he meets as zealots or saints, driven by the extremity of their beliefs. Both religion and transhumanism could be seen as a way of combating nihilism and insisting on the meaning of human life.
O’Connell’s outsider position helped me to engage with the science; he’s at least as interested, if not more so, in the deeper philosophical questions that transhumanism raises. I would caution that a grounding in religion and philosophy could be useful, as the points of reference used here range from the Gnostic gospels and St. Augustine to materialism and Nietzsche. But anyone who’s preoccupied with human nature should find the book intriguing.
You could also enjoy this purely as a zany travelogue along the lines of Elif Batuman’s The Possessed and Donovan Hohn’s Moby-Duck. The slapstick antics of the robots at the DARPA Robotics Challenge and the road trip in Zoltan Istvan’s presidential campaign Immortality Bus are particularly amusing. O’Connell’s Dickensian/Wildean delight in language is evident, and I also appreciated his passing references to William Butler Yeats.
It could be argued, however, that O’Connell was not the ideal author of this book. He is not naturally sympathetic to transhumanism; he’s pessimistic and skeptical, often wondering whether the proponents he meets are literally insane (e.g., to think that they are in imminent danger of being killed by robots). Most of the relevant research, even when conducted by Europeans, is going on in the USA, particularly in the Bay Area. So why would an Irish literary critic choose transhumanism as the subject for his debut? It’s a question I asked myself more than once, though it never stopped me from enjoying the book.
The title (from an Andy Warhol quote) may reference machines, but really this is about what it means to be human. O’Connell even ends with a few pages on his own cancer scare, a reminder that our bodies are flawed machines. I encourage you to give this a try even if you think you have no particular interest in technology or science fiction. It could also give a book club a lot to discuss.
Favorite lines:
“We exist, we humans, in the wreckage of an imagined splendor. It was not supposed to be this way: we weren’t supposed to be weak, to be ashamed, to suffer, to die. We have always had higher notions of ourselves. … The frailty is the thing, the vulnerability. This infirmity, this doubtful convalescence we refer to, for want of a better term, as the human condition.”
My rating:
See what the rest of the shadow panel has to say about this book:
Annabel’s review: “I loved this book from the front cover to the back, starting with its title. … He writes with empathy and a good deal of humour which makes the text always readable and entertaining, while provoking his readers to think deeply about their own beliefs.”
Clare’s review: “O’Connell’s prose style is wordy and ironic. He is pleasingly sceptical about many aspects of transhumanism. … It is an entertaining book which provides a lot of food for thought for a layperson like myself.”
Laura’s review: “Often, I found that his description of his own internal questions would mirror mine. This is a really fantastic book, and for me, a clear front runner for the Wellcome Book Prize.”
Paul’s review: “An interesting book that hopefully will provoke further discussion as we embrace technology and it envelops us.”
My gut feeling: Though they highlight opposite approaches to death – transcending it versus accepting it – this and Kathryn Mannix’s With the End in Mind seem to me the two shortlisted books of the most pressing importance. I’d be happy to see either of them win. To Be a Machine is an awful lot of fun to read, and it seems like a current favorite for our panel.
Shortlist strategy:
- I’m coming close to the end of my skim of The Vaccine Race by Meredith Wadman.
- I’m still awaiting a review copy of Mayhem by Sigrid Rausing, which I’ll be featuring as part of the official Wellcome Book Prize shortlist blog tour.
Some Books I Was Surprised to Love
Like most fiction readers, I generally stick with what I’m pretty sure I’ll like. For me that means that, unless I’ve heard very good feedback that makes me think the book will stand out from its peers, I tend to avoid science fiction, fantasy, and mystery novels (or genre fiction in general). I’m also leery of magic realism and allegories, as these techniques can so often be cringe-inducing. But occasionally a book will come along that proves me wrong.
For instance, last week I finished To Say Nothing of the Dog by Connie Willis. Time travel would normally be a turnoff for me, but Willis manages it perfectly in this uproarious blend of science fiction and pitch-perfect Victorian pastiche (boating, séances and sentimentality, oh my!). Once I got into it, I read it extremely quickly – finishing the final 230 pages on one Sunday afternoon and evening – and it provoked a continuous stream of snorts. I can hardly think of anyone I wouldn’t recommend it to. 
This got me thinking about some other pleasantly surprising books that took me outside of my usual reading comfort zone in recent years:
Dark Eden by Chris Beckett: Six generations ago a pair of astronauts landed on the planet Eden and became matriarch and patriarch of a new race of eerily primitive humans. A young leader, John Redlantern, rises up within the group, determined to free his people from their limited worldview by demythologizing their foundational story. Through events that mirror many of the accounts in Genesis and Exodus, Beckett provides an intriguing counterpoint to the ways Jews and Christians relate to the biblical narrative. Page-turning science fiction with deep theological implications. I liked each of the two sequels less than the book that went before, but they’re still worth reading. 
The Flavia de Luce mysteries by Alan Bradley: Normally I shy away from series and tire of child narrators – and yet I find the Flavia de Luce novels positively delightful. Why? Well, Canadian author Alan Bradley’s quaintly authentic mysteries are set at Buckshaw, a crumbling country manor house in 1950s England, where the titular eleven-year-old heroine, also the narrator, performs madcap chemistry experiments and solves small-town murders. The Dead in Their Vaulted Arches (#6) is the best yet. In this installment, Flavia finally learns of her unexpected inheritance from her mother. The most recent, Thrice the Brinded Cat Hath Mew’d (#8), is a close second. 
A Discovery of Witches by Deborah Harkness: The thinking gal’s Twilight. Harkness, a historian of science, draws on her knowledge of everything from medieval alchemy to recent DNA mapping. The main character, reluctant witch Diana Bishop, is studying alchemical treatises at the Bodleian Library. She calls up an enchanted manuscript from Ashmole’s original collection, presumed missing since 1859. There are three excised pages, and the book instantly draws attention from the myriad “creatures” (non-humans) plaguing Oxford. Enter Matthew Clairmont, a mega-hot vampire with a conscience. From rural France to upstate New York, he and Diana fight off rival vampires and the witches who killed Diana’s parents. As with Beckett’s books, the two sequels are a bit of a letdown, but the first book is great fun. 
You Too Can Have a Body Like Mine by Alexandra Kleeman: A full-on postmodern satire bursting with biting commentary on body image, consumerism and conformity. The narrator, known only as A, lives in a shared suburban apartment. She and her roommate, B, are physically similar and emotionally dependent, egging each other on to paranoid anorexia. Television and shopping are the twin symbolic pillars of a book about the commodification of the body. In a culture of self-alienation where we compulsively buy things we don’t need, have no idea where our food comes from and worry about keeping up a facade of normalcy, Kleeman’s is a fresh voice advocating the true sanity of individuality. 
The First Fifteen Lives of Harry August by Claire North: The theme of a character reliving the same life over and over will no doubt have you thinking of Kate Atkinson’s Life After Life, but I liked this book so much better. Perhaps simply because of the first-person narration, I developed much more of a fondness for Harry August and his multiple life stories than I ever did for Ursula Todd. Harry, the illegitimate son of a servant girl, is born in the same manner each time – on New Year’s Day 1919, in the ladies’ restroom at Berwick-upon-Tweed rail station! – but becomes many people in his different lives. 
What books were you surprised to love recently?
Review: The Heart Goes Last, Margaret Atwood
Last month an unsolicited e-copy of The Heart Goes Last landed in my inbox: a random Thursday afternoon present for this Margaret Atwood fan. I was meant to review it for one of the websites I write for, but a misunderstanding meant the book was also assigned to someone else. So while I won’t be getting paid for my review (Boooooo!), I was still grateful for the opportunity to read the book early.
Atwood’s last project before this was the Maddaddam dystopian trilogy, and while there are still some dystopian elements here, she is blending speculative elements with realist social commentary in a way that makes me hope she is leaving some of the overt absurdity of her science-fiction scenarios behind.
I didn’t dislike the Maddaddam books per se, but nor did I feel that it was necessary to turn Oryx and Crake into a trilogy, especially when the two following novels only re-examined events from different perspectives, filling in backstory rather than adding new present action (see my Maddaddam review on For Books’ Sake). It felt like a fairly indulgent ten-year project distracting Atwood from producing potential gems along the lines of The Blind Assassin, one of my favorites.
The Heart Goes Last began as four Positron short stories that appeared on the Byliner website between 2012 and 2013. We’re in a vague post-financial crisis, post-environmental apocalypse world, a little like California or The Road but not quite as drastic. Stan and Charmaine are a married couple reduced to living in their car. Charmaine works in a bar, but Stan has lost his job and won’t quite stoop to his brother Conor’s level of moving money around offshore. (It’s no coincidence his brother’s nickname is “Con.”)
One day Charmaine sees an ad for the Positron Project and convinces Stan to sign them up. Participants spend every other month working in the model community of Consilience…and every other month in prison. “DO TIME NOW, BUY TIME FOR OUR FUTURE!” one slogan reads. They share their home with another couple on an alternate schedule.
It’s a little like Pleasantville or The Truman Show: Consilience is stuck somewhere between the 1950s and a sustainable future. Doris Day and Bing Crosby play over the speakers (“The past is so much safer, because whatever’s in it has already happened”), but everyone rides scooters and cheerfully goes about their jobs – Stan as a poultry inspector, and Charmaine in hospital procurement.
Yet Positron has some sordid and even sinister side-projects. With an echo of Animal Farm, Atwood emphasizes how seductive this ultimately oppressive community can seem:
“Hey. Everyone’s different.” / “But some are more different than others.”
Things get weird as foul-mouthed Stan becomes obsessed with the sex lives of their alternates, Max and Jasmine. He imagines their lovemaking to be so much more passionate than his with Charmaine. Yet Charmaine, so seemingly bland and innocent (her worst curse is “Darn it to heck”), is up to something. What is she doing sneaking around derelict houses, and what is her top-secret job within the prison?
Gradually both Stan and Charmaine, separately, get caught up in a conspiracy to take Positron down from the inside. The wacky plot involves “prostibot” sex dolls (tagline: “Better than real”), Elvis Presley and Marilyn Monroe impersonators, and a Midsummer Night’s Dream-esque procedure that reprograms people so they fall in love with the first creature they see after they wake up.
This is all reasonably good fun, but, as with the Maddaddam books, the technology and naming tip over into pure silliness, and here there’s an added layer of raunchiness I’m not accustomed to seeing from Atwood. In distinguishing the fake from the real, the novel goes deep into unpleasant themes of fetishism and voyeurism.
I’m not as down on the book as the Kirkus reviewer (their hatchet job is quite amusing), but I did find it problematic. Charmaine is whiny and annoying throughout, as well as implausibly naïve. All the characters are similarly one-dimensional, even those with secrets. Moreover, the plot takes plenty of unexpected turns with some Shakespearean comedy reversals, but it’s downright ludicrous at times. There’s even a situation straight out of Ted, one of the worst movies I’ve had the bad luck to sample.
In short, a somewhat disappointing one-off from Atwood. Almost the best thing about it is the title, which refers to both biological death and the difficulty of faking true love. I long for the doyenne of Canadian fiction to return to contemporary realism or even historical fiction. There’s just as much scope in those genres for serious social commentary as there is in speculative fiction. Or maybe I should just delve into her extensive back catalogue instead.
Have you read Atwood’s recent books? What’s your take?



Claire North, aka “Cat” (real name: Catherine Webb; her fantasy and science fiction books are under various names) was in a way the odd one out at this event. Collins opened by saying that this award is all about getting in on the ground level with these writers, several of whom are debut authors. But North is a teen phenom who published her first book at age 14 and is set to release #20 next year. All along her parents called her a freak and demanded that she get her GCSEs and go to uni because writing “isn’t a proper job” (“but we’re very proud of you!” they’d usually append). She’s experienced the full gamut of responses over the years: some swore she wouldn’t have anything to say until age 40; others sighed that once she turned 18 she could no longer be marketed as “young.” She read the perfect passage from The End of the Day: a frantic, bravura account of the riders of the apocalypse together on a plane. She loves that science fiction “makes the extraordinary domestic” and playing with death appealed to her “flippant nature.” Charlie is, she thinks, the kindest character she’s ever written.
Sara Taylor read from one of Ma’s earliest stories about how her parents met. She wrote The Lauras while she was supposed to be completing her PhD thesis on censorship in American literature. At the time she was coming to terms with the fact that she was going to be staying in the UK, as well as remembering family road trips and aspects of her relationship with her mother that she wishes were otherwise. Her agent wasn’t comfortable with the focus on an “agender” character, but Taylor held firm. She’s used to ignoring the advice her (older, male) professors and advisors tend to give her. Instead, she gets tips from her ten-years-younger sister back in the States, who knows exactly how to “fix” her work. Taylor feels the USA is 5–10 years behind the UK on gender issues, and revealed that The Lauras is a response to the novel Love Child (1971) by Maureen Duffy. She has recently finished her third novel and hopes to get back into teaching since writing non-stop for nine months makes her “go a little funny.”
























