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51 pages 1 hour read

Arthur C. Clarke

Childhood's End

Fiction | Novel | Adult | Published in 1953

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Part 2Chapter Summaries & Analyses

Part 2: “The Golden Age”

Part 2, Chapter 5 Summary

The narrative jumps ahead to the 50-year mark, when Karellen reveals himself. At this point, the Overlords have occupied Earth for 55 years. It is also revealed that only Karellen’s ship was real. The hovering ships over most of the Earth were an illusion. Karellen’s ship settles in a plain in the middle of the United States, a gangplank emerges, and Karellen invites two children to come into the ship. After a few seconds of held breath, in which the narration recalls the story of the pied piper, Karellen comes out on the gangplank with the two children settled on his arms—Karellen is a devil. The fear, followed by rapid acceptance, illustrates an element of The Relationship Between Science and Mysticism.

Part 2, Chapter 6 Summary

In the 55 years that the Overlords have ruled over Earth, there has been a significant shift to a utopic society worldwide. War has ended, education is universal, and production is largely automated, which has eliminated the necessity of work for humans. The only people who work are those who want further luxuries beyond a standard of comfort. Hunger, disease, hatred, and crime have essentially disappeared in the wake of the technological advances brought by the Overlords.

The side effect of the world’s newfound universal peace and prosperity is that there is essentially no new discovery—another hint at The Cost of Utopia. Art, science, and religion have all stagnated or disappeared. The mysteries that have historically propelled human ingenuity seem irrelevant when the Overlords likely have the answer for most questions humanity can envision. The elimination of most problems leaves little for music, literature, and visual art to confront. Religion has largely been dispelled by Karellen’s gift of video of the past 5,000 years on Earth, including the advent of every major religious leader or messiah.

The one concern left to philosophers is the question of what the Overlords want. Although their actions seem entirely altruistic, the actual purpose of these actions remains shrouded in mystery. Another potential threat to the utopia is boredom—although mankind is currently satisfied with the novelty of peace and prosperity, the narrative suggests boredom is inevitable.

Part 2, Chapter 7 Summary

Rupert Boyce is hosting a housewarming party to show off his new house and his new wife, Maia. Jean Morrel and George Greggson arrive at the party and are surprised by a giant hologram of Boyce—clearly technology gifted him by the Overlords. After they enter the party, they meet Maia Boyce, who is distractingly beautiful. Jean reveals an aspect of the current culture when she thinks, “It was such a nuisance that men were fundamentally polygamous. On the other hand if they weren’t […]. Yes, perhaps it was better this way after all” (79). They then explore the house and discover Rashaverak reading in the library. They are both a little shocked to meet an Overlord in person but recover quickly to make conversation.

The party continues, with Rashaverak clearly the guest of honor commanding much of the attention of the guests. George goes onto the roof to get some fresh air. Jan Rodricks, Maia’s brother, comes out onto the roof, and George offers him a cigarette. George goes back inside, leaving Jan outside ruminating on his frustrations.

Part 2, Chapter 8 Summary

Jan Rodricks stands in the night air on the roof of Boyce’s house. He is frustrated by his limited professional and romantic options. He is in love with a woman who does not return his affections, and his highest career goal would be to explore the stars—a pursuit that the presence of the Overlords has made unlikely to impossible. While humanity was actively pursuing space travel with a planned Mars mission before the arrival of the Overlords, their superior technology has demoralized the scientific community: “There was no point in developing rockets when the Overlords had infinitely superior means of propulsion, based on principles of which they had never given any hint” (92). Additionally, one of the few pursuits the Overlords have forbidden is space travel.

Jan watches an Overlord ship take off from the moon and head toward a distant constellation. When he returns to the party, it is essentially over with only the hosts and five guests remaining. Rupert is preparing to demonstrate his invention: essentially an advanced Ouija board. George sees the whole practice as silly but participates. Rashaverak watches rather than participates, and Ruth takes notes for the group as they begin to ask questions of the divining machine. After several questions, all potentially revealing one of the participants’ knowledge, Jan asks the location of the Overlords’ home planet, and the board answers with a series of letters and numbers, “NGS 549672” (101), which causes Jean to faint.

Part 2, Chapter 9 Summary

Karellen and Rashaverak discuss the members of the party and the information revealed by the board. They decide not to interfere with Jan, who asked the question, as they believe that Jean is the conduit through which the information came, and she is to be moved to another category of human. She is too old, they say, to be “a Prime Contact” (105), but her reaction and her participation is worthy of attention.

Rupert, having lost the piece of paper the answer was written on, and in something of a fog from the alcohol, decides to forget the outcome of the séance. Believing that Jean’s fainting is a sign of her extraordinary sensitivity, George decides to propose marriage to her. He proposes a term of five years, and she adjusts it to 10. As they discuss the outcome of the séance, Jean avoids telling George that this sort of thing has happened to her before.

Jan arrives at the International Astronomical Union conference in London. He plans to visit the Union’s library to locate the star named in the séance. When he does, he sees it is located within the Carina constellation, where he saw the Overlords’ ship direct itself a few nights prior. Although he struggles with the mystical origin of the information, he believes he has located the Overlords home world, and feels a surge of power from that knowledge. Jan’s recognition of the mystical origin of true information references The Relationship Between Science and Mysticism.

Part 2, Chapter 10 Summary

The world is further described as utopic. The surveillance capabilities of the Overlords placed carefully into a scant few human hands captures all major crimes, so there is no need for a court system. Knowing they will get caught, most people do not commit crimes. The entire world is automated sufficiently that no one needs to work; however, most do—largely in entertainment. The prosperity comes from a combination of automation and the dissolution of armed forces. Still, humanity has always tried to advance, and the question of how to advance still burns for many.

Part 2, Chapter 11 Summary

Jan and Boyce chat while examining Boyce’s latest specimen for the Overlords: a taxidermized elephant. The Overlords have been collecting such specimens for some time. Boyce mentions snakes, monkeys, butterflies, and a soon-to-be-delivered sperm whale and giant squid. Jan inquires about Rashaverak and whether Boyce ever discovered the Overlord’s aims regarding Boyce’s paranormal books. Boyce says Rashaverak’s interest was anthropological, but Jan is unconvinced. As they talk, an idea occurs to Jan—specifically related to the whale.

Jan travels to Professor Sullivan’s lab under the Pacific Ocean. He marvels at how foreign the undersea world is, and Sullivan later comments on how the oceans contain enough mysteries to last centuries. Jan attempts to enlist Sullivan’s help in his plan—to stow away within the whale to discover more about the Overlords, and space.

Part 2, Chapter 12 Summary

Professor Sullivan considers Jan’s plan and decides that to take part in it will possibly allow him to cement his place in history. Jan prepares to leave, writing Maia a letter explaining that the physics of light travel and relativity mean he will be gone only four months from his perspective, but 80 years from hers. Jan and Professor Sullivan discuss the incidentals of oxygen, food, and a drug, Narcosamine, which imitates hibernation, allowing Jan to sleep for six weeks within the belly of the whale on the journey to the Overlords’ home world.

Part 2, Chapter 13 Summary

The whale is constructed artificially, rather than harvesting a live whale and killing it. Jan’s cell is constructed inside the belly of the whale, with the stores he’ll need on waking. Karellen visits Professor Sullivan’s workshop to see the whale and squid tableau before it is loaded onto the transport. Jan and Sullivan are both concerned that Karellen is suspicious, especially when he asks about the realistic possibility of Jonah’s biblical ride in the belly of the whale. However, Karellen moves on and seems not to suspect their plan. Jan climbs into the whale through the mouth, takes the Narcosamine, and sleeps as he is transported into space.

Part 2, Chapter 14 Summary

Karellen gives a massive press conference. He informs them that in a recent transport ship to his home world, there was a stowaway discovered: Jan Rodricks. He tells the reporters he is not sure what will happen to the young man, as that decision is out of his control. He also tells the reporters that interstellar space is off limits to mankind because it is simply too vast for the safety and comfort of humanity. He says that “the planets you may one day possess. But the stars are not for man” (137).

After the conference, Karellen reflects on those words. Karellen knows that things will change very soon for the Earth and those that live there. There have been 50 years of peace and prosperity—a golden age, but that age is ending in just 12 years.

Part 2 Analysis

In Part 2, the mystery of the Overlords’ hidden physical appearance is resolved: They look precisely like the devils or demons depicted in various human mythologies for centuries. This revelation deepens another mystery: that of their hidden agenda. Their appearance matches that of an archetypal symbol of evil, in sharp juxtaposition to their apparent benevolence. The Overlords’ resemblance to devils also raises new questions about The Relationship Between Science and Mysticism. The Overlords appear to be supernatural, divine beings, but their culture rests on advanced science, and they eventually offer a scientific explanation for the resemblance. The intuitive fear that essentially all humans feel initially fades quickly considering the knowledge the Overlords have brought and represent.

The structure of the second part of the novel has three primary plotlines: The mystical elements of the Overlords in their appearance and in the séance, the development of the utopia granted by the Overlords, and Jan’s quest to visit the stars. Each plotline illustrates a different aspect of the novel’s central question, whether the Overlords’ impact on humanity is positive or negative. The several chapters devoted to describing the utopia are contrasted with the introduction of characters who underscore that socio-political and interpersonal problems remain despite near-universal peace and prosperity.

There are two chapters completely focused on the description of the world 55 years into Overlord occupation in “The Golden Age.” The new world appears utopic, but the narrative tone raises questions about The Cost of Utopia. For the first time, the seemingly perfect world reveals drawbacks in that the lack of struggle leads to boredom, stifling humanity’s drive to explore and create. Further, although certain aspects of humanity’s problems can be solved by technology and laws, the remaining socio-political challenges and the general boredom and lack of ambition suggest that utopia is actually impossible.

Maia, Jean, Jan, and George introduce issues of race, gender roles, and sexual politics that have either been solved by the Overlords’ initiatives or persist despite them. Jan and Maia are the only characters described in terms of the color of their skin. They are Black, but their parents are both described as Scottish—national origin has become far more important to identity in the future world than race. The narrative momentarily mentions the difficulties that Jan would have faced in an earlier time because of his race, but in the Overlords’ future utopia “it meant nothing” (90). This end to racism reflects a major element of the elimination of hatred in Clarke’s utopic world. Similarly, the reaction George and Jean have to Maia’s beauty suggests a shift in gender expectations and sexual politics.

Inequality between men and women, while not wholly eliminated, is no longer an economic problem, given that no one needs to work to have a comfortable life. Marriage is no longer an economic arrangement, allowing more freedom and mobility for women. Though there are only two women with named professions in the novel, both occupy traditionally male-dominated STEM fields—one a cosmonaut and the other a revered professor of science—suggesting that women are just as welcome in the scientific professions as men and marking a major shift in access to STEM spaces. Universal birth control and a shift in the treatment of marriage has led to greater equality. When George proposes to Jean, there is clearly an expected element of time limits for the contract. That time limit demonstrates that marriage is not expected to be lifelong, and couples can grow together or apart, suggesting that marriage is about individual desires rather than societal expectations. However, an element of the free association of individuals does result in jealousy and what would be seen by many readers as accepted infidelity. Jean’s frustration with the expectation that men are naturally polygamous demonstrates a potential emotional disparity within most relationships, which is reinforced through the sympathy Jean feels for Rupert’s former wife. These issues are not fully explored, suggesting that sexual inequality is one of the few problems that cannot be solved by technology or force alone.

The final plotline of Jan’s journey to the stars introduces a minor theme that was dear to Clarke—the similarity between outer space and the deep sea. The journey to the bottom of the ocean introduces the motif of rain in the ocean, as Jan compares individual lives to drops of rain falling into the ocean, disappearing into something far greater than themselves. Jan uses the mystery of the ocean, which intrigues even the Overlords, as his vehicle to explore the stars and defy the Overlords’ edict. Dr. Sullivan also seems to be one of the few scientists still passionate about his research and discovery. In fact, many of the technologies necessary to allow for space travel are also necessary to pursue deep sea exploration, and so the arrival of the Overlords opens a new avenue of discovery to scientists willing to look in rather than out.

Finally, Karellen’s commentary on Jan’s surreptitious journey to the Overlords’ home world foreshadows the next part of the novel and the ultimate tragedy of humankind. Karellen’s warning that “the stars are not for man” (137) reaches beyond the psychological toll he describes to humanity. Karellen knows that all human parents will soon lose their children, magnifying The Tragedy of Parenthood, but in a metaphorical sense, Karellen himself is facing the same tragedy: He has come to consider humans as his own children, and just as happens to all human parents, his children will soon leave him behind. He keeps the truth of the Overlords’ goal secret primarily to protect humans from the harshness of the tragedy they will soon face. That parental protection is echoed in the next section, as humanity comes to an end.

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