Battlefield Earth: A Saga of the Year 3000

  Also by

  L. Ron Hubbard

  Buckskin Brigades

  The Conquest of Space

  The Dangerous Dimension

  Death’s Deputy

  The End is Not Yet

  Fear

  Final Blackout

  The Kilkenny Cats

  The Mission Earth Dekalogy*

  Volume 1: The Invaders Plan

  Volume 2: Black Genesis

  Volume 3: The Enemy Within

  Volume 4: An Alien Affair

  Volume 5: Fortune of Fear

  Volume 6: Death Quest

  Volume 7: Voyage of Vengeance

  Volume 8: Disaster

  Volume 9: Villainy Victorious

  Volume 10: The Doomed Planet

  Ole Doc Methuselah

  Slaves of Sleep & The Masters of Sleep

  To the Stars

  Triton

  Typewriter in the Sky

  The Ultimate Adventure

  * Dekalogy—a group of ten volumes

  BATTLEFIELD EARTH

  by L. Ron Hubbard

  ©1982, 1984, 1995, 1999, 2000, 2001, 2002

  L. Ron Hubbard Library.

  All Rights Reserved.

  No part of this book may be used or

  reproduced in any manner whatsoever without written

  permission except in the case of brief quotations

  embodied in critical articles or reviews.

  For information, contact

  Galaxy Press, LLC

  7051 Hollywood Blvd.,

  Hollywood, CA 90028

  BATTLEFIELD EARTH

  is a trademark owned by

  Author Services, Inc.,

  and is used with its permission.

  This book contains

  the complete text of the

  original hardcover edition.

  ISBN: 978-1-59212-846-4 ePub edition

  ISBN: 978-1-59212-007-9 paperback edition

  Library of Congress Control Number: 2002113988

  This brand-new novel is dedicated to Robert A. Heinlein,

  A. E. van Vogt, John W. Campbell, Jr., and all the merry crew* of science fiction and fantasy writers of the thirties and forties—The Golden Age—who made science fiction and fantasy the respected and popular literary genres they have become today.

  *Stars of that time include, in part:,

  Forrest J. Ackerman, Poul Anderson, Isaac Asimov, Harry Bates , Eando Bender, Alfred Bester, James Blish, Robert Bloch, Nelson Bond, Anthony Boucher, Leigh Brackett, Ray Bradbury, Fredric Brown, Arthur J. Burks, Edgar Rice Burroughs, Karel Čapek, E. J. Carnell, Cleve Cartmill, Arthur C. Clarke, Hal Clement, Groff Conklin, Ray Cummings, L. Sprague de Camp, Lester del Rey, August Derleth, Ralph Milne Farley, Hugo Gernsback, Mary Gnaedinger, H. L. Gold, Edmond Hamilton, Robert E. Howard, E. Mayne Hull, Aldous Huxley, Malcolm Jameson, David H. Keller, Otis Adelbert Kline, C. M. Kornbluth, Henry Kuttner, Fritz Leiber, Murray Leinster, Willey Ley , Frank Belknap Long , H.P. Lovecraft, R. W. Lowndes, J. Francis McComas, Laurence Manning, Leo Margulies, Judith Merril, Sam Merwin, Jr., P. Schuyler Miller, C. L. “Northwest Smith” Moore , Alden H. Norton, George Orwell, Raymond A. Palmer, Frederik Pohl, Fletcher Pratt, E. Hoffman Price, Ed Earl Repp, Ross Rocklynne, Eric Frank Russell, Nathan Schachner, Idris Seabright (Margaret St. Clair), Clifford D. Simak, C. A. Smith, E. E. “Doc” Smith, Olaf Stapledon, Theodore Sturgeon, John Taine, William F. Temple, F. Orlin Tremaine, Wilson Tucker, Jack Vance, Donald Wandrei, Stanley G. Weinbaum, Manly Wade Wellmam, H. G. Wells, Jack Williamson, Russell Winterbotham, Donald A. Wollheim, Farnsworth Wright, S. Fowler Wright, Philip Wylie, John Wyndham, Arthur Leo Zagat, and all their illustrators. They are all worth rereading, every one.

  Contents

  Introduction

  Battlefield Earth

  Part 1

  Part 2

  Part 3

  Part 4

  Part 5

  Part 6

  Part 7

  Part 8

  Part 9

  Part 10

  Part 11

  Part 12

  Part 13

  Part 14

  Part 15

  Part 16

  Part 17

  Part 18

  Part 19

  Part 20

  Part 21

  Part 22

  Part 23

  Part 24

  Part 25

  Part 26

  Part 27

  Part 28

  Part 29

  Part 30

  Part 31

  Part 32

  About the Author

  Introduction

  Recently there came a period when I had little to do. This was novel in a life so crammed with busy years, and I decided to amuse myself by writing a novel that was pure science fiction.

  In the hard-driven times between 1930 and 1950, I was a professional writer not simply because it was my job, but because I wanted to finance more serious researches. In those days there were few agencies pouring out large grants to independent workers. Despite what you might hear about Roosevelt “relief,” those were depression years. One succeeded or one starved. One became a topliner or a gutter bum. One had to work very hard at his craft or have no craft at all. It was a very challenging time for anyone who lived through it.

  I have heard it said, as an intended slur, “He was a science fiction writer,” and have heard it said of many. It brought me to realize that few people understand the role science fiction has played in the lives of Earth’s whole population.

  I have just read several standard books that attempt to define “science fiction” and to trace its history. There are many experts in this field, many controversial opinions. Science fiction is favored with the most closely knit reading public that may exist, possibly the most dedicated of any genre. Devotees are called “fans,” and the word has a special prestigious meaning in science fiction.

  Few professional writers, even those in science fiction, have written very much on the character of “sf.” They are usually too busy turning out the work itself to expound on what they have written. But there are many experts on this subject among both critics and fans, and they have a lot of worthwhile things to say.

  However, many false impressions exist, both of the genre and of its writers. So when one states that he set out to write a work of pure science fiction, he had better state what definition he is using.

  It will probably be best to return to the day in 1938 when I first entered this field, the day I met John W. Campbell, Jr., a day in the very dawn of what has come to be known as The Golden Age of science fiction. I was quite ignorant of the field and regarded it, in fact, a bit diffidently. I was not there of my own choice. I had been summoned to the vast old building on Seventh Avenue in dusty, dirty, old New York by the very top brass of Street and Smith publishing company—an executive named Black and another, F. Orlin Tremaine. Ordered there with me was another writer, Arthur J. Burks. In those days when the top brass of a publishing company—particularly one as old and prestigious as Street and Smith—“invited” a writer to visit, it was like being commanded to appear before the king or receiving a court summons. You arrived, you sat there obediently, and you spoke when you were spoken to.

  We were both, Arthur J. Burks and I, top-line professionals in other writing fields. By the actual tabulation of A.B. Dick, which set advertising rates for publishing firms, either of our names appearing on a magazine cover would send the circulation rate skyrocketing, something like modern TV ratings.

  The top brass came quickly to the point. They had recently started or acquired a magazine called Astounding Science Fiction. Other magazines
were published by other houses, but Street and Smith was unhappy because its magazine was mainly publishing stories about machines and machinery. As publishers, its executives knew you had to have people in stories. They had called us in because, aside from our A.B. Dick rating as writers, we could write about real people. They knew we were busy and had other commitments. But would we be so kind as to write science fiction? We indicated we would.

  They called in John W. Campbell, Jr., the editor of the magazine. He found himself looking at two adventure-story writers, and though adventure writers might be the aristocrats of the whole field and might have vast followings of their own, they were not science fiction writers. He resisted. In the first place, calling in topliners would ruin his story budget due to their word rates. And in the second place, he had his own ideas of what science fiction was.

  Campbell, who dominated the whole field of sf as its virtual czar until his death in 1971, was a huge man who had majored in physics at Massachusetts Institute of Technology and graduated from Duke University with a Bachelor of Sciences degree. His idea of getting a story was to have some professor or scientist write it and then doctor it up and publish it. Perhaps that is a bit unkind, but it really was what he was doing. To fill his pages even he, who had considerable skill as a writer, was writing stories for the magazine.

  The top brass had to directly order Campbell to buy and to publish what we wrote for him. He was going to get people into his stories and get something going besides machines.

  I cannot tell you how many other writers were called in. I do not know. In all justice, it may have been Campbell himself who found them later on. But do not get the impression that Campbell was anything less than a master and a genius in his own right. Any of the stable of writers he collected during this Golden Age will tell you that. Campbell could listen. He could improve things. He could dream up little plot twists that were masterpieces. He well deserved the title that he gained and kept as the top editor and the dominant force that made science fiction as respectable as it became. Star Wars, the all-time box office record movie to date (exceeded only by its sequel), would never have happened if science fiction had not become as respectable as Campbell made it. More than that—Campbell played no small part in driving this society into the space age.

  You had to actually work with Campbell to know where he was trying to go, what his idea was of this thing called “science fiction.” I cannot give you any quotations from him; I can just tell you what I felt he was trying to do. In time we became friends. Over lunches and in his office and at his home on weekends—where his wife Doña kept things smooth—talk was always of stories but also of science. To say that Campbell considered science fiction as “prophecy” is an oversimplification. He had very exact ideas about it.

  Only about a tenth of my stories were written for the fields of science fiction and fantasy. I was what they called a high-production writer, and these fields were just not big enough to take everything I could write. I gained my original reputation in other writing fields during the eight years before the Street and Smith interview.

  Campbell, without saying too much about it, considered the bulk of the stories I gave him to be not science fiction but fantasy, an altogether different thing. Some of my stories he eagerly published as science fiction—among them Final Blackout. Many more, actually. I had, myself, somewhat of a science background, had done some pioneer work in rockets and liquid gases, but I was studying the branches of man’s past knowledge at that time to see whether he had ever come up with anything valid. This, and a love of the ancient tales now called The Arabian Nights, led me to write quite a bit of fantasy. To handle this fantasy material, Campbell introduced another magazine, Unknown. As long as I was writing novels for it, it continued. But the war came and I and others went, and I think Unknown only lasted about forty months. Such novels were a bit hard to come by. And they were not really Campbell’s strength.

  So anyone seeking to say that science fiction is a branch of fantasy or an extension of it is unfortunately colliding with a time-honored professional usage of terms. This is an age of mixed genres. I hear different forms of music mixed together like soup. I see so many different styles of dance tangled together into one “dance” that I wonder whether the choreographers really know the different genres of dance anymore. There is abroad today the concept that only conflict produces new things. Perhaps the philosopher Hegel introduced that, but he also said that war was necessary for the mental health of the people and a lot of other nonsense. If all new ideas have to spring from the conflict between old ones, one must deny that virgin ideas can be conceived.

  So what would pure science fiction be?

  It has been surmised that science fiction must come from an age where science exists. At the risk of raising dispute and outcry—which I have risked all my life and received but not been bothered by, and have gone on and done my job anyway—I wish to point out some things:

  Science fiction does NOT come after the fact of a scientific discovery or development. It is the herald of possibility. It is the plea that someone should work on the future. Yet it is not prophecy. It is the dream that precedes the dawn when the inventor or scientist awakens and goes to his books or his lab saying, “I wonder whether I could make that dream come true in the world of real science.”

  You can go back to Lucian, second century A.D., or to Johannes Kepler (1571–1630)—who founded modern dynamical astronomy and who also wrote Somnium, an imaginary space flight to the moon—or to Mary Shelley and her Frankenstein, or to Poe or Verne or Wells and ponder whether this was really science fiction. Let us take an example: a man invents an eggbeater. A writer later writes a story about an eggbeater. He has not, thereby, written science fiction. Let us continue the example: a man writes a story about some metal that, when twiddled, beats an egg, but no such tool has ever before existed in fact. He has now written science fiction. Somebody else, a week or a hundred years later, reads the story and says, “Well, well. Maybe it could be done.” And makes an eggbeater. But whether or not it was possible that twiddling two pieces of metal would beat eggs, or whether or not anybody ever did it afterward, the man still has written science fiction.

  How do you look at this word “fiction?” It is a sort of homograph. In this case it means two different things. A professor of literature knows it means “a literary work whose content is produced by the imagination and is not necessarily based on fact; the category of literature comprising works of this kind, including novels, short stories and plays.” It is derived from the Latin fictio, a making, a fashioning, from fictus, past participle of fingere, to touch, form, mold.

  But when we join the word to “science” and get “science fiction,” the word “fiction” acquires two meanings in the same use: 1) the science used in the story is at least partly fictional; and 2) any story is fiction. The American Heritage Dictionary of the English Language defines science fiction as “fiction in which scientific developments and discoveries form an element of plot or background; especially a work of fiction based on prediction of future scientific possibilities.”

  So, by dictionary definition and a lot of discussions with Campbell and fellow writers of that time, science fiction has to do with the material universe and sciences; these can include economics, sociology, medicine, and suchlike, all of which have a material base.

  Then what is fantasy?

  Well, believe me, if it were simply the application of vivid imagination, then a lot of economists and government people and such would be fully qualified authors! Applying the word “imaginative” to fantasy would be like calling an entire library “some words.” Too simplistic, too general a term.

  In these modern times many of the ingredients that make up “fantasy” as a type of fiction have vanished from the stage. You hardly even find them in encyclopedias anymore. These subjects were spiritualism, mythology, magic, divination, the supernatural and many other fields of that type. None of them had anything really to do w
ith the real universe. This does not necessarily mean that they never had any validity or that they will not again arise; it merely means that man, currently, has sunk into a materialistic binge.

  The bulk of these subjects consists of false data, but there probably never will come a time when all such phenomena are explained. The primary reason such a vast body of knowledge dropped from view is that material science has been undergoing a long series of successes. But I do notice that every time modern science thinks it is down to the nitty-gritty of it all, it runs into (and sometimes adopts) such things as the Egyptian myths that man came from mud, or something like that. But the only point I am trying to make here is that there is a whole body of phenomena that we cannot classify as “material.” They are the nonmaterial, nonuniverse subjects. And no matter how false many of the old ideas were, they still existed; who knows but what there might not be some validity in some bits of them. One would have to study these subjects to have a complete comprehension of all the knowledge and beliefs possible. I am not opening the door to someone’s saying I believe in all these things: I am only saying that there is another realm besides dedicated—and even simple-minded—materialism.

  “Fantasy,” so far as literature is concerned, is defined in the dictionary as “literary or dramatic fiction characterized by highly fanciful or supernatural elements.” Even that is a bit limited as a definition.

  So fantasy could be called any fiction that takes up elements such as spiritualism, mythology, magic, divination, the supernatural and so on. The Arabian Nights was a gathering together of the tales of many, many countries and civilizations—not just of Arabia as many believe. Its actual title was A Thousand and One Nights of Entertainment. It abounds with examples of fantasy fiction.

  When you mix science fiction with fantasy you do not have a pure genre. The two are, to a professional, separate genres. I notice today there is a tendency to mingle them and then excuse the result by calling it “imaginative fiction.” Actually they don’t mix well: science fiction, to be credible, has to be based on some degree of plausibility; fantasy gives you no limits at all. Writing science fiction demands care on the part of the author; writing fantasy is as easy as strolling in the park. (In fantasy, a guy has no sword in his hand; bang, there’s a magic sword in his hand.) This doesn’t say one is better than the other. They are simply very different genres from a professional viewpoint.