Advances in Anthropology, 2014, 4, 89-98 Published Online May 2014 in SciRes. http://www.scirp.org/journal/aa http://dx.doi.org/10.4236/aa.2014.42012 The Steampunk Doctor: Practicing Medicine in a Mechanical Age Cécile Cristofari1,2, Matthieu J. Guitton1,2 1Faculty of Medicine, Laval University, Quebec City, Canada 2Institut Universitaire en Santé Mentale de Québec, Quebec City, Canada Email: [email protected] Received 24 March 2014; revised 21 April 2014; accepted 12 May 2014 Copyright © 2014 by authors and Scientific Research Publishing Inc. This work is licensed under the Creative Commons Attribution International License (CC BY). http://creativecommons.org/licenses/by/4.0/ Abstract Influenced by both 19th-century literature and popular representations of science, the figure of the medical doctor in steampunk fiction is marked by ambiguity. At the same time a scientist, a wizard and a mechanic, the steampunk doctor exists halfway between respectability and illegitimacy, a manipulator of bodies, a wielder of mysterious powers, a respectable and ominous character at the same time. Their role includes but is not limited to healing bodies. Indeed, steampunk exam- ines the consequences extraordinary medical discoveries can have on both individuals and socie- ties. It questions the meaning of “improvement” in the context of medicine, and whether it is ethi- cal for medical practitioners to bring human bodies beyond their normal state, to the point that normality itself has to be re-defined. This paper describes the figure of the steampunk doctor and details the place and power of medicine in steampunk worlds. On the one hand, the steampunk doctor can modify bodies at will, bringing bio-engineering on a par with regular engineering, and leading to questions about the boundaries (ontological and ethical) between humans and objects, living and inanimate matter. On the other hand, their work on individual bodies can lead to trans- formations of their society as a whole, by modifying entire groups to suit social or political agen- das, or in a quest for personal power. In the end, the figure of the steampunk doctor brings to the forefront some ethical questionings about medicine, healing, bio-engineering and human en- hancement that are very relevant to the present times, in spite of the deceptively retrospective aesthetics. Keywords Bioethics, Doctor Archetype, Human Enhancement, Social Engineering, Victorian Medicine 1. Introduction The Victorian era has inspired a wealth of literary genres, from gothic horror to early detective stories. Contem- How to cite this paper: Cristofari, C., & Guitton, M. J. (2014). The Steampunk Doctor: Practicing Medicine in a Mechanical Age. Advances in Anthropology, 4, 89-98. http://dx.doi.org/10.4236/aa.2014.42012 C. Cristofari, M. J. Guitton porary writers are still drawing inspiration from that period (Heilmann & Llewellyn, 2010). Among the many fictions inspired by the Victorian period in the late 20th and early 21st century, steampunk hold a special place. Steampunk works stage a re-imagining of the Victorian age, strongly influenced by science fiction and fantasy, where technical feats and outright miracles coexist with a setting inspired from the 19th century. Since the ap- pearance of the first steampunk works in the 1970’s and 1980’s, its popularity has grown steadily (Nevins, 2011). As a genre, steampunk is essentially transfictional: in addition to frequently showcasing historical characters, many works give a new life to famous fictional figures from 19th-century literature, each time reasserting the ties between the literature of the Victorian era and contemporary steampunk (Saint-Gelais, 2011). Steampunk can thus be considered as a contemporary re-enactment of a fantasised 19th century, and has formed a new repertoire of tropes that directly draw from 19th century popular culture, re-examined through a 20th- and 21st-century lens. Therefore, steampunk is grounded in contemporary imaginings of past tropes and technologies (Perschon, 2010). Inspired by proto-science fiction authors such as Jules Verne or H. G. Wells, pulp magazines, Victorian imagery as well as science fiction and fantasy in general, steampunk has nonetheless, in its thirty years of existence, built its own specific figures. Among them, the steampunk doctor holds an intriguing place. In popular imagery, the doctor—or healer—is a benevolent figure of both knowledge and power (Freidson, 1970; Foucault, 1973; Hogle, 2002). In steampunk fiction, the doctor becomes a more shadowy figure, in which both characteristics are taken to the extreme and supersede the exercise of medicine itself in importance. In the particular context of the Victorian era, the doctor is, first and foremost, an embodiment of dizzying scientific progress. The steampunk doctor has ties to the figure of the isolated genius scientist, while retaining the myste- rious and disquieting quality of the mediaeval plague doctor. They are often pioneers in medicine, having cre- ated their own groundbreaking medical techniques. However, the power thus acquired lends them a large meas- ure of ethical ambiguity: the steampunk doctor can affect the human body in almost unlimited ways, hybridising it with machines or animals and turning death and illness into secondary concerns, at the potential cost of a num- ber of moral violations. While this initial description could fit a number of 19th-century characters (Dr. Frankenstein, Dr. Jekyll and Dr. Moreau are the first that come to mind), the steampunk doctor is fundamentally different. Frankenstein or the Modern Prometheus (Shelley, 1818), The Strange Case of Dr. Jekyll and Mr. Hyde (Stevenson, 1886) and The Island of Dr. Moreau (Wells, 1896) were all, on a certain level, cautionary tales. Their heroes bring about their own doom through their experiments, and the moral violations committed in the name of science (attempt- ing to substitute oneself to God, creating monsters, inflicting terrible pain on innocent beings…) eventually trigger their demise. But more importantly, their science dies with them: Frankenstein gives up his attempts to create a human being and embarks upon a solitary quest to find his creature before dying in a remote place; the ingredients of Jekyll’s salts run out, ensuring that with his suicide, the chemicals that enabled him to turn into Hyde will be impossible to find again; Moreau’s island remains isolated and its denizens revert to bestiality, thus cancelling the effects of the original experiments. The hubris of those characters only results in the destruction of their own lives and works, without leaving a lasting trace on society. The opposite happens with the steampunk doctor. Steampunk cannot, indeed, be solely described as a resur- rection of 19th-century science fiction. It is instead a complete re-imagining of what society could have been if the evolution of technology had been radically different from the beginning, and it usually includes a more than liberal sprinkling of magical possibilities, often presented as fantastical science (for instance modern versions of alchemy, which is prominently featured in works such as Hiromu Arakawa’s Full Metal Alchemist from 2001- 2010 or Ekaterina Sedia’s The Alchemy of Stone from 2008). In steampunk, the limits of science are more flexi- ble than in traditional science fiction. Additionally, authors rarely adopt the condemning stance 19th-century lit- erature has used us to. As a result, steampunk doctors push back the boundaries of science, with varying con- sequences, often positive. The steampunk doctor thus appears as a shadowy figure, whose allegiance lie primarily with their science, rather than society. They can perform miracles on individuals, to such a degree that the ethical character of their actions can often be questioned; but their influence is at their most dramatic when they become capable of medical feats powerful enough to transform an entire society. This paper will therefore start with a discussion of the figure of the steampunk doctor and its many areas of ambiguity. From there, we will examine what power the steampunk doctor has over individual bodies, how their role encompasses but goes far beyond healing, and the ethical issues related to steampunk medicine. Finally, we will focus on the crucial issue of how the steam- punk doctor’s actions can affect an entire society, by acting on both individual and groups, and how this trope is, 90 C. Cristofari, M. J. Guitton in fine, related to contemporary concerns about ethics and the power of medicine. 2. An Ambiguous Figure While retaining their ties with medicine, the steampunk doctor is rarely a conventional medical practitioner. In- stead, the very construction of their character marks their threshold-crossing nature: as they routinely straddle the boundaries between science and miracles, the ethical and the monstrous, they appear as liminal beings themselves. At their most conventional, they have an ambiguous place in society, in which they are seldom completely integrated (like Dr. X in Neal Stephenson’s The Diamond Age (1995), who holds a high rank in one of the two societies he inhabits and is considered an outlaw in the other). However, they can also be portrayed as outright social outsiders (like Krank from Marc Caro and Jean-Pierre Jeunet’s The City of Lost Children (1995), who lives on a remote artificial island). Their separation from the rest of society is sometimes implied by physi- cal clues: they have made themselves physically different, thus enhancing their particular place. A good example of this duality of the steampunk doctor can be found with Dr. Jack Seward from Kim Newman’s Anno Dracula (1992). While practicing in a Whitechapel medical clinic by day, Dr. Seward, who survived the ascent of Drac- ula, now effectively ruling London, carried on his crusades against the vampires by night, by murdering vampire prostitutes in Whitechapel. In a transformation reminiscent of Dr. Jekyll and Mr. Hyde, Newman has pinned the most antithetical identity one could imagine to the figure of the doctor, in the persona of Jack the Ripper.