So what can we do with Gene Crenshaw? Right from the start he feels false; in his first scene, we see him berating Pete Aldrin about how “these people” — Lou and the rest of Section A — “have to fit in”, have to give up their “toys” (17). It’s Crenshaw who insists to Section A that “you are not normal. You are autistics, you are disabled” (103); in his most charitable moments the most he can allow is that it’s “Not their fault” (163); when the police come to interview Lou about the vandalism, Crenshaw’s first assumption is that Lou is the one under investigation, and his second assumption is that it’s Lou’s fault: “What have you been up to, Lou, that someone’s trying to kill you? You know company policy — if I find out you’ve been involved with criminal elements –” (247). But it’s Crenshaw who drives the central tension of the novel. There is, it seems, a novel treatment that could “cure” adult autism. Crenshaw buys it (just like that!) and sets about blackmailing Lou and his colleagues into taking it, or face redundancy.
We might, I suppose, find it ironic that the character most ardently convinced that Lou is defective is himself monstrously inflexible, entirely unable to adjust his preconceived ideas to accept Lou as a person. We might also find some satisfaction in the fact that Crenshaw’s obsessive vendetta leads directly to his downfall late in the novel. We might reflect on the ways in which institutional policy and social conventions support and validate Crenshaw’s bias, while at best tolerating Lou’s. We might even find Crenshaw’s antics amusing, theatre, if his whole routine wasn’t so drearily predictable. It’s not that Crenshaw clearly wears a black hat that’s the problem; it’s that he fits his role in the plot too neatly and completely to develop any of the possibilities above, denied the personhood insisted upon for Lou.
In contrast, Don’s plot strand, perhaps because it is of secondary importance, ends up somewhere interesting. It helps that we simply see more of Don, including — if only briefly — different sides to his character, and helps, too, that his judgments of Lou are mostly muttered and snide, rather than improbably explicit. But in many ways Don is as much a device as Crenshaw; it’s just that something interesting happens after he’s dealt with. After his arrest, the police explain to Lou that the probable punishment, if he is found guilty, is the insertion of a “programmable personality determinant brain-chip” (284), because:
“Recidivism,” Mr Stacy says, pawing through a pile of hardcopies. “They do it again. It’s been proved. Just like you can’t stop being you, the person who is autistic, he can’t stop being him, the person who is jealous and violent. If it’d been found when he was an infant, well, then …” (285)
A little on-the-nose, perhaps, down to the possibility of early correction, but effective nonetheless: having spent 300 pages being conditioned to recognise the possibility of the modification of Lou’s personality as beyond the pale, it’s nicely unsettling to be asked to accept it as justified for someone else, perhaps especially someone as obviously a bad guy as Don. (We might think: it’s been proved, you say? Like Lou’s disability?) The feeling is reinforced when the fencing group welcomes the news, over Lou’s misgivings:
“I think it is very scary, I say. “He did something wrong, but it is scary that they will turn him into someone else.”
“It’s not like that,” Lucia says. She is staring at me now. She should understand if anyone can; she knows about the experimental treatment; she knows why it would bother me that Don will be compelled to be somebody else. “He did something wrong — something very bad. He could have killed you, Lou. Would have, if he hadn’t been stopped. If they turned him into a bowl of pudding it would be fair, but all the chip does is make him unable to do anyone harm.”
It is not that simple. [...] Even I know that, and I am sure Lucia knows it too, but she is ignoring it for some reason. (291-2)
Thus is the second point of parallel — the treatment — made explicit, and thus does the ground of the novel shift a notch further, moving away from the unambiguous wrongness of Crenshaw’s blackmail towards the more challenging questions of what might be changed, and what change might mean in practice. (Although we never get to see the chipped Don, which seems a shame.) “I am sideways to the world”, is Lou’s assessment of his own situation (277); and at some point, he starts to wonder whether that’s how he always wants to be.
And so to the closing chapters of Speed of Dark, where the novel is at its tough, thoughtful best. With Don apprehended and Crenshaw deposed, there remains only the question of change itself, the cost/benefit analysis of becoming a different person — or rather, hastening the process. As Lou himself points out, he has changed already, and would have done even if Gene Crenshaw had never impinged on his life. But the possibility of removing his autism feels more fundamental. The crucial passage probably comes when Lou goes to church, and finds himself confronted with a sermon about the necessity of choosing to be healed. He asks whether he should want to be healed, whether God would want it; the best his priest can do for an answer is, “only if it doesn’t interfere with who we are as God’s children, I suppose” (347). (And Lou is more than his autism, the novel has been telling us.) At the fencing club, his friends can scarcely believe it when he tells them he’s going to take the treatment, some being sure that he must be doing it to be accepted by Marjory; at work, Pete Aldrin can’t quite believe Lou really understands that there’s no longer any pressure from the company, or threat to his job. Lou’s choice is not unexpected — if you hang a miracle treatment on the wall in the first act of a science fiction novel, it’s almost unthinkable that you won’t do anything with it in the third — but it feels like a choice nonetheless, suffused with ambivalence and uncertainty. The chapter in which Moon breaks down Lou’s voice and then reconstructs it, the same but different — not out of love, nor out of fear, but out of curiosity and ambition — is very effectively controlled. Of course it changes things more; changes Lou’s job, his friends, his relationships. (Though not, in the case of Marjory, in the way that the earlier Lou would have hoped.) But at least, he tells us on the final page, at least “Now I get to ask the questions” (424). The call-back is one more neatness in a novel that has too many of them; but this one, I think, is earned.