For First Contact Day, 5 April 2063
“[Actor Leonard Nimoy] wrote autobiographical tomes variously titled, I Am Not Spock and I Am Spock; perhaps his next book should have been titled, We Are All Spock.” – (Allshorn, 2015, 12)
The original Star Trek series was created by Humanist Gene Roddenberry, who presented a utopian vision wherein science and society had evolved to create a future without war, injustice or other human foibles. Spock was one of his most noble, popular and inspirational creations.
Star Trek was a television series with ambitions that were larger than the television screen: “What Star Trek is, is a set of fables – morality plays, entertainments, and diversions about contemporary man, but set against a science fiction background.” (Gerrold, 1973, 48)
Spock was a true scientist and humanitarian. He explored the galaxy (and nature) with an open-minded sense of awe and wonder, frequently expressing his admiration for “fascinating” new discoveries. He also explored the structures and strictures of pure logic – and, in his case, concluded that the discipline was too constricting within a wider social context. His approach to life therefore incorporated a healthy respect for logic balanced with ethics and humanitarianism, reflecting his own inner struggle to balance his humanity with other aspects of his personality. Spock was capable of ignoring emotive considerations when there was a need for cold, hard logic; but he was also capable of great loyalty and self-sacrificial dedication to his science, his captain and his crew. His words to James Kirk echo his sentiment to millions of fans: “I have been, and always shall be, your friend.“
Actor Leonard Nimoy, who portrayed Spock for nearly fifty years, spoke of his character’s widespread appeal:
“Here is an ET of superior intelligence and abilities. Capable of making difficult decisions free of ego and pressure, and emotional needs. Dealing (supposedly) only with the facts in each case and the logical conclusions. The period in which Spock arrived was one of polarization over major political and social issues. The war in Viet Nam, the drug culture, the black revolution, assassinations, etc. Perhaps Spock represents a wise father figure to whom humans could turn for solutions to thorny problems.” (Nimoy, 1975, 93 & 94)
In this era of science denialism, Trumpism, Brexit and conspiracy theories, perhaps we need Spock more than ever. We should all aspire to be more like Spock. It’s only logical.
Science is Golden
In the series, Spock (representing science and logic) provided life-saving scientific data so that he and McCoy (a character representing raw emotion) could help Kirk (the decision-maker) to weigh up options and determine the most logical and ethical response to each of life’s challenges. Jeremy Nicholas affirms that ‘Kirk is caught between Apollonian Spock (rational, logical, ordered, controlled) and Dionysian McCoy (emotional, instinctive, passionate). In every episode Kirk faces a decision whereby he gets conflicting advice from his two trusted advisers that he is in a constant struggle to reconcile.’ Stephen Fry also examines this duality within Star Trek.
The conflict between Spock and McCoy might also be seen as an exploration of the gap between what CP Snow calls, ‘the two cultures‘ i.e. science and the humanities/arts – a gap that I argue is bridged by science fiction such as Star Trek.
The impact of the Spock character upon popular culture cannot be underestimated. It is acknowledged that Star Trek inspired many people – including women – into a career in science, innovation or technology. Nimoy recalled in 1995:
“On a recent visit to New York, I had the opportunity to speak with several people who warmly shared with me their gratitude towards Star Trek and Spock. It always amazes and touches me to discover how deeply the series affected so many people’s lives – people who chose careers in science, astronomy, space exploration, all because of one television show called Star Trek.” (Nimoy, 1995, 332)
May this cultural influence – like the fictional Spock character itself – live long and prosper.
Outer and Inner Space
This duality between logic and emotion, between science and humanity, was internal as well as external. The Spock character struggled – as might we all at times – to balance his emotions with rationality and logic. This was encapsulated in one of his famous sayings: ‘The needs of the many outweigh the needs of the few, or the one’, which revealed his internal fight between seeking significance for the individual ego versus a willingness to subvert ego in order to serve the wider community – a common human struggle. Spock’s internal conflict was declared as resolved by creator Gene Roddenberry in 1968:
“Spock’s stoic temperament, his refusal to say anything or do anything not based solely on logic, is… a reflection of his Vulcan heritage. Complete adherence to logic is the primary motivating factor in the Vulcan mental process. Of necessity, complete suppression of emotions is required, lest logic be influenced in any way.” (Whitfield & Roddenberry, 1968, 225).
However, it has been suggested that Spock’s stoicism was actually problematic:
“All in all, Spock is hardly the Stoic sage. Although he has some Stoic leanings, he consistently falls short of being the man of action. Furthermore, in completely suppressing his emotions, he conforms to the stereotype of the Stoic, in contrast to the real Stoic who aims to cultivate positive emotions such as joy and wishing others well.”
Therefore, we must be careful to consider the logic/emotion binary with an appropriate amount of nuance and depth; and be mindful that ‘Star Trek’s logic illustrates weaknesses in pop psychology’s models of emotions, intuition, logic, and morality.’ Blogger Hannah G gives a good reinterpretation of Spock’s internal logic/emotion binary:
“It would be easy to set up his arc as a conflict between logic and emotion, but really it’s more nuanced than that. It’s a transition from an attempt at emotionless logic to an understanding of “human logic,” a system that takes passions and emotions into account.”
In pondering the inner confict within each of us, Spock was able to exercise intellect while also extending respect and empathy, as demonstrated in this conversation about Kirk, which took place between Spock and his Vulcan protégé Saavik:
Saavik: He’s so – human.
Spock: Nobody’s perfect, Saavik.
The Alien Within
As something of an alien and outsider – as we all are – Spock not only celebrated diversity, but he epitomised the nobility and dignity that we all seek as we explore our own place within the cosmos and seek to make a difference. His culture contained the IDIC emblem – a mix of shapes combined to create a divergent symbol for Infinite Diversity in Infinite Combinations.
Spock is an ‘Everyman’ figure for us all: he served as a metaphoric combination of alien and human. Spock gained pop culture significance in the 1960s and beyond because of this ‘Everyman’ status. He was literally an alien hidden in plain sight, particularly for adolescents/adults seeking role models:
“The teenager coping with the fiercely complex problems of adolescence often feels very much alone… Spock easily resolves this dilemma. He has superior insight. He can quickly understand the nature of the problem. He has studied the human race. He is a pure authority on the problem… He is future. He can be compassionate in his judgment and dispassionate in his help. To the young female, there is no sexual threat. Spock is asexual.” (Nimoy, 1975, 97 & 98)
I have previously written that ‘many fans upheld Spock an an archetype in that he embodied optimism amidst the universal human condition of loneliness’ (Allshorn, 2020, 90); I have similarly paid tribute within my 2015 eulogy to actor Leonard Nimoy:
“Spock was a kindred spirit, someone who had found strength, pride and nobility in being different … Spock’s resilience and quiet dignity in the face of intolerance, or bullying, or alien dangers; served as an example to ennoble and enable the lives of many fans who might otherwise have felt isolation or despair.” (Allshorn, 2015, 13; also cited in Allshorn, 2020, 91)
Or, as James Kirk said more concisely: “Of my friend, I can only say this: of all the souls I have encountered in my travels, his was the most… human.”
We all seek heroes. That is part of our human condition – to explore, emulate and aspire towards our role models, heroes and leaders. Across literature, heroic archetypes are often reboots of time-honoured templates. In this instance, Spock might be seen as a reboot of Sherlock Holmes, Merlin, or Odysseus. His captain, James Kirk, might be King Arthur, Jason (of Argonaut fame) or Robin Hood. Superman might be seen as a secular revisitation of religious figures.William Indick examines the Lord Raglan Hero Pattern and other cultural heroic archetypes, and examines how modern secular heroes are reworkings of old tropes:
“While science has replaced divinity and the superhero has replaced the demi-god in the expression of the hero myth, the basic archetypal structure of the hero pattern has not changed – and probably will never change, as the hero character serves the same function today as he did thousands of years ago. Heroes are simply ourselves projected outwardly. Their stories are our stories…” – Indick, 2002, 20).
To this end, we might examine how Spock shares characteristics of ancient heroic templates according to the Raglan mythotype:
(I have added my modern secular reworkings of how Spock conforms to archetypal characteristics).
Mother is a royal virgin (secular reworking: Amanda, Spock’s mother, was a homely school teacher; his step mother was a Vulcan princess)
Father is a king (Sarek was an ambassador)
Unusual conception (first Vulcan-human hybrid)
Hero reputed to be son of god (child of human mother and male from celestial domain)
Attempt to kill hero as an infant, often by father or maternal grandfather (Spock ‘rejected’ by Sarek as being ‘too human/emotional’ during infancy? Rejected by Sarek for many years after joining Starfleet)
Hero spirited away as a child (taught how to suppress emotions and hide his inner feelings from the outside world)
Reared by foster parents in a far country (adopted by ‘Enterprise’ family?)
No details of childhood (except for losing Sehlat as child)
Returns or goes to future kingdom (travels into space)
Is victor over king, giant, dragon or wild beast (is victorious on many alien adventures)
Marries a princess (often daughter of predecessor) (is betrothed to T’Pring)
Becomes king (becomes science officer, Starfleet captain, and ambassador)
For a time he reigns uneventfully (successful career in Starfleet)
He prescribes laws (he enjoys command as Starfleet officer and science officer)
Later loses favor with gods or his subjects (falls out with father over career choice, tension with some Vulcans who reject his emotional facets, killed by adversary Khan Noonien Singh)
Meets with mysterious death (‘Kobayashi Maru’ and Genesis resurrection following Khan space battle)
Often at the top of a hill (Enterprise engine room/Mount Selaya)
His children, if any, do not succeed him (His apprentices, Saavik and Valeris, do not succeed him as he had hoped)
His body is not buried (put in coffin/torpedo on Genesis planet/resurrected on Vulcan)
Has one or more holy sepulchers or tombs (Katra travels from McCoy to others then back to Spock)
According to my interpretation, Spock has more archetypical attributes of a mythical hero than does King Arthur, Jesus or Moses. As Spock might say: ‘Fascinating.’
What does this tell us about humanity? It is said that, ‘One of the chief purposes of literature is a means of exploring what it is to be human.’ In pondering the fictional Spock, we can examine ourselves.
“We Are All Spock” – Karin Blair (Blair, 1979, 160).
Author’s Note: I have not included any examination of the Spock character from the reboot movies and timeline. These other versions have insufficient background and character detail at this time to enable any informed assessment. They also appear to lack the archetypal nobility of Spock Xtmprosqzntwlfdb as presented in the original Star Trek series and movies.
Allshorn, Geoff, 2015. ‘‘I have been, and always shall be, your friend’: A Tribute to Leonard Nimoy 1931—2015’, Captain’s Log, Austrek, May, 12—13.
– – – – – – – – -, 2020. “Life, but not as We Know It: Star Trek, fan culture, slash fiction and the queering of Starfleet Command”, Bent Street 4.1, Melbourne: Clouds of Magellan Press, 89 – 100.
Blair, Karin, 1979. Meaning in Star Trek, New York: Warner Books.
Gerrold, David, 1973. The World of Star Trek, New York: Ballantine Books.
Indick, William, 2004. Classical Heroes in Modern Movies: Mythological Patterns of the Superhero. Media Psychology, 9.
Nimoy, Leonard, 1975. I Am Not Spock, Millbrae: Celestial Arts.
– – – – – – – – -, 1995. I Am Spock, Sydney: Random House.
Whitfield, Stephen and Roddenberry, Gene, 1968. The Making of Star Trek, New York: Ballantine Books.
© 2021 Geoff Allshorn