Emily St. John Mandel
Disclaimer: I have not really seen/read a lot of apocalyptic/post-apocalyptic content, so pardon the n00b reactions. Contains some spoilers.
When a famous actor Arthur Leander dies on stage while performing King Lear, the world does not realise that it is the last celebrity news that it will hear. Because Arthur Leander is only a side note in the larger drama playing out – unknown to those watching the play and many outside, the Georgia Flu is on its way to wiping out 99% of the world’s population.
The reason I liked this book that its narrative captures the impact at three levels, at least to some degree – individual, community, and civilisation. The pandemic systematically takes out the infrastructure of civilisation, and we see it play out through the experiences of different characters – predictably, the super markets get raided first, and people try to escape the city (though no one knows where to) even as traffic pileups extend for miles. The book is self aware – “Jeevan’s understanding of disaster preparedness was based entirely on action movies, but on the other hand, he’d seen a lot of action movies.” The world might have systems, but systems are after all, manned by people. The television networks go silent, internet access goes, and then the era of electricity is over. Days become weeks become years.
In Year 20, Kirsten, a child actor who was in Leander’s King Lear, is a performer in the Travelling Symphony, a band of actors and musicians who roam the land entertaining the communities that have sprung up in the post-apocalyptic world. Their motto – “Survival is insufficient,” borrowed from an episode of Star Trek: Voyager. Kirsten owns a few comics from a limited-edition hand-drawn series called Station Eleven. The creator is Miranda, who in turn is linked to Jeevan, a paparazzo turned paramedic.
And then there’s the airport. This made me stop and reflect. Imagine, you’re on/coming back from a vacation/business trip, your flight gets rerouted, and you land at an unfamiliar airport. First, you treat it as an inconvenience, then a temporary aberration, a story that you can tell friends, and then, after a few days, you realise you are permanently grounded, there is no going back. And finally, a community begins to form. And in that community is a curator who begins to collect the vestiges of a lost era – mobile phones, gaming consoles, credit cards. The very things that make up the mundaneness of our current life. This was almost visceral, and after 2020, an absolute possibility.
The narrative switches back and forth, in time, and among characters, zooming in on details that bring out characters and their varied experiences before and after the pandemic. In the flashbacks, we see the span of Arthur’s life – from obscurity to fame to the realisation of a life slipping away. We also see Clark’s view of Arthur’s life, as his closest friend, how it changed over time, and how Clark finds purpose after the pandemic. Clark was my favourite character, I could relate a lot. Kirsten has vague memories of a different world, and specific memories of her own past – she is part of a bridge generation between those who knew a life before the pandemic and those who didn’t. In all of these, there is nostalgia, memory, a yearning for the past, and the grief over its loss. It affects different generations differently – “The more you remember, the more you’ve lost“, because the longing for something you have experienced already hurts more. We go from Sartre’s “Hell is other people” to Mandel’s “Hell is the absence of the people you long for“.
I found it a poignant read, probably because of a life stage, and the specific time we are living through.
