Survivors
Terry Nation
I felt compelled to read this
book after discovering the (newer version of the) eponymous show on Netflix and
being intrigued by its take on the idea of the disease apocalypse. Though the
book posits a future projected forward from the 1970s, when it was written, its
core problems and issues feel as relevant as ever, despite some missteps with
regard to characterization and plotting. This is largely due to the nature of
his apocalypse, in which normal life is suspended (possibly forever) after a
lethal virus quickly kills a vast percentage of the human race across the world
(which gets an excellent, brutally efficient name: the Death). Nation gets the
basics absolutely right as his primary protagonists, a small band of survivors,
begin to navigate a world without electricity, government, or a million other
types of infrastructure. There's something inherently compelling about viewing the
desolation immediately after such calamitous events, before society has had a
chance to redefine itself and settle into its new normal, and modern readers
can easily imagine themselves raiding grocery stores for canned foods,
hospitals for precious medicines, used cars for their half-full gas tanks, and
libraries for how-to books on all of the basic survival skills we now leave to
specialists. Nation's vision is often at its best when it extends beyond his
group, which attempts to make a go of it as a small, self-supporting agrarian
commune, to power-hungry groups eager to establish themselves as the new
government(s), traders looking to corner the market on now-irreplaceable goods
reliant on pre-Death science, and others trying to reclaim, in a way, some
aspects of the lives they knew before.
As compelling as his vision is,
though, Nation often loses readers in the details, and some aspects of this
vision are far more fully realized than others. His characters are unevenly
developed and seem to act at the author's whim far more often than of their own
volition, and many are ripe for richer backstories and/or present plotlines;
likewise, many are pigeonholed early on and never really sway from that
one-dimensional, introductory characterization. Perhaps not coincidentally,
some of the most egregious failures in this regard occur in relation to the
women; though female characters are among the book's most prominent, they are
often condescended to by in-world characters and (seemingly) author alike. It
is frustrating that even the women who are leaders are foremost wives and
mothers, even after the world has been thrown into utter chaos, and that their
positive qualities are usually underpinned or undermined by their relationships
to their children or to the men. It is, however, encouraging that women do have
agency in his apocalyptic future- something that certainly cannot be said of
many (probably most) others- and it's not immediately apparent that they are
the only victims of poor character-building within the book. This seems to be
foremost a failure of talent, not an act of outright malice or misogyny.
Even when Nation attempts to
build plot conflicts and provide opportunities for growth- or at least richer
realizations- the twists appear contrived, and he relies far too often on his
third-person omniscience, rather than events and dialogue, as he draws conclusions
and moves the story forward, however tenuously at times. Nation is similarly
clumsy in his handling of time: while it is obviously desirable to shift a
narrative ahead at different speeds as everything stabilizes, it is often
difficult to locate the various starting and ending points either in a kind of
absolute time or in relation to one another. This compounds the author's error
of introducing too many ill-defined, flat characters and sometimes makes the
story difficult to follow. It is hard to sympathize with these people or their
plight, even as we can easily imagine it happening to ourselves. Likewise,
intriguing threads are raised and dropped before Nation explores their full
potential. He has bothered to imagine many of the unintended, wide-ranging
consequences of the Death but not to exploit them to anywhere near their
fullest potential, resulting in a dull narrative dotted with all-too-brief
pockets of excitement and enticing, but quickly disappearing, subplots.
This gets to the heart of the
book's primary failure: it relies far too heavily on telling readers what's important, how characters should be
perceived, and how England
tenuously begins to find its footing in the wake of disaster, rather than
developing a consistent, interesting story that reveals any of these things on
its own. That the story culminates in a wholly foreseeable event telegraphed,
in part, by a blundering attempt to conceal by omission (wherein said omission
becomes all the more noticeable, and the reveal flabbergastingly obvious and
thus wholly emotionally ineffective) is perhaps fitting; it is a last-gasp
attempt at subtlety and nuance that ultimately misses the point entirely and
undermines (or perhaps is undermined by) the book's own ending. This same
ending would be fitting, if still heartbreaking, if the narrative preceding it
paid more attention to questions of shifting morality; in a book apparently concerned
more with the bare mechanics of survival, however, it seems unnecessarily
brutal, cold, and at odds with itself. Survivors
is still worth reading for its imaginative insights into the effects of an abrupt
shift from full-fledged modernity to a nearly uninhabited landscape, but it
will appeal most to well-versed genre fans who can ignore its many flaws.
Grade: B-
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