I’m not a huge fan of science-fiction, but the friend who recommended this book assured me that I would enjoy the theme of pharmaceutical meltdown and the emergence of a post-apocalyptic society that it examines. This novel was the winner of the Arthur C Clarke Award for Science Fiction in 2015, so it is acclaimed in its field.
The book is set in Canada and the United States just 20 years after a catastrophic virus seemingly wipes out about 99% of humanity in a matter of days. The consequences of this are that, within a short space of time, electricity, running water and all the other basic services we take for granted, cease to exist. Vehicles are abandoned on motorways as their passengers leave their homes, to escape to…where? These people then die. Aircraft no longer fly and people are stranded pretty much wherever they happened to be at the moment the virus struck. And then mostly die. Whilst reading I recalled all those diseases in recent years that seemed to prefigure cataclysmic consequences (AIDS, Swine fever, SARS, Avian ‘flu, Ebola) fights which, for the most part, we eventually won; in this novel it is the disease (Georgian ‘flu) that prevails. And that’s scary.
The central character is Kirsten, who was 8 years old at the time of the disease, and was performing in a production of King Lear. The character of Lear was being played by Arthur Leander, a renowned celebrity actor, who dies on stage (not from the ‘flu). This seems to be a catalyst for chaos as that very evening the ‘flu takes hold and people start dying very quickly and in vast numbers.
“Hell is the absence of the people you long for.”
Station Eleven
The plot of the novel is complex. Kirsten survives the pandemic and we follow her in Year 20 as she becomes part of a travelling orchestra/theatre company bringing Shakespeare to remote and unconnected communities in the central states of North America. There is also Arthur Leander’s story – recollections of his childhood on a remote island off British Columbia, his early life as an actor before he became famous, then his acquisition of celebrity status, life in LA and, most significantly, his three marriages and relationship with his son.
There are two further significant characters: Clark, an old friend of Arthur’s, who survives the virus, but finds himself stranded in an airport, which becomes a significant community in the post-apocalyptic scenario. And Miranda, Arthur’s estranged first wife, who, when unable to cope with the trappings of fame and the effect this had on their marriage, sought sanctuary in writing a graphic novel (called Station Eleven) which envisaged a frightening future world controlled by an evil megalomaniac. Her graphic novel, a copy of which Kirsten treasures, provides a motif for the events of the book.
The author has quite a task managing this complexity: each of the four characters’ stories are told separately and in a non-linear way, but they are like pieces of a jigsaw gradually being pieced together until the overall picture becomes clear. The novel jumps back and forth in time and I found this quite difficult to follow. Also, for me, the drawing together of the strands was a little too contrived; it just did not seem entirely plausible that a tiny number of survivors could have such a connected past. I think this has been my problem with science-fiction generally (but perhaps I haven’t read enough); I get that you have to suspend disbelief but it’s too much for me when that means suspending credibility.
Despite my reservations about the plot, I think the themes explored are very interesting: firstly, our vulnerability – technology has brought us so much but without it we are lost. Secondly, how we have so many communication tools at our disposal, but we don’t use them to say the things that really matter. And, thirdly, how society organises itself (or not!) when the usual social structures which keep us under control disappear. What is also interesting is that we take for granted that time equals progress, but in Year 20, so much ‘progress’ has been lost that things like engines and antibiotics seem like science-fiction. People can die of a cut from a rusty blade.
So, I enjoyed this aspect of the book, and it is well-written, but for me the plot did not work particularly well and the time-shifts were a bit frustrating and confusing. One to read if you like being a bit scared!
Do you love science fiction? Can you recommend a title for this reluctant sci-fi reader that I might enjoy?
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There are so many books published that you may find people in your usual circle haven’t read the same things as you. But you will always find book review websites (whose authors would love you to post comments or engage in conversation, hint, hint!), or online reading communities, who have read your favourite most recent read. Sometimes, if I read a book I love (or loathe, though these are very few) I’m just bursting to talk about it with someone. I can always do that online.
I have to say, though, that it’s a totally gripping story. Roddy Macrae is the 17-year old son of a crofter in a small village in the Scottish Highlands. The book begins with five short police statements from different witnesses who later testify in Roddy’s trial. They recount the incident, in August 1869, when Roddy murdered three other residents of the village: Lachlan Mackenzie, the village Constable and long-time foe of Roddy’s father, Mackenzie’s teenage daughter, Flora, and his young son Donnie. These witnesses observed Roddy walking through the village covered in blood and in addition to their account of the events they saw, they make observations on his character and background. Thus, there is little doubt that Roddy carried out the triple murder and the scene is set for an account of how these events came to pass.
Autumn is becoming the new ‘new year’ for many people, lighter, brighter and generally a nicer time of year than January, which I’ve always felt was a really bad time to make resolutions and embark on new activities! On that theme, a lot of people I know are using October to make fresh starts or implement changes. For so many of us, transformation starts on the inside; if we have problems or issues we want to tackle or changes we want to make in our lives, it often means overcoming personal barriers – fears, phobias, addictions and the like – or building confidence in moving forward and realising dreams.
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