Tag Archives: apocalypse

An entirely predictable square-dance

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Watching Stefon Bristol’s Breathe for New Scientist

Zora (Quvenzhané Wallis) and Maya (Jennifer Hudson) live behind the hard-to-open bulkhead doors of a homemade bunker in East Flatbush, Brooklyn. If you can call it living: their every breath has to be calibrated and analysed, as the oxygen-producing machinery constructed by their missing husband and father Darius (a short, sweet performance by the former rapper Common) starts to fail.

The Earth’s oxygen has vanished. So has all its plant life. The oceans are all dried up. Survivors are few, and trust between them is a thing of the past.

Had Maya simply listened to her daughter and let in the two mysterious visitors who want to study their oxygen plant (Tess, played by Milla Jovovich, and Lucas, played by Sam Worthington) Breathe’s plot, such as it is, would have barely filled a quarter-hour. (Zora has been monologuing to her presumably dead dad over the shortwave radio for months now. If Tess has overheard her, then her claim to be Darius’s colleague may simply be a lie.)

As it is, no one trusts anyone and everybody shouts a lot, while performing an entire predictable square-dance around door codes, pass keys, key-cards, dead and dying batteries, cable ties, unreachable switches — we’ve been here before, oh, so very many times. Breathe’s sole highlight is Sam Worthington’s manic, dead-eyed Lucas — incapable, after a lifetime of horrors, of thinking more than thirty seconds into the future.

Low-budget science fiction favours the global catastrophe. What better alibi could there be for squeezing your cast into small, affordable sets? Though hardly one-room dramas, two recent sci-fi thrillers have shown what can be done with relatively few resources: 2018’s Bird Box (in which Sandra Bullock’s character Malorie must shield her and her children’s eyes from entities that prompt people to suicide) and, in the same year, A Quiet Place (whose gargoyle-like aliens chomp down on anything and anyone that makes a sound). Whether the world beyond that armoured door is as uninhabitable as we think fuels the paranoia of both 2016’s 10 Cloverfield Lane, and the rather more expansive Silo, a TV adaptation of Hugh Howey’s series of sf thrillers.

Still, it’s hard to think of a movie genre so resistant to innovation as this one. While it solves the problem of small budgets, the one-room scenario doesn’t at all play to genre’s manic strengths. The best one-room thrillers aren’t science fiction at all, but regular thrillers. In Geoffrey Household’s unforgettable 1939 novel Rogue Male, to take an extreme example, Hitler’s would-be assassin is foiled and has to go hide under a hedge.

The trick, when writing science fiction versions of such stories, is to treat seriously the macguffin that created your scenario in the first place. The psychocidal monsters of Bird Box, first invented by Josh Malerman for his 2014 novel, are a wonderfully insolent, high-concept proposition. The big-eared raptors of A Quiet Place are only marginally less convincing.

Come 2020’s The Midnight Sky however, and the scraping of the barrel has become almost deafening, as radiation (that’s it, that’s all you’re getting: “radiation”) comes to stand in for what we tuned in for: a display of malign and cackling inventiveness. 2021’s Tom Hanks vehicle Finch was a winningly goofy proposition on paper — a grumpy old man, dying in the End Times, invents a robot to look after his dog — but the entire enterprise had the charm sucked out of it by that cursory macguffin: a massive solar flare used merely to excuse a smorgasbord of unrelated bad-weather CGI.

In 2010 Breathe’s screenwriter Doug Simon co-wrote a low-budget film called Brotherhood. Tellingly enough, that was a far more successful one-room thriller, about a college fraternity initiation rite gone horribly wrong. Turning to science fiction, Simon seems to have made the frequent and fatal assumption that SF comes with all the necessary inventiveness somehow “built in”.

Why has the oxygen vanished, more or less overnight, from Breathe’s gasping Earth? Its not even as if we needed a rational explanation; we just needed a compelling one. In its place we get a story as sterile as the planet it’s set on.

A lousy container for thought

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A critical survey of climate fiction for The Bookseller, 18 October 2021

A genre to contain our imaginative responses to climate change was only ever going to be a house built of straw. Climate change is not like any other problem — the nuclear threat, say, or the hole in the ozone layer, or big tobacco, or big pharma. We are used to satirising, vilifying and sometimes even explaining and humanising our societal mistakes. But our species’ role in the earth’s average temperature rise isn’t, in any meaningful sense, either an accident or an oversight; nor is it a deliberate act of malevolence or of willful blindness. It’s a wicked problem, embracing generations living and dead and still to be born, implicating everyone on earth, and calling into question every stab we’ve ever made at progress.

Calling attention to the problem has been the easy bit. We had tools we could use. Science fiction, in particular, had over half a century’s experience exploring risks of all kinds, not all of them goofy or existential, when George Turner’s The Sea and Summer (1987) turned a generation of SF readers on to the firestorms to come.

The work we these days most easily classify as “climate fiction” has hardly got beyond that early, siren-sounding stage. That sounds like a problem, but I’m not sure it is one. Promoting a genre means giving it clear lines and simple definitions. Of course work labelled “cli-fi” remains wedded to an essentially dystopic view of the future: those are the rules we set for it. Nor, come to that, is there anything wrong with informing emerging generations of the problems they must face. Marcus Sedgwick and Paolo Bacigalupi and their peers have built worthwhile careers on this minatory effort. There’s no point complaining about how “cli-fi” aestheticises the disasters it depicts. Artists communicate through beauty, not disgust. (Go look at Goya, if you don’t believe me.)

And there has been progress. The genre’s brief has widened. The Swan Book by Australian Aboriginal author and land rights activist Alexis Wright (2013) highlights how the colonial abuse of peoples goes hand in hand with the land’s exhaustion. Cherie Dimaline’s The Marrow Thieves (2017) would have us stop treating the world as a series of problems to be solved.

This approach, it is true, has less appeal for those of us who have more of our lives to look back on than to look forward to. For us, solutions to the End Times can’t come quickly enough.

Bruce Sterling’s Viridian Design Movement and Neal Stephenson’s Hieroglyph Project promised to amass fictional thought experiments to solve our difficult future. Though their calls for submissions of socially useful fiction were directed at younger writers from diverse backgrounds, they were, in essence, activities aimed at old western men in a hurry. These projects fell short of their promise, but not, I think, because they tried to be positive, and not because they came from an unfashionable corner of the culture. They failed *because fiction is the wrong tool for that kind of work*. Fiction is — let’s be frank here — a lousy container for thought.

One of the most successful climate-engaged books of the last couple of years, Richard Powers’s The Overstory, is, dramatically speaking, also one of the most underwhelming: little more than an animated Wikipedia trawl through contemporary abuses in the forestry sector. James Bradley contracts a milder version of the same disease in his recent novel Ghost Species (2021): a thinly fictionalised series of opinion pieces on the role of synthetic biology in addressing biome loss.

These books are symptoms of our moment, not shapers of it, and that’s because fiction undermines received opinion far more effectively than it establishes it. It’s a solvent, not a glue. Far more influential on the cli-fi scene are David Mitchell’s Cloud Atlas (2004) and Margaret Atwood’s Maddaddam trilogy — works that, significantly, leave us questioning the very idea that climate solutions are possible.

Writers! Let’s leave dealing with climate change to the grown-ups, and go back to our proper job: teasing out what it feels like to be in a climate crisis.

Yun Ko-eun’s 2020 satire The Disaster Tourist describes an economy geared to our appetite for disaster. Gathering Evidence by Martin MacInnes and The Rain Heron by Robbie Arnott (both 2020) spin twisted eco-fables thick with guilt and dripping with cognitive dissonance. Jeff Vandermeer dons the motley of a private eye to solve the murder of the Earth in Hummingbird Salamander (2021); and Laura Jean Mckay gives our doomed biome a voice in The Animals in That Country (2020).

These books and others are at last addressing the subjective experience of climate change. That’s vital psychological work, and socially useful with it: you can throw facts at our heads all day long, but people will deny and avoid that which they cannot feel.

Meanwhile, within science fiction and the high-concept thriller, and from out of the recent glut of “dystopian” fiction, a much keener, cleverer, more properly fictional approach is emerging to address the climate crisis.

It’s the creeping uncanny of the coming apocalypse that’s engaging the current wave of climate-engaged writers. Under the Blue by Oana Aristide and This Fragile Earth by Susannah Wise both exploit the fact that anything on the scale of a climate disaster is going to be slow. Civilisation will collapse, but the shelves won’t empty overnight, and the flood insurance won’t bankrupt you just yet. Wise goes even further, projecting beyond climate disaster towards a workable new world. All around us, the city’s 3D-printed buildings are spiralling into being, while a few hardy saplings in the derelict neighbourhood park are “evidence of the blight’s end”. Whether Wise’s heroine will ever be able to wrap her pre-apocalyptic head around this post-apocalyptic future is, however, uncertain.

In the Goldsmiths-winning The Sunken Land Begins to Rise Again (2020), to take an even more powerful example, M John Harrison leads his readers around the archaeological leavings of Ironbridge picking his way between the foetuses of discarded genetic experiments spilling from the back of an aquarium shop. This is a world where current tools and technology can find no purchase in a reality that’s already wedded to the future.

This new crop of climate fiction won’t, after all, help us save tomorrow — but it will, and for the first time, help us picture it. For as long as they were wedded to what might happen in the future, writers of climate fiction could only amount to a bunch of Cassandras, trumpeting their own importance. Now they are feeding on much richer meat. Cli-fi has stuck its teeth into the present.

One courageous act

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Watching A New World Order for New Scientist, 8 September 2021

“For to him that is joined to all the living there is hope,” runs the verse from Ecclesiastes, “for a living dog is better than a dead lion.”

Stefan Ebel plays Thomasz, the film’s “living dog”, a deserter who, more frightened than callous, has learned to look out solely for himself.

In the near future, military robots have turned against their makers. The war seems almost over. Perhaps Thomasz has wriggled and dodged his way to the least settled part of the planet (Daniel Raboldt’s debut feature is handsomely shot in Arctic Finland by co-writer Thorsten Franzen). Equally likely, this is what the whole planet looks like now: trees sweeping in to fill the spaces left by an exterminated humanity.

You might expect the script to make this point clear, but there is no script; rather, there is no dialogue. The machines (wasp-like drones, elephantine tripods, and one magnificent airborne battleship that that would not look out of place in a Marvel movie) target people by listening out for their voices; consequently, not a word can be exchanged between Thomasz and his captor Lilja, played by Siri Nase.

Lilja takes Thomasz prisoner because she needs his brute strength. A day’s walk away from the questionable safety of her log cabin home, there is a burned-out military convoy. Amidst the wreckage and bodies, there is a heavy case — and in the case, there is a tactical nuke. Lilja needs Thomasz’s help in dragging it to where she can detonate it, perhaps bringing down the machines. While Thomasz acts out of fear, Lilja is acting out of despair. She has nothing more to live for. While Thomasz wants to live at any cost, Lilja just wants to die. Both are reduced to using each other. Both will have to learn to trust again.

In 2018, John Krasinski’s A Quiet Place arrived in cinemas — a film in which aliens chase down every sound and slaughter its maker. This cannot have been a happy day for the devoted and mostly unpaid German enthusiasts working on A New World Order. But silent movies are no novelty, and theirs has clearly ploughed its own furrow. The film’s sound design, by Sebastian Tarcan, is especially striking, balancing levels so that even a car’s gear change comes across as an imminent alien threat. (Wonderfully, there’s an acknowledging nod to the BBC’s Tripods series buried in the war machines’ emergency signal.)

Writing good silent film is something of a lost art. It’s much easier for writers to explain their story through dialogue, than to propel it through action. Maybe this is why silent film, done well, is such a powerful experience. There is a scene in this movie where Thomasz realises, not only that he has to do the courageous thing, but that he is at last capable of doing it. Ebel, on his own on a scree-strewn Finnish hillside, plays the moment to perfection.

Somewhere on this independent film’s long and interrupted road to distribution (it began life on Kickstarter in 2016) someone decided “A Living Dog” was too obscure a film title for these godless times — a pity, I think, and not just because “A New World Order”, the title picked for UK distribution, manages to be at once pompous and meaningless.

Ebel’s pitch-perfect performance drips guilt and bad conscience. In order to stay alive, he has learned to crawl about the earth. But Lilja’s example, and his own conscience, will turn dog to lion at last, and in a genre that never tires of presenting us with hyper-capable heroes, it’s refreshing, on this occasion, to follow the forging of one courageous act.