Highlights from Sea of Tranquility by Emily St. John Mandel Last read on August 27, 2022
Highlights from this book
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“I was so confused by your book,” a woman in Dallas said. “There were all these strands, narratively speaking, all these characters, and I felt like I was waiting for them to connect, but they didn’t, ultimately. The book just ended. I was like”—she was some distance away, in the darkened audience, but Olive saw that she was miming flipping through a book and running out of pages—“I was just like, *Huh*? *Is the book missing pages*? It just *ended*.”
“Okay,” Olive said. “So just to clarify, your question is…”
“I was just, like, *what*,” the woman said. “My question is just…” She spread her hands, like *help me out here, I’ve run out of words*
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“Is this your first time staying with us?” a woman at a reception desk for the third or fourth hotel said to her, and Olive wasn’t sure how to answer, because if you’ve stayed in one Marriott, haven’t you stayed in all of them?
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“In the city of Seleucia,” Olive told a crowd at the Mercantile Library in Cincinnati, a day or two later, “the Roman army had destroyed the temple of Apollo. In that temple, the historian Ammianus Marcellinus wrote, Roman soldiers had discovered a narrow crevice. When the Romans opened this hole wider, in the hope that it might contain valuables, Marcellinus wrote that there ‘issued a pestilence, loaded with the force of incurable disease, which…polluted the whole world from the borders of Persia to the Rhine and Gaul with contagion and death.’ ”
A beat. A sip of water. Pacing is everything.
“This explanation might seem a little silly to us now, but they were grasping wildly for an explanation for the nightmare that had befallen them, and I think that in its outlandishness, the explanation touches upon the root of our fear: illness still carries a terrible mystery.”
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The library director nodded, her eyes wandering. She clearly didn’t want to talk about pandemics. “Let me tell you something magnificent about this place,” she said.
“Oh, please do,” Olive said. “It’s been a while since anyone’s told me anything magnificent.”
“So we don’t own the building,” the director said, “but we hold a ten-thousand-year lease on the space.”
“You’re right. That’s magnificent.”
“Nineteenth-century hubris. Imagine thinking civilization would still exist in ten thousand years. But there’s more.” She leaned forward, paused for effect. “The lease is renewable.”
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“Well, some of us don’t have doctorates in literature, Jim,” Jessica said to the interviewer, in response to some imperceptible provocation. The look on his face mirrored Olive’s thought at that moment: Well, that escalated quickly. But a man in the audience was standing up with a question about Marienbad. Almost all of the questions were about Marienbad, which was awkward because Jessica was there too, Jessica with her book about coming of age in the moon colonies. Olive was pretending that she hadn’t read Moon/Rise, because she’d hated it. Olive had lived the real thing, and it wasn’t nearly as poetic as Jessica’s book suggested. Growing up in a moon colony was fine. It was neither great nor dystopian. It was a little house in a pleasant neighborhood of tree-lined streets, a good but not extraordinary public school, life lived at a consistent 15° to 22° Celsius under carefully calibrated dome lighting, scheduled rainfalls. She didn’t grow up longing for Earth or experience her life as a continual displacement, thank you.
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“You know the phrase I keep thinking about?” a poet asked, on a different panel, at a festival in Copenhagen. “ ‘The chickens are coming home to roost.’ Because it’s never good chickens. It’s never ‘You’ve been a good person and now your chickens are coming home to roost.’ It’s never good chickens. It’s always bad chickens.”
Scattered laughter and applause. A man in the audience was having a coughing fit. He left quickly, bent over in an apologetic way. Olive wrote no good chickens in the margin of her festival program.
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No star burns forever. You can say “It’s the end of the world” and mean it, but what gets lost in that kind of careless usage is that the world will eventually literally end. Not “civilization,” whatever that is, but the actual planet.
Which is not to say that those smaller endings aren’t annihilating. A year before I began my training at the Time Institute, I went to a dinner party at my friend Ephrem’s place. He was just back from a vacation on Earth, and he had a story about going on a walk in a cemetery with his daughter, Meiying, who was four at the time. Ephrem was an arborist. He liked to go to old cemeteries to look at the trees. But then they found the grave of another four-year-old girl, Ephrem told me, and he just wanted to leave after that. He was used to graveyards, he sought them out, he’d always said he didn’t find them depressing, just peaceful, but that one grave just got to him. He looked at it and was unbearably sad. Also it was the worst kind of Earth summer day, impossibly humid, and he felt like he couldn’t get enough air. The drone of the cicadas was oppressive. Sweat ran down his back. He told his daughter it was time to go, but she lingered by the gravestone for a moment.
“If her parents loved her,” Meiying said, “it would have felt like the end of the world.”
It was such an eerily astute observation, Ephrem told me, that he stood there staring at her and found himself thinking, Where did you come from? They got out of the cemetery with difficulty—“She had to stop and inspect every goddamn flower and pinecone,” he said—and never went back.
Those are the worlds that end in our day-to-day lives, these stopped children, these annihilating losses, but at the end of Earth there will be actual, literal annihilation, hence the colonies. The first colony on the moon was intended as a prototype, a practice run for establishing a presence in other solar systems in the coming centuries. “Because we’ll have to,” the president of China said, at the press conference where construction on the first colony was announced, “eventually, whether we want to or not, unless we want all of human history and achievement to get sucked into a supernova a few million years down the line.”
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“The job requires an almost inhuman level of detachment,” she said finally. “Did I say almost? Not almost inhuman, actually inhuman.”
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“As is the Time Institute. The premier research university on the moon, possessor of the only working time machine in existence, intimately enmeshed in government and in law enforcement. Even one of those things would imply a formidable bureaucracy, don’t you think? What you have to understand is that bureaucracy is an organism, and the prime goal of every organism is self-protection. Bureaucracy exists to protect itself.” She was gazing across the river again. “We lived on the third floor,” she said, pointing. “The balcony with the vines and rosebushes.”
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Sometimes in the garden, he liked to talk to Gilbert, although Gilbert was dead. Gilbert and Niall had both died in the Battle of the Somme, a day apart, while Edwin had survived Passchendaele. No, survived was the wrong word. Edwin’s animate body had returned from Passchendaele. He thought of his body now in strictly mechanical terms. His heart flapped deathlessly. He continued to breathe. He was in good physical health, except for the missing foot, but he was fundamentally unsound. It was difficult to be alive in the world.
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Edwin’s gaze drifted away from the man’s face, to the mild decrepitude of the September garden. The salvias were bare now, for the most part, brown stalks and dried leaves, a few last blooms wisping blue and violet in the failing light. He was struck by an understanding of what his life could be from this moment: he could live here quietly, and care for the garden, and that might eventually be enough.
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“That’s fair.” Gaspery felt a little unhinged. “I’m sorry,” he said to Zoey. “I’m sorry I tricked you.” But she was already being escorted from the room, the door closing behind her.
“You tricked her?” Ephrem asked.
“I told her I was going to 1918 as part of the investigation. I was really there to try to save Edwin St. Andrew from dying in an insane asylum.”
“Seriously, Gaspery? Yet another crime? Does someone have an updated bio?”
Aretta was frowning at her device. “Updated bio,” she said. “Thirty-five days after Gaspery’s visit, Edwin St. Andrew died in the 1918 flu pandemic.”
“Isn’t that the same bio?” Ephrem reached for her device, read for a moment, then handed it back with a sigh. “If you hadn’t changed the time line,” he said to Gaspery, “he still would’ve died of the flu, just forty-eight hours later and in an insane asylum. You see how pointless that was?”
“You’re missing the point,” Gaspery said.
“That’s very possible.” Were there tears in Ephrem’s eyes? He looked tired and strained. A man who’d preferred being an arborist; a man in a difficult position, doing a difficult job. “Is there anything you’d like to say?”
“Are we at last words already, Ephrem?”
“Well, last words in this century,” Ephrem said. “Last words on the moon. I’m afraid you’ll be traveling some distance and not returning.”
“Can you take care of my cat?” Gaspery asked.
Ephrem blinked.
“Yes, Gaspery, I’ll take care of your cat.”
“Thank you.”
“Is there anything else?”
“I’d do it again,” Gaspery said. “I wouldn’t even hesitate.”
Ephrem sighed. “Good to know.” He’d been holding a glass bottle behind his back. He raised it now, and misted something in Gaspery’s face. There was a sweet scent, a dimming of the lights, then Gaspery’s legs were giving way—
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“—which is to say I’ve had the opportunity to speak with a great many people about postapocalyptic literature. I’ve heard a great many theories about why there’s such interest in the genre. One person suggested to me that it had to do with economic inequality, that in a world that can seem fundamentally unfair, perhaps we long to just blow everything up and start over and I’m not sure I agree with that, but it’s an intriguing thought.” The holograms shifted and stared. She liked the idea that she could still hold a room, even if now the room was just in the holospace, even if the room wasn’t really a room. “Someone suggested to me that it has to do with a secret longing for heroism, which I found interesting. Perhaps we believe on some level that if the world were to end and be remade, if some unthinkable catastrophe were to occur, then perhaps we might be remade too, perhaps into better, more heroic, more honorable people. Some people have suggested to me that it’s about the catastrophes on Earth, the decision to build domes over countless cities, the tragedy of being forced to abandon entire countries due to rising water or rising heat, but that doesn’t ring true to me. Our anxiety is warranted, and it’s not unreasonable to suggest that we might channel that anxiety into fiction, but the problem with that theory is, our anxiety is nothing new. When have we ever believed that the world wasn’t ending?
“I had a fascinating conversation with my mother once, where she talked about the guilt she and her friends had felt about bringing children into the universe. This was in the mid-2160s, in Colony Two. It’s hard to imagine a more tranquil time or place, but they were concerned about asteroid storms, and if life on the moon became untenable, about the continued viability of life on Earth and my point is, there’s always something. I think, as a species, we have a desire to believe that we’re living at the climax of the story. It’s a kind of narcissism. We want to believe that we’re uniquely important, that we’re living at the end of history, that now, after all these millennia of false alarms, now is finally the worst that it’s ever been, that finally we have reached the end of the world. “But all of this raises an interesting question,” Olive said. “What if it always is the end of the world?” “Because we might reasonably think of the end of the world,” Olive said, “as a continuous and never-ending process.””