Prophet Song Terrifies
Dystopia: an imagined state or society in which there is great suffering or injustice, typically one that is totalitarian or post-apocalyptic.
In the 1990’s I taught Atwood’s Handmaids Tale to Grade 12 students and much later, it became the series of the week. We were pinned to the television wanting to know Offred’s future, if she had escaped from her situation to safety in Canada. We knew that every hideous attack in the book against humans had been committed somewhere in the world previously, from deprivations , tortures, rapes , hangings, impulsive and erratic slaughters, and we were shook by the horrors that happened and terribly, continue to happen. And yet Atwood provided the stories of the Handmaids with small streaks of joy from hidden friendships, babies’ chatter, a smile, a glimpse of green.
In Paul Lynch’s Prophet Song, from the outset, there is only darkness, fear and grief, all whispers or minuscule peeks to alleviate the overwhelming canceling of human life. From the first knock at Eilish Stack’s door by two nondescript men, her world is polluted, invaded by a virus that is so heavy that it changes the very air she and her family breathe. From that moment, her world begins to collapse “…for something of that darkness has come into the house.” And we experience her unease, “she wants to put the baby down; she wants to stand and think… and into the hallway of its own accord, something formless [is] felt. She can sense it skulking alongside her as she steps through the living room.”
Although the signs were all ready in place, that heaviness, that invasion of brutality envelops more and more. The location of the story is Ireland but the details, the whys, the actual opponents are not named, not competing religions nor nations, merely repressive acts. She is encountering the government, agents of the Garda National Services Bureau and later as they rise up, the rebels, who will further tear apart her life. Our entry into the demise is through this one single family and Eilish, scientist, wife, mother, daughter and friend who attempts to hold her world together as it is dissembled, initiated by that initial corrupting knock at her door.
Nothing important, the men say, just have him ring us. Paul, her husband, deputy general secretary of the teachers’ trade union is the first block to be removed from Eilish’s scaffolding. Her children resent her, believing she is somehow responsible, for all children think we can protect them endlessly. Indeed, she tries. She’s just an ordinary person making calls, reaching out, engaging lawyers, doing her limited best to unravel the tangle in which she finds herself.
Bailey, her 12 year old, calls her an old bitch, blaming her for sending their father away. Yet she attempts to maintain the routines of normalcy for her children, getting them up for school, going to work as manager in her biochemist job, attending to her father’s needs, keeping the semblance of everyday life alive as her existence continues to come undone . But in spite of her ongoing endeavours to have Paul released, he has been sucked up into an unknowable vacuum of blank faces, meaningless words, useless outreaches.
Bailey admonishes her with talk of “ the worm” who has gotten them. She brushes that attack away, but it is true. This world where there are more and more restrictions, more barriers, more limitations marked by controlling newsrooms, national emergencies, armed guards, nondescript detectives, illegal arrests and detentions, silenced lawyers, increased spying, more bombings… does resemble a burrowing worm. It quietly works beneath the surface, digesting the once recognizable surfaces by infiltrating quietly, insidiously, overturning familiar space into ugly unrecognizable lumps.
Her sister Aine in Canada beseeches Eilish to leave as quickly as possible, but like people tied to their homes and certainly too many Holocaust dwellers before the final solution, she is rooted, unable to cast off her associations, relationships and ,of course, is determined that Paul will be released( is organizing a peace march a crime?) and she must look to her father Simon’s needs as dementia creeps into his life, and what of Molly’s sports and Mark’s girlfriend, Samantha? Aine repeats, “history is a silent record of people who did not know when to leave, yet leaving is not simple. Ironically, occasionally Simon does see clearly as he reminds Eilish that she believes in rights that don’t exist, “the rights you speak of cannot be verified, they are a fiction decreed by the state”. He implores her to leave him behind and go to Canada – anywhere but here. Eilish pushes the idea aside.
And yet Paul does not return and Mark at school receives a call up for the army. So in spite of Eilish holding things together, the platforms of her existence are cracking: Molly quits sports, refuses to eat; both Mark and Bailey disregard government curfews, people disappear from jobs and on the street and at work, and Eilish cannot stop the darkness, the troubling invader that has arrived at her door with the knocking of those two men.
Lynch’s style reinforces the terror as sentences of thoughts, and spoken interchanges are not separated on the page, nor designated by quotation marks. We are caught in Eilish’s world, held captive to her thinking and doing. It is difficult to immediately discern sentences spoken out loud from sentences in her mind. And there is that continual confusion of the mind’s darkening paranoia.
The word “body” is a motif repeated throughout. She is merely another body to either group that shoots innocent people at barriers, dispensable, faceless, grist to their mill, to be moved about, made to disappear. She experiences events in her body, not intellectualizing them. Details are grounded in concrete experiences and when Bailey is hit with shrapnel that requires an operation, Eilish is caught in a labyrinth of hospitals, lies, equivocation and horrors that are more dreamlike than real. The reader, you, is increasingly and more and more deeply drawn into this unrelentingly breathless style that Lynch commandeers so we cannot disregard the ground crumbling beneath our feet along with Eilish’s holding at bay the entrapping reality that is swallowing both her and her son. We whirl in meaningless obfuscation, talk that hides and manipulates the ordinary person when we need answers to our worst nightmares; the only question: where is my son?
Life as Eilish once knew it plummets and plummets. the truth of anything cannot be known; she “learns again and again that there is so little we can control and understand in the face of societal collapses.”
Indeed, when he wrote Prophets Song, Lynch said that he was then thinking of “the unrest in Western democracies [and] the problem of Syria — the implosion of an entire nation, the scale of its refugee crisis and the West’s indifference.”
In these unbelievable days of totalitarian and fascist governments, horrors worldwide, Paul Lynch’s novel continues to frighten, almost documenting attacks in Ukraine, Israel and Gaza… bringing them closer. “The end of the world is always a local event,” Lynch writes near the end of his tale. “It comes to your country and visits your town and knocks on the door of your house and becomes to others but some distant warning, a brief report on the news, an echo of events that has passed into folklore.”
No packing up, no exit, no reprieve, no Canada as sanctuary, and nowhere to run. Well written, engaging and troubling, and although one friend described it “ miserable”, I find it worse .