Death with interruptions

José Saramago

Book - 2008

"On the first day of the new year, no one dies. This, understandably, causes consternation among politicians, religious leaders, funeral directors, and doctors. Among the general public, on the other hand, there is initially celebration - flags are hung out on balconies, people dance in the streets. They have achieved the great goal of humanity: eternal life. Then reality hits home - families are left to care for the permanently dying, life-insurance policies become meaningless, and funeral directors are reduced to arranging burials for pet dogs, cats, hamsters, and parrots. Death sits in her chilly apartment, where she lives alone with scythe and filing cabinets, and contemplates her experiment: What if no one ever died again? What if... she, death with a small d, became human and were to fall in love?"--Jacket blurb.

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Subjects
Published
Orlando : Harcourt c2008.
Language
English
Portuguese
Main Author
José Saramago (-)
Other Authors
Margaret Jull Costa (-)
Edition
1st U.S. ed
Item Description
First published in Great Britain in 2008 by Harvill Secker.
Physical Description
238 p. ; 22 cm
ISBN
9780151012749
Contents unavailable.
Review by New York Times Review

THE Nobel Prize in Literature is a confusing gift. The glamour, the affirmation, the open invitation to publish - these are not always healthy for a writer. One hoped José Saramago, the Portuguese author who became a laureate in 1998 at the age of 75, would emerge unaffected. He is a writer of great discipline who became well known only in his 50s. But the skinny novel "Death With Interruptions," following on the heels of the equally uncertain "Seeing," suggests he is not immune. Saramago's work has had two peaks, one in the mid 1980s with the subtle and masterly modernist novel "The Year of the Death of Ricardo Reis," a mind-meld of the author and the great poet Fernando Pessoa set in Lisbon in the epochal year 1936, and another in the mid-'90s when his writing was characterized by a sun-bleached plainness that led to his brilliant parable of societal decline, "Blindness," published here in 1998. His work today feels by comparison begrudging and also a bit unfocused. The "to be sure" clause: Saramago is 85 now and owes us nothing. And this novel has many pleasures. There is the author's shrewd ironic voice, distinctive even in translation. "Death With Interruptions" begins at the stroke of midnight on New Year's Eve of an unstated year, when the people of an unnamed country - it feels as if we are in a land with Portugal's political history and South America's geography suddenly stop dying. People now languish but never quite pass away. No one knows why. Saramago's narrators are often clerks of some sort, lifers, men who have stayed alive by staying out of the way. They are rarely named. Where others would see magic realism, they see stratagems and counterstratagems, the threat chat people will game the system. Here the narrator querulously objects to the passing of an era when 'there were people who died in full compliance with the rules." "Death With Interruptions" also has a surprise for a title character; death is nicely conceived by Saramago as a spiteful female shape-shifter who takes a shine to a cellist she can't seem to finish off. But here as in his other recent books, there is an airlessness to Saramago's writing. One senses that the author, a lifelong critic of capitalism, is mostly interested in pricking the modern state. Critique muscles out character. The book's humor is thin. We make up stories at bedtime because we love our children; likewise the novelist has to want the readers he or she has. With Saramago, the rustling sound is the feeling he's pushing us away. "Death With Interruptions" is a novel in two parts. The first is the story of the "death strike." The second is death's pursuit of the cellist. The first part is the drier. At the book's beginning, when death first stops killing, ordinary people are thrilled. They realize they are in possession of "humanity's greatest dream since the beginning of time." But soberer minds, worldly minds, minds with priests and troops and capital at their call, prevail. For the institutions of power, the end of death is a calamity. It threatens to bankrupt the pension system. It will put funeral homes and life insurers out of business. The absence of death, at first good news, now threatens to be every bit as big a social catastrophe as the plague of blindness was in Saramago's novel of that name. "If we don't start dying again, we have no future," the prime minister tells the king. At first no motive is given for the events of the story - why has death taken a holiday? - and the second part of the book works to provide it. The months that follow the death strike are a time of instability. Families carry their loved ones across the border to kill them. The government tries to prohibit it. Then the other underworld - the criminal one - muscles in to get a piece of the action. Finally, seven months after the end of dying, a violet-colored envelope appears on the desk of the director of the director-general of television. (In Saramago's world, such statist jobs still exist; he is the last writer from the other Europe.) The note, signed "death," informs the country that its author will begin killing people again effective midnight that night. The moratorium, she explains, was an experiment that failed. One policy change: she will send her victims advance warning by mail, letting them know they have a week to live. The government is relieved, nursing home directors break out the Champagne and the Mob turns its attention to shaking down funeral parlors. We meet the grim reaper and find she is, not surprisingly, a traditionalist. She shuns e-mail. Mere bone in a hood, she assumes human form when she goes out, and wears sunglasses to protect her newfound eyes. Used to being obeyed, she is willful. What is bugging her is that cellist - a 50-year-old bachelor who sleeps in striped pajamas with his dog. The man has mysteriously evaded the fatal letter she has tried to send him. Death resolves to visit him in his modest apartment. All she has to do is hand him the envelope in person and her mastery will be restored. But she can't. It turns out that she is as lonely as she is proud. She wants a relationship. And she likes the cellist. "His life runs between the magical lines of the pentagram," she sees. When he plays her Bach's Suite No. 6, she is hooked. Death's hands, cold for millenniums, at last warm up. Is there a particular meaning to the wistful fantasy of the second half of this book, in which a cellist - not even a soloist but just part of the string section - beds the dark lady herself? Death is the ultimate junta, able to make us all disappear. And the cellist, modest, unassertive, resigned, is her equal. So does the cellist represent the power of art? Or is he the working class and death the International Monetary Fund? Or maybe he's just a guy who got lucky with the wrong girl? Saramago's not saying. Indeed the feel of this book is really the sound of no sound, of the unsaid and the unsayable and the too tired to say. Maybe this is just Saramago growing old. Writing novels is hard work. Or maybe even this committed novelist has thrown up his hands at modern life. "Love one mother were the words once spoken, and now it is time to begin," Saramago wrote in "Ricardo Reis." Eleven years later, a writer in the midst of the plague of sightlessness in "Blindness" is asked, "Do you mean that we have more words than we need?" He responds: "I mean that we have too few feelings. Or that we have them but have ceased to use the words they express. And so we lose them." So 10 years later, is "Death With Interruptions" Saramago's effort to show that we have lost a few more? At the stroke of midnight on New Year's Eve, the people of an unnamed country suddenly stop dying. D.T. Max is the author of "The Family That Couldn't Sleep: A Medical Mystery."

Copyright (c) The New York Times Company [October 27, 2009]
Review by Publisher's Weekly Review

Starred Review. Saramago's philosophical page-turner hinges on death taking a holiday. And, Saramago being Saramago, he turns what could be the stuff of late-night stoner debate into a lucid, playful and politically edgy novel of ideas. For reasons initially unclear, people stop dying in an unnamed country on New Year's Day. Shortly after death begins her break (death is a woman here), there's a catastrophic collapse in the funeral industry; disruption in hospitals of the usual rotational process of patients coming in, getting better or dying; and general havoc. There's much debate and discussion on the link between death, resurrection and the church, and while the clandestine traffic of the terminally ill into bordering countries leads to government collusion with the criminal self-styled maphia, death falls in love with a terminally ill cellist. Saramago adds two satisfying cliffhangers--how far can he go with the concept, and will death succumb to human love? The package is profound, resonant and--bonus--entertaining. (Oct.) (c) Copyright PWxyz, LLC. All rights reserved All rights reserved.

(c) Copyright PWxyz, LLC. All rights reserved
Review by Library Journal Review

Death never sleeps, but in Saramago's world there is the possibility that she might decide to try. As in his masterpiece, Blindness, the 1998 Nobel Prize winner begins by altering an immutable aspect of the human condition: for seven months in an unnamed country, beginning on New Year's Day, people cease to die. The "long digression" that opens the novel is a series of satirical sketches that describe the reaction of different sections of society to this development. Funeral homes transition to burying domestic animals, the local "maphia" profits from the illegal transport of ailing citizens across the border into countries where death still functions, and economists publish alarming articles about "permanent disability pensions." Though the novel finds the right balance between the absurd and the profound, it is saved from sinking beneath an excess of cleverness only by the emergence of a memorable protagonist 100 pages in. This is death herself (she prefers a lowercase "d"), who, in a letter written on violet-colored stationery, explains the reasons for her disappearance. One of our greatest living writers, Saramago continues to produce stimulating and multifaceted work well into his eighties. Recommended for all libraries.--Forest Turner, Suffolk Cty. House of Correction Lib., Boston (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

(c) Copyright Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
Review by Kirkus Book Review

When Portugal's Jos Saramago received the 1998 Nobel Prize, it seemed a fitting climactic acknowledgement of a brilliant career of a stubbornly independent genius who--like Tolstoy and Verdi and Picasso in their times, the late Saul Bellow and the ever underrated Hortense Calisher in our own--had demonstrated unimpaired creative power well into old age. Saramago's time to be thrust onto the pantheon had come, it seemed, just as his working life must be nearing its end. His 80th year was approaching, and he had dominated the international scene with an imposing succession of recent masterpieces, crowned by his luminous 1995 novel Blindness, an ingenious Orwellian parable soon to become even better known in acclaimed director Fernando Meirelles's forthcoming film. But Saramago wasn't done, and increasingly complex, mischievous, astonishingly inventive books kept coming: a reimagining of Plato's classic allegory in which a humble artisan's graceful creations fall victim to punitive government restrictions--until he fights back (The Cave); the voyage of discovery shared by exact physical likenesses, during which both men are challenged, and fulfilled (The Double); a forthright political satire (Seeing, developed from the elements of Blindness), wherein a stiff-necked government is panicked, and given a salutary comeuppance, when a majority of its citizens rise up in protest and refuse to vote in a major election. Much of Saramago's biography is in his books: his unconventional writing life, begun early, then suspended for several decades while he supported himself as an auto mechanic, teacher, translator and journalist (before the critical success of his 1992 historical romance Baltasar and Blimunda); his avowed Communism and atheism (incarnated in the intricate sociopolitical texture of his finest novel A Year in the Death of Ricardo Reis and his serenely inflammatory The Gospel According to Jesus Christ); and his contempt for stultifying xenophobia and bureaucratic obtuseness (given memorable symbolic form in The Tale of the Unknown Island and All the Names). The author looms again, we infer, in Death with Interruptions, in which a universe of dramatic possibility exfoliates from its stunning, cunning opening sentence: "The following day, no one died." The premise's development occupies the novel's first half, featuring an unnamed country's contrivance--with the aid of organized crime--to shuttle inconveniently terminally ill survivors across its borders (where the moribund keep dying, as usual) and handle the complaints of hospitals, morticians and other providers of essential services threatened with financial ruin. Then, in a spectacular tonal and thematic shift, Death herself becomes the protagonist, and the nature of her intimacy with humans becomes the vehicle for a thrilling threnody composed of grief, love (for that which cannot last) and a resigned, muted acceptance of the inevitable. Simultaneously, we may sense we hear the voice of a great artisan who may not have shown us the last of his creations; who instead whispers his promise: Not just yet, there's more to be told. Copyright ©Kirkus Reviews, used with permission.

Copyright (c) Kirkus Reviews, used with permission.

The following day, no one died. this fact, being absolutely contrary to life's rules, provoked enormous and, in the circumstances, perfectly justifiable anxiety in people's minds, for we have only to consider that in the entire forty volumes of universal history there is no mention, not even one exemplary case, of such a phenomenon ever having occurred, for a whole day to go by, with its generous allowance of twenty- four hours, diurnal and nocturnal, matutinal and vespertine, without one death from an illness, a fatal fall, or a successful suicide, not one, not a single one. Not even from a car accident, so frequent on festive occasions, when blithe irresponsibility and an excess of alcohol jockey for position on the roads to decide who will reach death first. New year's eve had failed to leave behind it the usual calamitous trail of fatalities, as if old atropos with her great bared teeth had decided to put aside her shears for a day. There was, however, no shortage of blood. Bewildered, confused, distraught, struggling to control their feelings of nausea, the firemen extracted from the mangled remains wretched human bodies that, according to the mathematical logic of the collisions, should have been well and truly dead, but which, despite the seriousness of the injuries and lesions suffered, remained alive and were carried off to hospital, accompanied by the shrill sound of the ambulance sirens. None of these people would die along the way and all would disprove the most pessimistic of medical prognoses, There's nothing to be done for the poor man, it's not even worth operating, a complete waste of time, said the surgeon to the nurse as she was adjusting his mask. And the day before, there would probably have been no salvation for this particular patient, but one thing was clear, today, the victim refused to die. And what was happening here was happening throughout the country. Up until the very dot of midnight on the last day of the year there were people who died in full compliance with the rules, both those relating to the nub of the matter, i.e. the termination of life, and those relating to the many ways in which the aforementioned nub, with varying degrees of pomp and solemnity, chooses to mark the fatal moment. One particularly interesting case, interesting because of the person involved, was that of the very ancient and venerable queen mother. At one minute to midnight on the thirty- first of december, no one would have been so ingenuous as to bet a spent match on the life of the royal lady. With all hope lost, with the doctors helpless in the face of the implacable medical evidence, the royal family, hierarchically arranged around the bed, waited with resignation for the matriarch's last breath, perhaps a few words, a final edifying comment regarding the moral ed- ucation of the beloved princes, her grandsons, perhaps a beautiful, well- turned phrase addressed to the ever ungrateful memory of future subjects. And then, as if time had stopped, nothing happened. The queen mother neither improved nor deteriorated, she remained there in suspension, her frail body hovering on the very edge of life, threatening at any moment to tip over onto the other side, yet bound to this side by a tenuous thread to which, out of some strange caprice, death, because it could only have been death, continued to keep hold. We had passed over to the next day, and on that day, as we said at the beginning of this tale, no one would die.      It was already late afternoon when the rumor began to spread that, since the beginning of the new year, or more precisely since zero hour on this first day of january, there was no record in the whole country of anyone dying. You might think, for example, that the rumor had its origins in the queen mother's surprising resistance to giving up the little life that was left to her, but the truth is that the usual medical bulletin issued to the media by the palace's press office not only stated that the general state of the royal patient had shown visible signs of improvement during the night, it even suggested, indeed implied, choosing its words very carefully, that there was a chance that her royal highness might be restored to full health. In its initial form, the rumor might also have sprung, naturally enough, from an undertaker's, No one seems to want to die on this first day of the new year, or from a hospital, That fellow in bed twenty- seven can't seem to make up his mind one way or the other, or from a spokesman for the traffic police, It's really odd, you know, despite all the accidents on the road, there hasn't been a single death we can hold up as a warning to others. The rumor, whose original source was never discovered, although, of course, this hardly mattered in the light of what came afterward, soon reached the newspapers, the radio and the television, and immediately caused the ears of directors, assistant directors and editors- in- chief to prick up, for these are people not only primed to sniff out from afar the major events of world history, they're also trained in the ability, when it suits, to make those events seem even more major than they really are. In a matter of minutes, dozens of investigative journalists were out on the street asking questions of any joe schmo who happened by, while the ranks of telephones in the throbbing editorial offices stirred and trembled in an identical investigatory frenzy. Calls were made to hospitals, to the red cross, to the morgue, to funeral directors, to the police, yes, all of them, with the understandable exception of the secret branch, but the replies given could be summed up in the same laconic words, There have been no deaths. A young female television reporter had more luck when she interviewed a passer- by, who kept glancing alternately at her and at the camera, and who described his personal experience, which was identical to what had happened to the queen mother, The church clock was striking midnight, he said, when, just before the last stroke, my grandfather, who seemed on the very point of expiring, suddenly opened his eyes as if he'd changed his mind about the step he was about to take, and didn't die. The reporter was so excited by what she'd heard that, ignoring all his pleas and protests, No, senhora, I can't, I have to go to the chemist's, my grandfather's waiting for his prescription, she bundled him into the news car, Come with me, your grandfather doesn't need prescriptions any more, she yelled, and ordered the driver to go straight to the television studio, where, at that precise moment, everything was being set up for a debate between three experts on paranormal phenomena, namely, two highly regarded wizards and a celebrated clairvoyant, hastily summoned to analyze and give their views on what certain wags, the kind who have no respect for anything, were already beginning to refer to as a death strike. The bold reporter was, however, laboring under the gravest of illusions, for she had interpreted the words of her interviewee as meaning that the dying man had, quite literally, changed his mind about the step he was about to take, namely, to die, cash in his chips, kick the bucket, and so had decided to turn back. Now, the words that the happy grandson had pronounced, As if he'd changed his mind, were radically different from a blunt, He changed his mind. An elementary knowledge of syntax and a greater familiarity with the elastic subtleties of tenses would have avoided this blunder, as well as the subsequent dressing- down that the poor girl, scarlet with shame and humiliation, received from her immediate superior. Little could they, either he or she, have imagined that these words, repeated live by the interviewee and heard again in recorded form on that evening's news bulletin, would be interpreted in exactly the same mistaken way by millions of people, and that an immediate and disconcerting consequence of this would be the creation of a group firmly convinced that with the simple application of will-power they, too, could conquer death and that the undeserved disappearance of so many people in the past could be put down solely to a deplorable weakness of will on the part of previous generations. But things would not stop there. People, without having to make any perceptible effort, continued not to die, and so another popular mass movement, endowed with a more ambitious vision of the future, would declare that humanity's greatest dream since the beginning of time, the happy enjoyment of eternal life here on earth, had become a gift within the grasp of everyone, like the sun that rises every day and the air that we breathe. Although the two movements were both competing, so to speak, for the same electorate, there was one point on which they were able to agree, and that was on the nomination as honorary president, given his eminent status as pioneer, of the courageous veteran who, at the final moment, had defied and defeated death. As far as anyone knows, no particular importance would be given to the fact that grandpa remained in a state of profound coma, which everything seems to indicate is irreversible.      Although the word crisis is clearly not the most appropriate one to describe these extraordinary events, for it would be absurd, incongruous and an affront to the most basic logic to speak of a crisis in an existential situation that has been privileged by the absence of death, one can understand why some citizens, zealous of their right to know the truth, are asking themselves, and each other, what the hell is going on with the government, who have so far given not the slightest sign of life. When asked in passing during a brief interval between two meetings, the minister for health had, it is true, explained to journalists that, bearing in mind that they lacked sufficient information to form a judgment, any official statement would, inevitably, be premature, We are collating data being sent to us from all over the country, he added, and it's true to say that no deaths have been reported, but, as you can imagine, we have been as surprised as everyone else by this turn of events and are not as yet ready to formulate an initial theory about the origins of the phenomenon or about its immediate and future implications. He could have left the matter there, which, considering the difficulties of the situation, would have been a cause for gratitude, but the well- known impulse to urge people to keep calm about everything and nothing and to remain quietly in the fold whatever happens, this tropism which, among politicians, especially if they're in government, has become second nature, not to say automatic or mechanical, led him to conclude the conversation in the worst possible way, As minister responsible for health, I can assure everyone listening that there is absolutely no reason for alarm, If I understand you correctly, remarked the journalist in a tone that tried hard not to appear too ironic, the fact that no one is dying is, in your view, not in the least alarming, Exactly, well, those may not have been my precise words, but, yes, that, essentially, is what I said, May I remind you, minister, that people were dying even yesterday and it would never have occurred to anyone to think that alarming, Of course not, it's normal to die, and dying only becomes alarming when deaths multiply, during a war or an epidemic, for example, When things depart from the norm, You could put it like that, yes, But in the current situation, when, apparently, no one is prepared to die, you call on us not to be alarmed, would you not agree with me, minister, that such an appeal is, at the very least, somewhat paradoxical, It was mere force of habit, and I recognize that I shouldn't have applied the word alarm to the current situation, So what word would you use, minister, I only ask because, as the conscientious journalist I hope I am, I always try, where possible, to use the exact term. Slightly irritated by the journalist's insistence, the minister replied abruptly, I would use not one word, but six, And what would those be, minister, Let us not foster false hopes. This would doubtless have provided a good, honest headline for the newspaper the following day, but the editor- in- chief, having consulted his managing editor, thought it inadvisable, from the business point of view as well, to throw this bucket of icy water over the prevailing mood of enthusiasm, Let's go for the usual headline, New Year, New Life, he said.      In the official communiqué, broadcast late that night, the prime minister confirmed that no deaths had been recorded anywhere in the country since the beginning of the new year, he called for moderation and a sense of responsibility in any evaluations and interpretations of this strange fact... Excerpted from Death with Interruptions by José Saramago All rights reserved by the original copyright owners. Excerpts are provided for display purposes only and may not be reproduced, reprinted or distributed without the written permission of the publisher.