Review: “The Twelve” (The Passage #2) by Justin Cronin

The Twelve

These are confusing times to be a vampire. In the early days, things were clearer: you were a filthy, exsanguinated revenant, doomed to wander graveyards after dark, feeding on the blood of living humans, sleeping in coffins, biting necks and hiding your face from sunlight, mirrors, and God. You were a rat whisperer. You were neither rich nor sexy. And you definitely didn’t sparkle.

But then the Romanians discovered you, and you went from an underground word-of-mouth legend to a supernatural star of page, stage, screen, and, not surprisingly, dildos. The newly industrialized culture was mesmerized by you. No longer a mere monster, you ascended to metaphor.

But transformation is as much a staple of the genre as bats and bloodsucking. Every new vampire story absorbs and reconfigures the tradition, as Justin Cronin aptly demonstrates in The Twelve–the second installment to a vampire trilogy that began in 2010 with Cronin’s blockbuster novel The Passage.

The Twelve feels like a post-apocalyptic cover novel. Justin Cronin lifts liberally from the classics–a little Margaret Atwood, a touch of George Orwell, a lot of Stephen King–in a way that vacillates between homage and cheeky theft. The book is odd,  ponderously structured, flitting through time in decidedly bizarre ways and putting so much pressure on the upcoming final book in this trilogy to make the story tie together elegantly that Cronin has essentially left himself no room to stick the landing.

Yet the book is compulsively readable. And while it struggles in some places where The Passage soared, that seems to be because Cronin took some of the more pervasive criticisms of the earlier book to heart. The Passage was an odd hybrid of character-driven and plot-driven fiction; The Twelve tips more toward the latter, but Cronin has become a much better writer of this kind of story. The plot is always chugging forward, and while the overall contours are mostly predictable (as they were in The Passage), the specific moments and events driving the narrative aren’t.

The Passage began in a world where a military-created virus turned one professor and 12 death-row prisoners into super-vampires, who escaped and plunged North America into chaos and darkness. The book then abruptly lurched forward nearly a century, putting the residents of a tiny human outpost in the California desert in touch with the young girl who was afflicted with the virus without turning into a vampire. The book ended with a semi-cliffhanger, leaving several characters’ fates in question. (For more information, you can read the book or my review of The Passage here.)

The foremost thing about The Passage was just how weird it was.  For me, I believe I was able to get on to its wavelength, and it proved to be an oddly structured delight, one that didn’t give a fuck about leaving the plot behind for several hundred pages for what amounted to a quirky small-town novel awkwardly intersecting with a post-apocalyptic vampire novel. Lots of people I know pushed it away, but The Passage excelled in Cronin’s ability to evoke tenderness and loss, and to sketch in his characters in just a few sentences, then deepen them as the epic tale took root. The Twelve keeps both of these skills largely intact, but it also feels more focused, and that focus draws attention to some of Cronin’s less-worthy qualities, like a tendency to lean too heavily on sentimentality that turns some of the passages of the book into sugary-sweet sludge, or the fact that avid fans of post-apocalyptic literature will have read this all before, probably many times over. Cronin also can’t stop himself from embracing several stereotypes, including a mystical black man and (sigh) an autistic twentysomething who just wants to drive a school bus.

For better or worse, The Passage reads like a novel written by someone who isn’t afraid to try all new things, even if not all of them work. It’s derivative, but also deeply personal, and the two tones work together in spite of themselves. On a technical level, The Twelve is much better written, but also feels slightly more soulless, as if making the whole enterprise several hundred pages shorter left Cronin without rabbit trails to follow off into the plot’s hinterlands.

Yet even with all of this working against him, Cronin remains adroit at approaching his structure and characters from interesting angles. Instead of plunging forward from the cliffhanger, The Twelve initially sends readers back to the era when the virus was first sweeping the continent. The hope is both to establish a new set of characters and to give a better view of the events only glanced at in The Passage.  These 250 pages are mostly terrific (even though they feature that bus driver), and the rest of the novel–which follows more directly from The Passage–does a much better job of tying past to present and making all the plotlines matter. In particular, there’s a beautiful symmetry to the way Cronin leaves behind the world of the newborn “virals” and the way he leaves behind his future world; he uses the past to inform the mysteries he’s teasing in the present. It’s skillful stuff, though it creates an expectation that the third book will now have to wrap up storylines in multiple time periods.

The surviving characters of the original novel all follow believable arcs, and Cronin is great at coming up with new characters who invigorate the story for a few pages and are ripped away from the readers shortly  thereafter. Plus, he’s greatly improved his action sequences, and while the middle of the book occasionally strains from constant viral attacks, the last 200 pages expertly build tension and bring several mysteries to a head.

The Twelve has its flaws, but Cronin’s writing continues to lift it above what could easily become a morass of easy contrivance and eye-rolling vague spirituality. And even if the book had none of that, it would have Lila Kyle and Amy, two characters linked through strange circumstances, who drive the novel’s best portions. The heavily traumatized, deeply maternal Lila pushes the best parts of the mid-apocalyptic sections, while Amy continues her role from The Passage of being simultaneously a symbol and a recognizable young woman finding her way in a terrifying world. For all The Twelve‘s struggles to act as a bridge between its predecessor and whatever’s coming next, whenever the book turns to these two women, it succeeds.

1984

WAR IS PEACE. FREEDOM IS SAVERY. IGNORANCE IS STRENGTH.

Those are the three tenets of George Orwell’s uber-dystopian world of Oceania, one of three super-states in the future where there is perpetual war, which is a mash-up of the UK, the Americas and Australia. 1984 is Orwell’s disturbing image of a post-World War II scenario where he thought democratic values wouldn’t survive. Instead, we have the Party led by this man called Big Brother (if you thought the show was annoying, wait till you get a load of this) and there are “telescreens”, which are just TVs spouting government propaganda and spying on your actions 24/7. The world is divided into Party members (Inner and Outer) and the “proles”, which, if any of you have ever heard of Marx, is pretty self-explanatory [Harry Potter fans, think Deathly Hallows and Magic is Might]. Except for the fact that these uneducated proles are 85% of the population and they are effectively controlled by the Party by no concrete regulations since there are no laws in this world. The only wrong you can do is “Thoughtcrime” (holding unspoken beliefs or doubts that oppose or question the Party), which can only be committed by Party members. If caught, all traces of you ever having existed will be destroyed and you will be vaporized or turned into an “unperson”. Frightening yet cool.

Our hero, for lack of a better word, is Winston Smith, a morose, paranoid, frail 39-year old who is an editor in the Minitrue (Ministry of Truth), where he falsifies historical records to keep up with the ever-changing party line and deleting the existence of people who have been vaporized, secretly hoping for an invitation to the Brotherhood, the hush-hush anti-government organisation led by Emmanuel Goldstein. Just like Joseph Stalin used to airbrush his “fallen comrades” from photographs and remove their names from books and newspapers. Constantly being forced to rewrite it, Winston is fascinated by the past and makes clumsy attempts to know what truly happened, either by talking to really old drunks in prole bars or going to antique shops and buying journals and coral paperweights. Total badass.

He falls in love with Julia, a young, hot member of the Junior Anti-Sex League. Yes, these existed, because in this world one of the Party’s aims is to take the joy out of sex. Children are born through “artsem” and as soon as they grow up they join this terrible organisation called the Spies where they get to listen in on doors and report suspicious activities of adults they don’t like. Try making your kid eat veggies now, Mom. Anyway, Winston and Julia have the oddest flirtation ever. He dreams of raping and killing her and she falls passionately in love with him by stalking him. Total fairy tale romance. They have sex in hidden meadows and bombed churches before, finally, getting a room. And real bread and jam. And coffee with real sugar. And Winston gets invited to join the Brotherhood with his own copy of the manifesto and all.

Wait a minute. I thought they were living in a super-surveillance state which is perpetually at war. Yes, they still are. Except Winston’s apparently been having the biggest lucky streak of his life and never thinks to question it. Then he gets caught. Shocker. Which is when the real fun begins in the Ministry of Love (aka Miniluv, LOL). Starvation. Beatings. Torture. Betrayal. And, RATS.

 

The book is rife with symbolism from wartime Britain and Russia-bashing. For instance, Oceania changing allies when it suited them (Russia and Nazi Germany); Goldstein being a facsimile of Leon Trotsky, animal transformations and all and Big Brother as Stalin. The Thought Police could be the NKVD. Even the lovely contractions are derived from Mother Russia (Dialectical Materialism=DiaMat). The slogan “Our, new happy life” a copy of “Life has become better”. Personally, I think of NaMo’s “Achhe din aa gaye”

Jokes aside, I think 1984 is one of the most well-written and chilling books I have ever read. Orwell, a democratic socialist at heart, has brilliantly demonstrated the perils of authoritarianism. Written in the immediate aftermath of World War II, it shows a chilling view of the future as a place where the language has been pared to so great an extent that it only serves the purpose of officialdom and people have been reduced to being tools of the Party. The “proles” are nothing more than the silent masses subjugated to the elite. Your thoughts, your home, your family, your leisure time are all subject to constant surveillance and you like it. It shows how the freedoms we take for granted and the past we derive them from are so fragile and can be snatched away so easily by those in power.

I would recommend this book to everyone who loves a good read. It is a searing political and social commentary as well as a thriller. Read for the masterful way Orwell has used the English language. Read because it is as relevant today as it was 65 years ago. (I’m talking about you, NSA) The book may be a bit dry but Winston humanizes the more abstract themes in a relatable manner. It is a very worthwhile read with rich and layered meanings. It even has cool dialogues like “We shall meet in the place where there is no darkness” and “Until they become conscious they will never rebel and until after they have rebelled they cannot become conscious”.

So if you’ve somehow managed to avoid this book in your school years, do yourself a favour and read it today. If you’ve read it and hated it, give it another try. Don’t believe me? Read Isaac Asimov’s review of 1984 at the New Yorker here