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A brutal vision of the future, a profound meditation on love, and an astounding literary achievement.
| ISBN-13: | 9780307387899 |
|---|---|
| Publisher: | Knopf Doubleday Publishing Group |
| Publication date: | 03/28/2007 |
| Edition description: | Oprah's Book Club Edition |
| Pages: | 304 |
| Sales rank: | 2,454 |
| Product dimensions: | 5.32(w) x 7.96(h) x 0.89(d) |
| Lexile: | 670L (what's this?) |
With the first gray light he rose and left the boy sleeping and walked out to the road and squatted and studied the country to the south. Barren, silent, godless. He thought the month was October but he wasnt sure. He hadnt kept a calendar for years. They were moving south. There'd be no surviving another winter here.
When it was light enough to use the binoculars he glassed the valley below. Everything paling away into the murk. The soft ash blowing in loose swirls over the blacktop. He studied what he could see. The segments of road down there among the dead trees. Looking for anything of color. Any movement. Any trace of standing smoke. He lowered the glasses and pulled down the cotton mask from his face and wiped his nose on the back of his wrist and then glassed the country again. Then he just sat there holding the binoculars and watching the ashen daylight congeal over the land. He knew only that the child was his warrant. He said: If he is not the word of God God never spoke.
When he got back the boy was still asleep. He pulled the blue plastic tarp off of him and folded it and carried it out to the grocery cart and packed it and came back with their plates and some cornmeal cakes in a plastic bag and a plastic bottle of syrup. He spread the small tarp they used for a table on the ground and laid everything out and he took the pistol from his belt and laid it on the cloth and then he just sat watching the boy sleep. He'd pulled away his mask in the night and it was buried somewhere in the blankets. He watched the boy and he looked out through the trees toward the road. This was not a safe place. They could be seen from the road now it was day. The boy turned in the blankets. Then he opened his eyes. Hi, Papa, he said.
I'm right here.
I know.
An hour later they were on the road. He pushed the cart and both he and the boy carried knapsacks. In the knapsacks were essential things. In case they had to abandon the cart and make a run for it. Clamped to the handle of the cart was a chrome motorcycle mirror that he used to watch the road behind them. He shifted the pack higher on his shoulders and looked out over the wasted country. The road was empty. Below in the little valley the still gray serpentine of a river. Motionless and precise. Along the shore a burden of dead reeds. Are you okay? he said. The boy nodded. Then they set out along the blacktop in the gunmetal light, shuffling through the ash, each the other's world entire.
They crossed the river by an old concrete bridge and a few miles on they came upon a roadside gas station. They stood in the road and studied it. I think we should check it out, the man said. Take a look. The weeds they forded fell to dust about them. They crossed the broken asphalt apron and found the tank for the pumps. The cap was gone and the man dropped to his elbows to smell the pipe but the odor of gas was only a rumor, faint and stale. He stood and looked over the building. The pumps standing with their hoses oddly still in place. The windows intact. The door to the service bay was open and he went in. A standing metal toolbox against one wall. He went through the drawers but there was nothing there that he could use. Good half-inch drive sockets. A ratchet. He stood looking around the garage. A metal barrel full of trash. He went into the office. Dust and ash everywhere. The boy stood in the door. A metal desk, a cashregister. Some old automotive manuals, swollen and sodden. The linoleum was stained and curling from the leaking roof. He crossed to the desk and stood there. Then he picked up the phone and dialed the number of his father's house in that long ago. The boy watched him. What are you doing? he said.
A quarter mile down the road he stopped and looked back. We're not thinking, he said. We have to go back. He pushed the cart off the road and tilted it over where it could not be seen and they left their packs and went back to the station. In the service bay he dragged out the steel trashdrum and tipped it over and pawed out all the quart plastic oilbottles. Then they sat in the floor decanting them of their dregs one by one, leaving the bottles to stand upside down draining into a pan until at the end they had almost a half quart of motor oil. He screwed down the plastic cap and wiped the bottle off with a rag and hefted it in his hand. Oil for their little slutlamp to light the long gray dusks, the long gray dawns. You can read me a story, the boy said. Cant you, Papa? Yes, he said. I can.
. . .
On the far side of the river valley the road passed through a stark black burn. Charred and limbless trunks of trees stretching away on every side. Ash moving over the road and the sagging hands of blind wire strung from the blackened lightpoles whining thinly in the wind. A burned house in a clearing and beyond that a reach of meadowlands stark and gray and a raw red mudbank where a roadworks lay abandoned. Farther along were billboards advertising motels. Everything as it once had been save faded and weathered. At the top of the hill they stood in the cold and the wind, getting their breath. He looked at the boy. I'm all right, the boy said. The man put his hand on his shoulder and nodded toward the open country below them. He got the binoculars out of the cart and stood in the road and glassed the plain down there where the shape of a city stood in the grayness like a charcoal drawing sketched across the waste. Nothing to see. No smoke. Can I see? the boy said. Yes. Of course you can. The boy leaned on the cart and adjusted the wheel. What do you see? the man said. Nothing. He lowered the glasses. It's raining. Yes, the man said. I know.
They left the cart in a gully covered with the tarp and made their way up the slope through the dark poles of the standing trees to where he'd seen a running ledge of rock and they sat under the rock overhang and watched the gray sheets of rain blow across the valley. It was very cold. They sat huddled together wrapped each in a blanket over their coats and after a while the rain stopped and there was just the dripping in the woods.
When it had cleared they went down to the cart and pulled away the tarp and got their blankets and the things they would need for the night. They went back up the hill and made their camp in the dry dirt under the rocks and the man sat with his arms around the boy trying to warm him. Wrapped in the blankets, watching the nameless dark come to enshroud them. The gray shape of the city vanished in the night's onset like an apparition and he lit the little lamp and set it back out of the wind. Then they walked out to the road and he took the boy's hand and they went to the top of the hill where the road crested and where they could see out over the darkening country to the south, standing there in the wind, wrapped in their blankets, watching for any sign of a fire or a lamp. There was nothing. The lamp in the rocks on the side of the hill was little more than a mote of light and after a while they walked back. Everything too wet to make a fire. They ate their poor meal cold and lay down in their bedding with the lamp between them. He'd brought the boy's book but the boy was too tired for reading. Can we leave the lamp on till I'm asleep? he said. Yes. Of course we can.
He was a long time going to sleep. After a while he turned and looked at the man. His face in the small light streaked with black from the rain like some old world thespian. Can I ask you something? he said.
Yes. Of course.
Are we going to die?
Sometime. Not now.
And we're still going south.
Yes.
So we'll be warm.
Yes.
Okay.
Okay what?
Nothing. Just okay.
Go to sleep.
Okay.
I'm going to blow out the lamp. Is that okay?
Yes. That's okay.
And then later in the darkness: Can I ask you something?
Yes. Of course you can.
What would you do if I died?
If you died I would want to die too.
So you could be with me?
Yes. So I could be with you.
Okay.
He lay listening to the water drip in the woods. Bedrock, this. The cold and the silence. The ashes of the late world carried on the bleak and temporal winds to and fro in the void. Carried forth and scattered and carried forth again. Everything uncoupled from its shoring. Unsupported in the ashen air. Sustained by a breath, trembling and brief. If only my heart were stone.
He woke before dawn and watched the gray day break. Slow and half opaque. He rose while the boy slept and pulled on his shoes and wrapped in his blanket he walked out through the trees. He descended into a gryke in the stone and there he crouched coughing and he coughed for a long time. Then he just knelt in the ashes. He raised his face to the paling day. Are you there? he whispered. Will I see you at the last? Have you a neck by which to throttle you? Have you a heart? Damn you eternally have you a soul? Oh God, he whispered. Oh God.
They passed through the city at noon of the day following. He kept the pistol to hand on the folded tarp on top of the cart. He kept the boy close to his side. The city was mostly burned. No sign of life. Cars in the street caked with ash, everything covered with ash and dust. Fossil tracks in the dried sludge. A corpse in a doorway dried to leather. Grimacing at the day. He pulled the boy closer. Just remember that the things you put into your head are there forever, he said. You might want to think about that.
You forget some things, dont you?
Yes. You forget what you want to remember and you remember what you want to forget.
There was a lake a mile from his uncle's farm where he and his uncle used to go in the fall for firewood. He sat in the back of the rowboat trailing his hand in the cold wake while his uncle bent to the oars. The old man's feet in their black kid shoes braced against the uprights. His straw hat. His cob pipe in his teeth and a thin drool swinging from the pipebowl. He turned to take a sight on the far shore, cradling the oarhandles, taking the pipe from his mouth to wipe his chin with the back of his hand. The shore was lined with birchtrees that stood bone pale against the dark of the evergreens beyond. The edge of the lake a riprap of twisted stumps, gray and weathered, the windfall trees of a hurricane years past. The trees themselves had long been sawed for firewood and carried away. His uncle turned the boat and shipped the oars and they drifted over the sandy shallows until the transom grated in the sand. A dead perch lolling belly up in the clear water. Yellow leaves. They left their shoes on the warm painted boards and dragged the boat up onto the beach and set out the anchor at the end of its rope. A lardcan poured with concrete with an eyebolt in the center. They walked along the shore while his uncle studied the treestumps, puffing at his pipe, a manila rope coiled over his shoulder. He picked one out and they turned it over, using the roots for leverage, until they got it half floating in the water. Trousers rolled to the knee but still they got wet. They tied the rope to a cleat at the rear of the boat and rowed back across the lake, jerking the stump slowly behind them. By then it was already evening. Just the slow periodic rack and shuffle of the oarlocks. The lake dark glass and windowlights coming on along the shore. A radio somewhere. Neither of them had spoken a word. This was the perfect day of his childhood. This the day to shape the days upon.
From the Trade Paperback edition.
Continues...
Excerpted from The Road (Movie Tie-in Edition) by Cormac McCarthy Copyright © 2009 by Cormac McCarthy. Excerpted by permission.
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.
"His tale of survival and the miracle of goodness only adds to McCarthy's stature as a living master. It's gripping, frightening and, ultimately, beautiful. It might very well be the best book of the year, period." —San Francisco Chronicle
"Vivid, eloquent . . . The Road is the most readable of [McCarthy's] works, and consistently brilliant in its imagining of the posthumous condition of nature and civilization." —The New York Times Book Review
"One of McCarthy's best novels, probably his most moving and perhaps his most personal." —Los Angeles Times Book Review
"Illuminated by extraordinary tenderness. . . . Simple yet mysterious, simultaneously cryptic and crystal clear. The Road offers nothing in the way of escape or comfort. But its fearless wisdom is more indelible than reassurance could ever be." —The New York Times
"No American writer since Faulkner has wandered so willingly into the swamp waters of deviltry and redemption. . . . [McCarthy] has written this last waltz with enough elegant reserve to capture what matters most." —The Boston Globe
"There is an urgency to each page, and a raw emotional pull . . . making [The Road] easily one of the most harrowing books you'll ever encounter. . . . Once opened, [it is] nearly impossible to put down; it is as if you must keep reading in order for the characters to stay alive. . . . The Road is a deeply imagined work and harrowing no matter what your politics." —Bookforum
"We find this violent, grotesque world rendered in gorgeous, melancholic, even biblical cadences. . . . Few books can do more; few have done better. Read this book." —Rocky Mountain News
"A dark book that glows with the intensity of [McCarthy's] huge gift for language. . . . Why read this? . . . Because in its lapidary transcription of the deepest despair short of total annihilation we may ever know, this book announces the triumph of language over nothingness." —Chicago Tribune
"The love between the father and the son is one of the most profound relationships McCarthy has ever written."
—The Christian Science Monitor
"The Road is a wildly powerful and disturbing book that exposes whatever black bedrock lies beneath grief and horror. Disaster has never felt more physically and spiritually real." —Time
"The Road is the logical culmination of everything [McCarthy]'s written." —Newsweek
"It's hard to think of [an apocalypse tale] as beautifully, hauntingly constructed as this one. McCarthy possesses a massive, Biblical vocabulary and he unleashes it in this book with painterly effect. . . . The Road takes him to a whole new level. . . . It will grip even the coldest human heart." —The Star-Ledger (Newark)
"McCarthy is a gutsy, powerful storyteller. . . . The writing throughout is magnificent." —Chicago Sun-Times
"Devastating. . . . McCarthy has never seemed more at home, more eloquent, than in the sere, postapocalyptic ash land of The Road. . . . Extraordinarily lovely and sad. . . . [A] masterpiece." —Entertainment Weekly
"His most compelling, moving and accessible novel since All the Pretty Horses. . . . McCarthy brilliantly captures the knife edge that fugitives in a hostile world stand on. . . . Amid this Godot-like bleakness, McCarthy shares something vital and enduring about the boy's spirit, his father's love and the nature of bravery itself." —USA Today
NATIONAL BESTSELLER
Winner of the 2007 Pulitzer Prize in Fiction
National Book Critics Circle Award Finalist
One of the Best Books of the Year
The Boston Globe, The Christian Science Monitor, The Denver Post, The Kansas City Star, Los Angeles Times, New York, People, Rocky Mountain News, Time, The Village Voice, The Washington Post
"His tale of survival and the miracle of goodness only adds to McCarthy's stature as a living master. It's gripping, frightening and, ultimately, beautiful. It might very well be the best book of the year, period." —San Francisco Chronicle
The introduction, discussion questions, suggestions for further reading, and author biography that follow are designed to stimulate your group's discussion of The Road, the tender, harrowing new novel of unfailing hope amid epic devastation by acclaimed writer Cormac McCarthy.
1. Cormac McCarthy has an unmistakable prose style. What do you see as the most distinctive features of that style? How is the writing in The Road in some ways more like poetry than narrative prose?
2. Why do you think McCarthy has chosen not to give his characters names? How do the generic labels of "the man" and "the boy" affect the way in which readers relate to them?
3. How is McCarthy able to make the postapocalyptic world of The Road seem so real and utterly terrifying? Which descriptive passages are especially vivid and visceral in their depiction of this blasted landscape? What do you find to be the most horrifying features of this world and the survivors who inhabit it?
4. McCarthy doesn't make explicit what kind of catastrophe has ruined the earth and destroyed human civilization, but what might be suggested by the many descriptions of a scorched landscape covered in ash? What is implied by the father's statement that "On this road there are no godspoke men. They are gone and I am left and they have taken with them the world" [p. 32]?
5. As the father is dying, he tells his son he must go on in order to "carry the fire." When the boy asks if the fire is real, the father says, "It's inside you. It was always there. I can see it" [p. 279]. What is this fire? Why is it so crucial that they not let it die?
6. McCarthy envisions a postapocalyptic world in which "murder was everywhere upon the land" and the earth would soon be "largely populated by men who would eat your children in front of your eyes" [p. 181]. How difficult or easy is it to imagine McCarthy's nightmare vision actually happening? Do you think people would likely behave as they do in the novel, under the same circumstances? Does it now seem that human civilization is headed toward such an end?
7. The man and the boy think of themselves as the "good guys." In what ways are they like and unlike the "bad guys" they encounter? What do you think McCarthy is suggesting in the scenes in which the boy begs his father to be merciful to the strangers they encounter on the road? How is the boy able to retain his compassion—to be, as one reviewer put it, "compassion incarnate"?
8. The sardonic blind man named Ely who the man and boy encounter on the road tells the father that "There is no God and we are his prophets" [p. 170]. What does he mean by this? Why does the father say about his son, later in the same conversation, "What if I said that he's a god?" [p. 172] Are we meant to see the son as a savior?
9. The Road takes the form of a classic journey story, a form that dates back to Homer's Odyssey. To what destination are the man and the boy journeying? In what sense are they "pilgrims"? What, if any, is the symbolic significance of their journey?
10. McCarthy's work often dramatizes the opposition between good and evil, with evil sometimes emerging triumphant. What does The Road ultimately suggest about good and evil? Which force seems to have greater power in the novel?
11. What makes the relationship between the boy and his father so powerful and poignant? What do they feel for each other? How do they maintain their affection for and faith in each other in such brutal conditions?
12. Why do you think McCarthy ends the novel with the image of trout in mountain streams before the end of the world: "In the deep glens where they lived all things were older than man and they hummed of mystery" [p. 287]. What is surprising about this ending? Does it provide closure, or does it prompt a rethinking of all that has come before? What does it suggest about what lies ahead?
Interview with John Hillcoat - Director
Question: Tell me how you became interested in The Road and how the project came to you, and how that all began.
JOHN: It began with a meeting with Nick Wechsler in L.A. I was meeting various producers and discussing what sort of material I was interested in and mentioned that I liked strong literary stuff and that one of my favorite authors was Cormac McCarthy and also mentioned that Blood Meridian was a big influence on The Proposition. Nick had registered that in his mind and cut to probably seven months later, he popped out of the blue - we didn't really keep in touch - and he said, "I've got an unpublished manuscript of Cormac McCarthy's new book. Would you be interested?" Of course I read it, and it just completely knocked me over. And it kind of had a bigger impact on me than even his other work. I just knew then that I had to do it.
Q: You must have thought that was pretty lucky- being a fan of the author and everything then having this unpublished manuscript come your way-
J: He knew that in some ways with The Proposition, in terms of it being creating a world of- where the landscape and the conditions are very harsh in this brutal sort of world and it was all location driven - it would appeal to me as well as the actual material. When I first read it, it had such a powerful, emotional impact, and I just couldn't get it out of my head, and I knew it had to be done and that I had to make it somehow.
Q: And had you always thought of Viggo to play the man or how did that come about?
J: Yeah. That was way back when - even writing the script - it was really tricky - there was a small group of about three actors that I was thinking about. And it became clear that Viggo had the qualities of someone that could be an everyman but also could have the intensity that that role demands and the kind of physicalness of the role as well. And just the versatility 'cause it's a range of emotions that that character goes through. I had in my mind people like Gregory Peck and actors just from another time that had this kind of strength to them and yet also a vulnerability. It's very hard to find people that have a kind of a rawness, and Viggo's very intense and very wound up, and that is what the father is all about 'cause he's so wound up and so haunted by the suicide of his loved one - his wife and partner - and yet the incredible ongoing relationship with his son and being so protective. It is a love story, and it's being sensitive and vulnerable and yet it's such a challenging and extreme survival world that he has to do things that have to be credible - where certain actors it might be a stretch that they're so tender and sensitive to a child and yet can physically do what he has to do.
Q: I think it was you who said if anyone could survive in a post-apocalyptic world it would probably be Viggo.
J: Yes, and Guy Pearce, who's the veteran. They're the survivors and 'cause the film's all about survivor and there is something that Viggo has about him that is credible that he could survive extreme circumstances. And sure enough you've seen him dive into an absolutely treacherous, freezing ocean that no one is supposed to go near and endure all sorts of stuff. So, he's clearly capable of that.
Q: You've also assembled an amazing cast in the supporting roles. Do you want to talk a little about the casting? Did you immediately think of Guy for the veteran?
J: My problem was I couldn't think of anyone but Guy as the veteran and we were just very fortunate (he was in the middle of another film) that we were able to get him. I'm really thrilled with the cast that we managed to get and the variety of different characters. I was very specific about what we were trying to find in the different characters but also to get the variety of say Michael K. Williams brought a great kind of more urban, street thing, whereas Dillahunt - Garrett Dillahunt - we deliberately got a more country, hick, backwater type going on cause we wanted to get that feeling that there are all these people wandering around this new world fighting for survival and get that mixture of personalities and Guy certainly - like Viggo - has some similar qualities in that you can imagine him surviving. And Molly Parker was just great for the ending - a very difficult role to pull off 'cause she ends the film really with Kodi. Really for them the challenge was - in a fairly short time screen time - to give you a sense of where they've come from and the kind of emotional damage that they've all endured. Of course, Robert Duvall for the old man was extraordinary as well. He knows Cormac McCarthy, he's so familiar with that world - that was really helpful - and he did something that was quite extraordinary under extreme pressure because our first day we were plagued by weather problems and the weather problem was simply a day like this where the sun's out and the sun was our enemy. That's been a running joke throughout the whole film that when it's actually beautiful weather that most people love we all get depressed, and when it's miserable we all get excited and run out into it. That happened with Robert, we had this bright, sunny day that just was just a disaster for the landscape we were in where there's a huge coal ash pile of remnants of mining debris and scarred kind of landscape. We ended up really being pressurized for time, but he, within a couple of takes - we talked about trying something where he would bring an extra bit of history to the character in terms of that pain and damage because this guy's old - everyone's wondering how the hell did he survive and where did he come from, and he's very enigmatic sort of character. Really reminded me of a sort of Samuel Beckett type character. And he came up with the most extraordinary sort of bit of improvisation in the middle of the scene that was just heartbreaking and helped shape the scene in a very quick time. That was great. It was hard to work under those sort of conditions and when you have actors with that kind of wealth of experience, you kind of wish you had more time to do stuff. But he rose to challenge and beyond.
Q: How did you work with Cormac? Do you want to talk a little bit about working with Cormac? It was a log on the fire wasn't it when you actually-
J: I deliberately didn't really have conversations with him until Joe and I were happy with the script, and Nick. And those conversations came after. We wanted to feel comfortable and crack it ourselves and then see what comes out of- and he is just an amazing man and very sharp and understands that they're totally different mediums, so he has no problem with the fact- I'd mention some things that we did change and he was saying, "It's your film. You know, it's film. It's something else," and "Don't worry about it," and he ended up being very happy with what we were doing and our approach and very interested in what we were doing. But at the same time he was never over anything saying, "Oh, don't know about that," so I think he just sees it very much as separate mediums, which they are.
Q: Did you speak to him during the shoot?
J: I spoke to him in pre-production and during the shoot, updating him, and I kept trying to get certain things out of - there were certain things that he wouldn't really reveal because he thought they're best to be left interpreted how you want to interpret them. Some things he got specific about and then a lot of other things that were left very open in the book - open to interpretation, he wanted left that way because he didn't want to lead us in that sense. We were very fortunate that he came up for a while with his son, just seeing them together it all kind of made sense. And his son was calling him "Papa" just like in the book and, as he said, his son John wrote half the book, as in they share- that's where half of it comes from. It was really great to see that.
Q: Was that the first time you've met him?
J: Yes. But I just kind of knew from the first long conversation that we had back in pre-production that he was very smart and actually quite open, very polite and respectful, and a gentleman - a Southern gentleman.
Q: What was his reaction when you saw him - to the film and to what he was seeing?
J: He seemed to love what he was seeing. I think he got quite emotional when we showed him some of the meatier emotional scenes between Kodi (the boy) and Viggo, when the father dies. That material. He seemed very pleased, very moved, and that was lovely. I think he was very pleased that we went the location - like finding dramatic, interesting, extreme locations as opposed to just a kind of CGI film.
Q: Do you want to talk a little bit about the casting of Charlize for the role of the woman?
J: Well that was the other thing about the woman in the book- we wanted to really try and enrich that character and present her argument for making that choice as very sound because in the book it's very abrasive and harsh. And it is, and we still will do that, but what is great about Charlize is we wanted to try to find someone that had a real kind of gravitas, emotional kind of depth to again showing that transition of life from the world that we're all, well some of us, the privileged few in fact are accustomed to and take for granted, and then having that all stripped away and the emotional damage and her refusal to accept the new world is a huge emotional shift. She's someone that has already shown incredible range, and her transformation in Monster was pretty astounding. She seems to be one of those actresses that really is able to transform and go to real emotional depths.
Q: And do you just want to talk a bit about Michael, the thief?
J: Oh yes, Michael K. Williams- 'cause I love The Wire. That's one of my favorite TV shows. He was great in that, and again, it was great, like with Robert Duvall, to have him do something in a very different context and this world that they're in and these characters that they're playing and the situation is so extreme that he's in and he was so fearless about it - what he has to do in that scene. And just very truthful in what he does, and I think he's one of those actors that just gonna keep surprising people. And that scene was incredible - what he did. He really thought carefully about the voice, the whole, again he's very detailed and fearless and that was just great, and he really trusted me which was really great too- for him to go into a role like that, that is literally and metaphorically totally, again, goes from having something and losing absolutely everything in a very short time. To see that all play out was just great, and he was just great to work with.
Q: And just finally- just again, what was the main part of the story of The Road that really drew you in or wanted you to make this film?
J: Firstly, it was the power of the center of the story, of the father and son, and the emotional impact that that made on me and seems to have on many people, and then also that world being so immediate and refreshing. What I love about Cormac McCarthy is the sort of depths of humanity he's so unflinching in exploring and not shying away from, just how scary we really are and how we're our own and the entire planet's worst enemy and always have been and always will be. And yet - what is extraordinary about the book that isn't in the other books is that incredible emotional richness and tenderness. And the world, the challenge of trying to- what I loved about the book as well was there was no discussion or build up of actually what happened. You don't even know what happened, and I just loved that about the book. There was so much that was left unsaid in the way it should be left unsaid because if a disaster of that scale, whether it's nuclear or a comet or whichever way it goes, any disaster on that scale would immediately from that day on it would be irrelevant about exactly what happened and what caused it. You're purely from that day on fighting to cope with the radical change, and the way he kept that on a knife I thought was original and quite haunting and disturbing 'cause it felt real and it felt particularly relevant and particularly real for these times.
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