16 - Wake

I mentioned in a previous post that I once spent a large portion of my free time reading a collection of amateur horror stories gathered together in a mobile app. I imagine that few people who did the same would have avoided being inspired to write a story of their own in that vein, given the general come-and-have-a-go-if-you-think-you're-scary-enough attitude of the internet horror community. And I was no exception as early on in my endeavour the makings of a novel (or possibly a film script) began to come to me.

The setting was minimalist in scope - following a vaguely defined apocalyptic event, a group of survivors gathers in a remote corner of the English countryside and does their best to survive. They soon find themselves being stalked by a mysterious entity but then realise that that is the least of their problems as, in Sartre-esque fashion, their incompatibility as people begins to tear the group apart as they try to escape their predicament. I'm not sure how it would have finished, or indeed how the plot would have progressed, because I have always been better at writing about other people's writing than composing any of my own, and the work remained nothing more than a collection of thoughts. And now it turns out, somewhat creepily, that Elizabeth Knox beat me to it anyway. Having stumbled on Wake by chance in an article where literary critics recommended books they thought no one else would have read, I knew that I had to see how a proper writer would tackle the idea.

There are a few key differences: Knox sets her action in a small town in New Zealand, the supernatural element is given much more significance and, perhaps most importantly, she actually managed to write her story. But otherwise, Wake manages to very effectively put onto paper the concept that I thought would make such a great story.

The novel's opening makes for some of the most hair-raising reading I have ever come across, as a police officer on routine patrol finds herself in the middle of the unfolding action. Knox's writing is absolutely breathless as the town's citizens turn on each other, and the officer, Theresa, does her best to defend herself.

But once this is over with and all but thirteen of the town's residents have killed each other or themselves, Knox really steps up in terms of portraying the tedium of routine that becomes the survivors' reality. And it is here that the characters start to clash - from the brash American William, to the alcoholic Warren and former military man Bub by way of single-minded conservationist Belle and world-weary filmmaker Curtis. While it was initially confusing trying to keep track of such a large central cast, all of the characters are allowed time to settle into their roles, and as we learn more about their backgrounds Knox does not hesitate to dive into the darkest reaches of human nature.

The result is a read that is often uncomfortable and difficult, and that isn't helped by the aforementioned supernatural element which is frustratingly vaguely defined, but not vague enough that it doesn't encroach on the novel's realism. The passage in which Knox reveals the true nature of the apparent dual personality of the Maori girl Sam was certainly the most confusing plot building I have read all year.

But putting these flaws aside, Wake is a compelling and surprisingly emotional book. It is also a very Kiwi one, delving into the nation's past and present issues. And on reading the afterword I learned that the whole thing was inspired by Knox's mother's battle with Motor Neurone Disease, which added another dimension to it all that I hadn't even considered.

4/5

New Zealand is very much on my list of countries to visit, but until I do I shall be forced to assume it's just like this all the time.