THE SECOND SLEEP - Book review

Robert Harris’s 2019 novel The Second Sleep is most intriguing and certainly kept me reading.

It is set in 1468 when we meet the young priest Christopher Fairfax on his way to the remote Exmoor village of Addicott St George. The local vicar, Father Lacy has recently died and Fairfax is to conduct the funeral rites and sort out the dead clergyman’s possessions.

‘(Fairfax) was always hungry, yet he remained as thin as a stray dog. His body seemed determined to make up for all the food it had missed during the years when he was at the seminary’ (p41).

Fairfax is disturbed to find that Lacy was not only an amateur archaeologist investigating fragments from the pre-Apocalypse time, which is deemed heresy by the powerful Church, but also harbours a large collection of forbidden antiquarian books.

Worse, in the dead vicar’s display cabinet were examples from his unearthings: ‘coins and plastic banknotes from the Elizabethan era... a plate commemorating a royal wedding, a bundle of plastic straws... toy plastic bricks all fitted together of vibrant yellows and reds... one of the devices used by the ancients to communicate...He turned it over. On the back was the ultimate symbol of the ancients’ hubris and blasphemy – an apple with a bite taken out of it’ (p23).

‘Centuries earlier, as part of its rejection of scientism, the Church had rooted out the heretical modernised texts of the time before the Apocalypse’ (p32).

Fairfax discovers a letter written by a Nobel laureate, Morgenstern, written in 2022 – a pre-Apocalypse date. In this missive he warns that civilisation and science-based life could collapse if any one or more six catastrophic events occurred, among them climate change, a nuclear exchange, a pandemic... ‘All civilisations consider themselves invulnerable; history warns us that none is’ (p58).

By now, Fairfax is sorely troubled. ‘He wished he could unsee what he had read, but knowledge alters everything, and he knew that was impossible’ (p62).

It’s clear that Fairfax is in our future, following an apocalyptic event that destroyed most of science as we know it. The calendar was reset after the Apocalypse so that it started in the year 666, the number assigned to the Beast of Revelation. Eight hundred years in our future.

There is a standing army, in conflict with the Northern Caliphate, an Islamist enclave; but this is not really touched upon in any detail...

‘The drive was a track, no better than the lane. Waterlogged potholes, smooth as mirrors, held blue fragments of sky, and curved in a glittering archipelago for a hundred yards until they disappeared behind a pair of ancient cedars’ (p92).

‘As it opened, (the door) dragged in tendrils of ivy that clutched at the doorposts as if the house was reluctant to allow these rare visitors to escape’ (p114).

Fairfax teams up with Lady Sarah Durston, a widow. Her husband, Colonel Durston, had also been interested in excavating items owned by the ancients, notably near the mystical Devil’s Chair on a nearby hill. Sarah has an unwelcome suitor, the gruff mill-owner Hancock.

These three hook up with a heretic, Shadwell, who provides his version of the past: ‘these devices were small enough to be carried in the palm of one’s hand; that they gave instant access to all the knowledge and music and opinions and writings in the world; and that in due course they displaced human memory and reasoning and even normal social intercourse – an enfeebling and narcotic power that some say drove their possessors mad...’ (p158)

Perhaps the message here is that, despite human hubris, no matter what the calamity that befalls, humanity will survive.

As ever, Harris’s prose is a delight to read, and, for me, his characters came alive, especially with regard to the relationship of Sarah, Fairfax and Hancock. There are other individuals in the tale, all finely drawn, perhaps with a nod or two to Thomas Hardy. And there is a twist or two in the plot.

Sadly, I found the ending disappointing. But that cannot detract from the pleasure of meeting the characters and of the actual journey the book took me on.

Editorial comment:

Visually, we should have been aware of Fairfax’s beard on the first page, rather than the third.