In the near future, expect things to get worse. Emergency services and essential support systems are on the verge of collapse, made even more fragile by the cunning enemies of fear, panic, misinformation, and a sluggish government hampered by a president unwilling and incapable of making rational, science-based choices. And, of course, by everyday human malice.
There’s an unsettlingly eerie feeling in Paul Tremblay’s latest novel, Survivor Song, but not in the way you might typically expect from this author. Written before the global COVID-19 pandemic, it depicts a more localized epidemic in New England, yet it chillingly foreshadows many of the issues that have since become our reality. We’ll explore this further.
If you’re craving some zombie-themed entertainment, Paul Tremblay has you covered, and no, he won’t let you down. Tremblay often takes a familiar horror trope and crafts his unique interpretation. The zombie trope, like many others, serves as a framework to explore deeper themes. While the aim is a scary story, it’s similar to how a sonnet’s structure provides form but doesn’t dictate content. Zombie stories often share common elements: establishing an immediate crisis and adding a time constraint. There’s always a rush against the clock to prevent something terrible. In Survivor Song, this is immediately established when a zombie invades a home, kills a man, and bites his partner, Natalie, before she manages to kill it. However, this is no ordinary zombie virus; it’s a hyper-evolved form of rabies with an incredibly rapid progression. Natalie urgently needs medical attention because a vaccine exists at the hospital. Time is running out.
Creating obstacles to hinder the characters’ journey is another key element. In Survivor Song, transportation becomes increasingly challenging as the epidemic escalates.
Adding human stupidity and malevolence to the supernatural threat further amplifies the tension. You know the type – characters who stubbornly refuse to believe the protagonist, choosing instead to obstruct their progress, whether by force or disbelief. In zombie narratives, this might be a government official covering up a failed experiment or a prejudiced authority figure. Here, in Survivor Song, it’s more of the latter, but with a northern twist: vigilante groups patrolling the streets. Armed with AR-15s and decked out in camouflage gear, these individuals, driven by fear and misinformation, pose a significant threat to anyone outside their group, attempting to enforce their misguided solutions. If these zombies were actually after brains, they’d be sorely disappointed by this bunch.
“I happened to be in England for my first time ever doing some book events. I was sitting on a train and I started writing in my notebook. I thought about some of my previous novels, most of which sort of take the horror trope and try to look at it in a different way, or if not a different way — I try to maybe ground that story in reality. I wrote down ‘zombie.’ I was like, ‘Oh, how would I do that?’ When I first asked myself, ‘How would I read this in reality?’ the rabies virus instantly occurred to me. So, I had some of the science there that I wanted to have the characters deal with. I tried to take real rabies and just move up the speed of infection rate.” – from the Rollingstone interview. This quote emphasizes Tremblay’s approach to grounding horror tropes in reality, a key aspect of Survivor Song.
While these elements might be standard in the zombie genre, Tremblay sometimes pushes the boundaries. Introducing a pregnant, recently widowed woman as the protagonist feels almost excessive. Is it necessary to add more tragedy? Oh, right, she’s been bitten by the zombie that killed her husband and has a limited time before succumbing to the virus. It evokes a sense of déjà vu, reminiscent of Harper in Joe Hill’s The Fireman, also pregnant and afflicted with a supernatural condition. Is this heightened drama becoming a zombie genre cliché? It’s debatable whether such intense layering of misfortune is truly effective or simply melodramatic. Zombie genre enthusiasts might have varying opinions on this.
Fortunately, Natalie’s best friend is Dr. Ramola Sherman, or Rams. Natalie contacts Rams, and Rams springs into action. The novel unfolds over a few intense hours, focusing on Natalie’s rapid decline and Rams’ desperate attempts to navigate bureaucratic obstacles and secure the necessary medical intervention. Will they succeed in time? The clock is ticking.
Survivor Song is indeed a fast-paced, zombie action-adventure. The deep bond between Rams and Natalie is well-developed, flashing back to their shared history in Providence before life became more complicated, and highlighting their enduring friendship. The narrative stays tightly focused on these two women, with occasional glimpses into social media reactions or other perspectives. They face relentless attacks and must keep moving towards their goal, all within a confined geographical area.
“I had no contacts in the CDC or anything like that. I really wanted to focus on what it would be like at a small suburban hospital — a local outbreak. My sister is a nurse at Beth Israel Hospital in downtown Boston, so most of my research on what the response would be was through her. I got to see what some hospitals’ response plans would be.” – from the Rollingstone interview. Tremblay’s research, grounded in real-world medical insights, lends authenticity to the novel’s depiction of a healthcare system under pressure.
Now, for the eerie prescience of Survivor Song. Zombies themselves might be commonplace in fiction, even with Tremblay’s unique spin of making their zombie state short-lived and incorporating infected animals to align with the rabies theme. The truly unsettling aspect is how accurately Survivor Song anticipates the challenges of a real-world epidemic. Rams and Natalie encounter obstacles that mirror news headlines from the early months of the COVID-19 pandemic: overwhelmed ICUs and hospitals, shortages of medical staff and supplies, lack of PPE, vaccine scarcity, debates about safer states, and dysfunctional government responses. Tremblay’s novel eerily predicted the failures of our supposedly advanced medical system when confronted with a widespread crisis. While the virus in Survivor Song is extreme, the underlying scenario of a fast-spreading, highly contagious disease is not entirely far-fetched. This chilling sense of recognition makes Survivor Song a compelling, albeit rapid, read.
“While the speed with which this virus infects is terrifying, it shouldn’t prevent us from containing it. If anything, given how quickly people succumb to the virus, if we can maintain a proper quarantine and isolation, we should be able to contain the outbreak. But that presumes people do not panic, that correct information and instruction are disseminated efficiently to the public, that the federal government follows the CDCs recommendations to be proactive with vaccine, and not reactive…We should be offering prophylaxis to whoever comes through these doors.”“Do we have enough vaccine to do that?” “No, we don’t.” This excerpt from the book highlights the tragically realistic depiction of resource scarcity and systemic failures in a public health crisis.
The deeper themes carried by the zombie trope are also evident. Tremblay subtly underscores the societal issues that amplify the crisis.
“A woman shouts from above, “She had great power and was dreaded by all the world.” The door slams shut and then swings open without a pause. “Surrounded by a high wall,” she says sing song, lilting at “high” and separating “wall” into two syllables. Her voice is the same tone and pitch as the alarm and it sounds like there are two of her. The woman continues shouting between the piston like opening and closing of the door. “Let it cost what it will cost.” This unsettling passage captures the atmosphere of panic and irrationality that can grip society during a crisis, mirroring real-world reactions to the pandemic.
It could easily be a segment from certain news outlets. The novel critiques not only extremist groups but also those who profit from denying reality.
“…it will burrow, digging like a nasty tick; it will migrate; and it will return all but encouraged and welcomed in a country where science and forethought are allowed to be dirty words, where humanity’s greatest invention—the vaccine—is smeared and vilified by narcissistic, purposeful fools [the most dangerous kind, where fear is harvested for fame, profit, and self-esteem… This quote directly criticizes the anti-science sentiment and misinformation that exacerbate public health crises, a sadly relevant commentary.
The militia-like figures in Survivor Song are disturbingly reminiscent of groups seen at events like Charlottesville.
A hallmark of an excellent writer is that their past work sets a high standard. Consequently, any new work that doesn’t quite reach that level can feel somewhat disappointing, even if it would be considered outstanding from a lesser-known author. Survivor Song has many strengths: fast-paced action, a disturbingly relevant plague scenario, and insightful commentary on real-world problems. However, after being deeply impressed by The Cabin at the End of the World and Growing Things and Other Stories, Survivor Song, while enjoyable, didn’t resonate quite as profoundly. While Rams and Natalie are likable, they didn’t evoke the same level of emotional investment. Does this make for a harsh judgment? Perhaps. A solid three and a half stars, boosted to four for its thought-provoking exploration of contemporary issues and the eerily timely release during a real pandemic. At least Tremblay’s plague remains confined to fiction, for now.
Review posted – July 3, 2020
Publication dates: July 7, 2020 (hardcover), July 6, 2021 (trade paperback)
EXTRA STUFF
Links to the author’s personal blog, Twitter, and Facebook pages.
Q&A
The reviewer wondered if Tremblay was self-deprecating in creating a character named Paul who drives an old Subaru and clings to outdated technology. He asked Tremblay directly via Goodreads’ “ask-the-author” feature. Tremblay responded quickly and graciously.
“Maybe a small self-tweak. I do miss driving a stick (I currently drive a hybrid) but that Paul and me don’t share an affinity for old tech and things that break down easily.”
He also inquired about the significance of “Song” in the title.
“My favorite songs tend to be short, fast, and a mix of hopeful and melancholy. It was the vibe I wanted to go for with this book.”
Readers with questions for Paul Tremblay can reach out on his Goodreads profile here.
Interviews
- Rollingstone – What It’s Like Releasing a Novel About a Deadly Virus in the Middle of Pandemic – By Brenna Ehrlich
- Blood in the Gears – Paul Tremblay on the Craft of Writing – primarily about Cabin at the End of the World, but contains generally useful insights.
- Hangouts on Air – 2:17:45 – Tremblay with other authors.
Songs/Music
- The Cranberries – Zombie – A song with thematic resonance to the zombie genre.
- A literal Survivor Song – Does the novel evoke the resilience implied by this song title?
Reviews of other books by Paul Tremblay
- 2019 – Growing Things and Other Stories
- 2018 – The Cabin at the End of the World
