Recent literary works by Emily St. John Mandel and Ben Eastham examine themes of societal breakdown, climate-driven isolation, and the role of art in times of crisis.
Key facts
- •Emily St. John Mandel’s Exit Party begins in Los Angeles in 2031 after a U.S. civil war and a coup d'état.
- •In Mandel’s fictional future, one version of the United States features a totalitarian government that uses secret police and mandatory cancer immunizations.
- •Ben Eastham’s The Floating World depicts a billionaire’s attempt to create a 'doomsday bunker' and climate haven on a Greek island.
- •The island site in Eastham’s novel was originally a 1950s utopian community for mine workers before being abandoned.
- •The source also notes upcoming or recent works by authors including Marlon James, Doireann Ni Ghriofa, Naomi Alderman, and Robert Harris.
Two new novels, Emily St. John Mandel’s Exit Party and Ben Eastham’s The Floating World, depict vastly different visions of the future. Mandel’s work imagines a fractured United States following a coup d'état and civil war, while Eastham’s debut novel centers on a billionaire’s attempt to build a climate-resilient utopian community on a Greek island. Both books explore how individuals navigate extreme societal shifts and the influence of power on human environments.
Fractured Futures in Mandel’s Exit Party
Set in 2031, Mandel’s novel begins in Los Angeles as a curfew is lifted following a U.S. civil war. The country has dissolved into multiple small nations and city-states, with the Republic of California operating as a distinct entity. The narrative follows protagonist Ari Waker, who becomes involved in arms dealing before fleeing to Paris. The story utilizes a sci-fi premise to present two parallel trajectories for the former United States: one characterized by chaotic disarray and another by a totalitarian regime that utilizes advanced technology and secret police to maintain order.
Art and Isolation in The Floating World
Ben Eastham’s The Floating World follows a recently widowed narrator who travels to a remote Aegean island to work on an immersive art exhibition. The project is funded by a billionaire heir aiming to transform a former 1950s mining settlement into a climate haven for the wealthy. While the narrator recognizes the project as propaganda for an ethically questionable venture, he remains engaged with the capacity of art to provide consolation. The novel examines the intersection of art, capital, and morality against the backdrop of global crises.
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This article was independently rewritten by ManyPress editorial AI from reporting originally published by Foreign Policy.
