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38 pages 1 hour read

P. D. James

The Children of Men

Fiction | Novel | Adult | Published in 1992

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Themes

Fatalism, Hope, and a Meaningful Life

Content Warning: The following Themes section contains references to suicide, which is discussed in the source text.

Once people know that the human race will end with the death of the Omega generation, questions of meaning and existential purpose become urgent. Many in the novel no longer feel that life is worth living, collapsing existence at both sides of a life span. On one end, adults dismantle playgrounds and stop maintaining elementary schools because there are no children. On the other end, the Quietus—State-sponsored mass suicides—claim to give a legally valid way for the elderly to end their lives. The novel opens with a painful summary of global grief: “In our universal bereavement, like grieving parents, we have put away all painful reminders of our loss” (10).

Those who choose life are often consumed by despair and ennui. Theo often feels the heavy burden of pointlessness: “despair dragged at his mind and limbs, leaving him physically weakened so that the instinct to sink to the earth almost overpowered him” (227). The prospect of a life without meaning weighs on the characters. One of Theo’s history students asks him, “What is the point of all this?” (13), to which he can only give an unsatisfying answer. Later, he tries to adopt an existentialist attitude as a way of managing his despair, cautioning that, “We should not, perhaps, assume that nature has a purpose” (142).

The world tries to manage the idea of meaningless existence in different ways. Religious evangelists see an opportunity to spread their faith, moving away from Christianity’s focus on Jesus—possibly because the story of savior born only to die young is too on-the-nose for the Omega world. Nevertheless, Christianity seems compatible with the situation, as one of its key tenets is that earthly misery is a prerequisite for the afterlife: Inspector Cathcart describes his grandfather as “one of those hellfire preachers” who “thought that everything had a purpose, particularly pain” (142). The novel’s politicians try to find meaning in their policies, hoping that future historians will find their actions justifiable: “Whatever man has done for good or ill has been done in the knowledge that […] there will be a future, for the nation, for the race, for the tribe” (113).

Authoritarianism and Power

In the aftermath of Omega, Xan becomes the Warden of England, rising through the army ranks to opportunistically seize power by casting himself as a protector and visionary. Having acquired it, Xan wields power as an autocrat, stepping away from the UK’s long tradition of democratic rule in favor of a dictatorship that he runs with the help of the Council of Five. Xan’s need to hold onto rule and the lack of any checks on his decision allow him to suppress any opposition, control the media, and operate with complete impunity. To some degree, Xan becomes a victim of his own success: For example, even though he disagrees with the Quietus ceremonies, he does not stop them because he fears losing the full support of his Council members.

In response to Xan’s desire to be an absolute ruler, dissenters must resort to equally brutal methods. The Five Fishes, who at first appear to have a reasonable set of demands for the government, eventually resort to terroristic actions to get their way—setting off bombs during Quietus ceremonies. It is not surprising therefore to learn that Rolf, the leader of the Five Fishes, is also simply on quest for power—he wants to replace Xan, but has no immediate plans to reverse Xan’s decrees (even the ones the Five Fishes ostensibly oppose). The desire to rule over others has corrupted Rolf and his pose as a committed activist is just a façade.

James leans into the old adage that all power corrupts. Even the passive, unemotional Theo is susceptible to the thrill of control. When he ties the elderly couple to the bed to steal their car, he is exhilarated by the fact that he holds their lives in his hand. The novel explicitly compares his glee to the Painted Faces when they menaced the group and to Rawlings during the interrogation at Theo’s home. The novel suggests that after the deaths of Rolf and Xan, nothing will prevent Theo from following through on his newfound desire for power. After Theo shoots Xan, he puts on the coronation ring, promising to only assume power temporarily even though Julian warns him not to. The novel ends with the strong implication that the UK’s next Warden will be Theo, and that no new safeguards are in place to prevent him from becoming another Xan.

History Is Invaluable and Useless

Theo has dedicated his professional life to the study and teaching of history. At first, when Omega begins, the utility of history is obvious to Theo. As the UK transforms from a democracy to an authoritarian state, he sees familiar, disturbing patterns, “the beginning of the end” (8). However, studying the present as a version of the historical past allows Theo to remain in the role of the spectator—he notes problems, but because they remind of things that have already happened, he can preserve his tendency to passivity and avoidance of action. Harriet, who prides herself on relentless forward motion, mocks Theo’s affect at the Council meeting: “You historians are happier living in the past anyway, so why not stay there?” (114).

In the aftermath of Omega, however, Theo concludes that, “History, which interprets the past to understand the present and confront the future, is the least rewarding discipline for a dying species” (13). He is not the only one who feels this way: His Omega students also wonder what the point of the class could possibly be. One of the reasons to study the past is to avoid its mistakes in the future, but with no future, there is no reason to turn to history for guidance. History without a future is a guide map without a destination.

Theo’s diary serves as a chronicle, but he is increasingly less sure why he writes he is writing something that has the look and feel of a historical document without any practical use. The novel asks readers to consider why Theo finds the practice of adding to his diary despite the dangers of setting down anti-government thoughts valuable. Possibly, after the death of his daughter, he knows that this diary will be the only way he can leave a legacy, or even a record of his existence. At the end of the novel, Theo embraces a new vision for the future, one that makes him reject the lessons he has learned from the past. He takes on the role of father figure and protector for Julian’s baby, and also puts on the coronation ring, disregarding the fact that his chances of remaining uncorrupted are slim. Symbolically, he also throws away his diary, casting history aside.

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