The premise of S. E. Grove’s most recent novel, The Waning Age (Viking-Penguin Random House, 2019)—a world in which people lose their capacity to feel emotion during adolescence—presents the author with a challenge regarding the tone of the prose: how to narrate the story without conveying emotion? One might expect that Grove would employ a detached third-person point-of-view, the sort of fly-on-the-wall narration that one associates with Ernest Hemingway. Certainly that would be the advice I would give to a student who wished to write such a story.
But that is not the strategy on display here. Instead, Grove uses a first-person narrator, telling the story through the voice of her protagonist, Natalia Peña. Writing in first-person may well be expected for a young adult novel, but it undoubtedly makes Grove’s task more difficult. Natalia may not have emotion, but she does have subjectivity; to experience the world through her eyes must feel like something. Grove must somehow craft a narrative voice that conveys subjectivity while excluding emotion—no easy feat.
In this post, I’d like to examine one technique that Grove uses to achieve the required narrative voice, the simile. The use of similes in The Waning Age accomplishes two things regarding emotion. First, similes remind the reader that whatever emotions that characters who have waned are expressing are simulations of emotions rather than genuinely felt experiences. The act of simulating emotion is a constant in the novel, and the simile is the literary device best suited to highlighting that fact. Second, in specifically emulating the style of Raymond Chandler, the similes in The Waning Age make humor a central feature of Natalia’s voice and suggest that her subjective experiences are more complicated than her ostensibly emotionless society would have one believe.
The Art of Simulating Emotion
Although the world of The Waning Age is defined by the loss of the capacity to feel emotion, it is not the case that emotion—or at least the appearance of it—is absent from society. What we might call “true” or “natural” emotion may wane around the age of ten, but the characters have various methods for simulating emotion when the occasion calls for it or when the desire strikes them. Foremost among these methods are synthetic affects, or as everyone calls them, “synaffs”: chemicals that allow one to experience emotions, particularly the physiological effects that accompany them. Pharmaceutical companies like RealCorp earn immense profits from manufacturing synaffs, which only the wealthy can afford with any regularity. Indeed, RealCorp’s presence in this field instigates the plot: it kidnaps Natalia’s ten-year-old brother Calvino, who shows no signs of waning, so it can conduct experiments on his brain.
For those in the lower classes, however, one must simulate emotion from within. Body language and gestures are a go-to device. For example, one of Natalia’s foster parents, Tabby, is an actress who does not use synaffs for performances; Natalia calls her “one of those purists who thinks it’s about remembering emotion and cultivating that memory, then channeling it when you act” and says that “she is very good at feigning emotions when she wants to” (p. 39). Conversely, Natalia is adept reading other people’s body language, even if she thinks that it’s “a major drag…having to the study the angle of a person’s nostril to figure out what they’re feeling” (p. 15). Such a skill is especially useful living with someone as emotional as Calvino, for it allows Natalia to respond in a manner appropriate to the situation, even without experiencing the attendant emotion.
One might then expect that Grove would lean into Natalia’s perception of body language, peppering the narration with small details about the other characters. And it’s true, Grove does exactly that, and on occasion effectively so. There’s something very uncanny in how the receptionist at RealCorp abruptly switches from looking “briefly crestfallen” to giving a “reassuring smile” (p. 64), and her inability to interpret the mix of signals from Dr. Glout during the boardroom confrontation (“Knotted eyebrows, tight lips. His papery skin was blotchy; his arms rested unnaturally on the table as if he had to hold himself in place” [p. 286]) does well in creating a tense atmosphere. But Grove tends to rely on the same handful of gestures, such as eye rolls and raised eyebrows, so those details gradually lose distinctiveness and, therefore, effectiveness.
This is where Grove’s use of similes comes into play. Whereas her examples of body language get repeated to the point of meaninglessness, her similes consistently find fresh material to work with. Figurative language is already a vital tool for describing emotion, as it can link an abstract, subjective experience to a concrete vehicle. Furthermore, one can account for nuances in the tenor by changing the vehicle. There is a difference, for example, between saying that something is “as white as snow” (which makes it sound soft) and that it is “as white as salt” (which makes it sound harsh). The more specific the vehicle, the more nuanced the reader’s understanding of the tenor.
To see an example of how Grove uses similes, consider this early example in which Natalia describes how children look when they’re in the midst of waning: “Almost all of [Calvino’s] classmates are looking the way I did at that age, dull and kind of mystified, like they can’t figure out who stole all the Halloween candy” (p. 13). There are a number of emotions and attitudes at work here. A kid who “can’t figure out who stole all the Halloween candy” would be confused, certainly, but in a way that suggests sadness and innocence; it’s different from how someone seems when they can’t solve a crossword puzzle, or when they can’t find their car keys. This particular simile also suggests that Natalia sees them with a sympathetic eye, or at least knows that one ought to; she has, after all, been in that same situation.
Let’s look at one more example. This one concerns Hoffman, who is a preacher and Calvino’s birth father. When he sees Natalia for the first time, she realizes that he has mistaken her for her mother; when he recognizes his mistake, she says that “he crumpled like a sheet falling from a clothesline” (p. 226). This is a sudden shift in perception, rather than a gradual dawning; otherwise he may have been likened to a deflating bouncy castle. And while Hoffman is obviously disheartened, he’s not angry about it, or else Natalia may have compared him to a collapsing wall. Coupled with the strong verb “crumpled,” and one gets the sense of exaggerated disappointment that the author is going for. All that is contained within the image of the falling sheet.
Based on this discussion, one may think about figurative language in the same way that Tabby thinks about acting: one searches through their history and their knowledge for the proper experience, then channels that experience when they write. Also like acting: it is always a simulation, never a reality. The vehicle may share important qualities with the tenor, but it is not identical to it. This is why I think that Grove’s preference for similes over other forms of figurative language, such as metaphor or personification, is so appropriate. Similes make explicit both the act of comparison and the artificial nature of that comparison. In a simile, A is like B, but not B itself. In most contexts, this distancing makes similes weaker than metaphor, but in The Waning Age, their use reinforces the novel’s world building: people experience something like emotion, but not emotion itself.
The Influence of Raymond Chandler
The first simile in The Waning Age that caught my attention occurs in the first paragraph of the novel, wherein Natalia describes the hotel where she works a cleaner: “Inside, the walls are white marble, the lobby chairs are rose damask, and the carpet looks like the polar bear population of the Arctic, scythed and steamrolled” (p .1) The nature of that simile—on the surface incongruous but upon reflection deadly accurate—immediately calls to mind the style of Raymond Chandler, whose writing is famous for bizarre and witty similes. Chandler will say that someone is “about as inconspicuous as a tarantula on a slice of angel food” or has “a face like a collapsed lung,” and one will simultaneously laugh at the joke and marvel at the precision of the image. In The Waning Age, Grove tries to give Natalia the same sort of voice found in Chandler’s novels.
Just in case one thinks that this is speculation, I would note that Natalia explicitly models herself on Chandler’s most famous protagonist, Philip Marlowe. She believes that Marlowe demonstrates how one can get by in an increasingly emotionless society:
[Marlowe] comes as close as I’ve seen to our emotionless future. Maybe Chandler had a nightmare, and Marlowe’s world was in it, or maybe, prophet-like, he could see the slow decline approaching in the cold hearts and callous faces of 1930s Los Angeles. However it happened, his Marlowe does it—even in a world still premised on the availability and influence of emotion, Marlowe moves through it, calm and unflappable, making it seem plausible that one might survive in a hard, sordid, unfair world without the soaring ecstasies and raptures of triumph and true loves that seem to carry every other character ever written.S. E. Grove, The Waning Age, p. 37
Natalia does not merely admire Marlowe’s cool affect in the face of an unfeeling world; she puts that influence into practice. Indeed, she later remarks that latching onto a fictional character as a sort of life guide is quite common in her society:
Lots of us witty people do it. Books and old screen dramas are like disorganized bargain stores where you hunt for an angle; someone memorable, someone to imitate, someone who gives you a usable script. Someone behaving with emotional coherence so that you can follow along, seeming both emotional and coherent without being either.S. E. Grove, The Waning Age, p. 118
In addition to borrowing survival tactics from Chandler’s novels, she also borrows their language, their penchant for similes, as a way of understanding the world around her. For instance, in observing how a liberal arts education fails to instill a sense of morality in children who have waned, she reasons that “nowadays serving up Shakespeare to a bunch of untrained adolescents is like handing a serial killer a pack of gum” (p. 78). It may distract them for a moment, but it will not get to the root of the problem: their incapacity for true empathy. It is that particular simile that allows Natalia to see the flaw in that system.
Going into the paratext of Chandler work, one may discover another way in which Grove’s similes are Chandler-esque: they show a speaker grappling with a language they are not fully fluent in. This is a point that Stephen L. Tanner brings up in his article “The Function of Simile in Raymond Chandler’s Novels” (paywalled), in discussing the relationship between Chandler, who grew up in England, and American vernacular:
Chandler once said, “I had to learn American just like a foreign language.” And in learning it, he fell in love with it. “I’m an intellectual snob who happens to have a fondness for the American vernacular,” he wrote in a letter, “largely because I grew up on Latin and Greek. As a result, when I use slang, solecisms, colloquialisms, snide talk or any kind of off-beat language, I do it deliberately.” Elsewhere he said, “If I hadn’t grown up on Latin and Greek, I doubt if I would know so well how to draw the line between what I call a vernacular style and what I should call an illiterate or faux naif style. That’s a hell of a lot of difference to my mind.” Chandler thought of himself primarily as a stylist, and his distance from American English allowed him to do what he did with it. In this respect, as Frederic Jameson has remarked, his situation was similar to that of Nabokov: “the writer of an adopted language is already a kind of stylist by force of circumstance.”Stephen L. Tanner, “The Function of Simile in Raymond Chandler’s Novels,” Studies in American Humor, vol. 3, no. 4, 1984, p. 340 (internal citations omitted)
Whereas Chandler uses humorous similes to approach the language of another country, Natalia uses the same technique to approach the language of emotion. Unavoidably, every instance of figurative language will carry some connotation, some emotional charge, that colors how one views the situation. Even if Natalia cannot access a feeling through direct experience, she can still be conversant in emotion, as it were, by adopting this humorous style.
Granted, according to the internal logic of The Waning Age, humor is not exactly an emotion. In one of the essays that Calvino writes as part of Dr. Glout’s testing regimen, he presents the case that humor is not an emotion but rather an instinct. “Humor,” he writes, “is achieved by the intellect, which is part of reason. If you laugh at a joke it is not the same as laughing because you are happy. Just as crying because you are sad is not the same as crying because someone broke your leg” (p. 71). (It may be odd to treat a ten-year-old boy as an authority, especially when he is is talking to an actual academic, but as the only major character who still experiences natural emotion Calvino has more firsthand knowledge on the subject that anyone else.) But because they share some behaviors, one could say that humor is adjacent to emotion, in the way that Chandler’s classically educated perspective on American vernacular is adjacent to the genuine article.
Indeed, as Tanner goes on to suggest, humor can be useful in concealing emotion, in addition to approaching it. He says that Chandler’s similes “often consist of a self-deflating wit that disguises the sentimental note in Marlowe and his knight-
errantry” (p. 343). Natalia is well aware of this tendency: “I know he’s not actually emotionless. Sometimes his face gets red. Sometimes he even gets mad” (p. 37). Might I suggest, given the reveal near the end of the novel that Natalia is regaining the capacity to feel emotion, that the similes in Grove’s book achieve a similar effect? Might I suggest that we’re not wrong in inferring sadness from child without Halloween candy, or disappointment from the crumpled sheet? Natalia has always been capable, physically, of having true emotion; she merely lacked the awareness to process her thoughts as such.
A Brief Concluding Note
At this point, we seem to have reached two contradictory conclusions. In the first part, we found that Grove use similes because Natalia cannot feel true emotion, while in the second part we found that Grove uses similes because Natalia secretly can feel true emotion. So which is it? Surely it can’t be both—that would be a contradiction, right?
In a certain sense, yes, this is a contradiction in the novel, one which is never resolved. But this appears to be a contradiction that the novel is fine with—encourages, even. On multiple occasions, Calvino questions Dr. Glout when the researcher appears to express remorse regarding the the child’s situation (e.g., “I’m afraid [Natalia] can’t be here right now” [p. 73], “Sorry, I’m trying to keep things calm in there for you, and having people go in and out wouldn’t help” [p. 101]). After all, Calvino reasons, if Dr. Glout has waned, then he can’t be afraid of or sorry about anything. Dr. Glout explains that he’s using figures of speech, but Calvino is right to point out the oddity of using the language of emotional for emotionless purposes.
I feel that Grove is inviting the reader to take on the role of Calvino while reading The Waning Age, to question whether anything in the novel is truly without emotion. I will admit that at times, this posture feels like an escape hatch for the author, a way to preemptively brush aside any critique of the world-building: “Oh, that there? That’s an intentional inconsistency. You’re supposed to find that fishy.” But I’ll also admit that such moments got me to reflect on what I thought counted as emotion, and to consider those preconceptions more critically. Perhaps that’s worth some internal inconsistency.
I’ve said a lot more on this book than I’d predicted when I started, but I’d still love to hear your thoughts on The Waning Age. How do you think it handles writing an emotionless perspective in a first-person voice? Are there any techniques that you think exemplify its success or failure in that regard? Let me know in the comments!
Special thanks to Krysta of Pages Unbound, whose review of The Waning Age brought it to my attention. I can’t say that enjoyed it quite as much as she did; I found that beyond its main themes and this particular literary technique that the book seemed rather rote. But I did enjoy thinking and writing about it, which I do believe is more important.
And, as always, thanks for your time!
2 thoughts on “Similes and Emotion in S. E. Grove’s “The Waning Age””
I loved your analysis! I think you’re right that a third-person narration would make the book feel more emotionless. Actually, I don’t think it’s possible to write an emotionless character; every one I’ve seen tends at some point to act as if they have emotions, perhaps because when they make a choice, they have to prioritize something, which often implies caring about something more than something else. But it does make sense that a third-person narration would have a more impersonal feel than Natalia’s narration.
It is possible that Grove just did what all the YA authors are doing since Suzanne Collins started the first-person, present-tense fad (which I wish would go away–it’s been ten years!). But Grove is such a thoughtful author (based on my reading of her Mapmakers Trilogy) that I have to suspect that she chose to use Natalia’s narration to lead up to the “reveal” at the end that Natalia might really be feeling emotion.
Your idea of the usage of simile, though, is fascinating. I didn’t really notice Natalia’s usage, but I can see how she would have to use simile to try to find ways to understand emotion. This makes me appreciate Grove’s work even more!
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Glad you enjoyed this! You’re absolutely correct that a fly on the wall narrator would not actually remove emotion from the narration, merely the immediate impression of it. I like what Ursula K. Le Guin saysof that POV in Steering the Craft: it is the “least overtly, most covertly manipulative of the points of view.” In fact, she also said using it is a good way to test whether the events you’re writing about actually have emotional impact: “If you can move a reader while using this cool voice, you’ve got something really moving going on.”
I think you’re onto something with how the first-person narration is necessary to set up the twist; it would be quite something to ask the reader to invest in someone’s mind without ever getting access to it. Perhaps it comes at the expense of the work’s success as a dystopia—I tend to think first-person is ill-suited for the genre—but then again I get the sense that Grove is more concerned with the philosophical aspects of the novel than with the social commentary.