
I’m reading Kevin Brockmeier’s The Brief History of the Dead, a novel whose first chapter “The City” was originally a short story in The New Yorker about existence after death. Sort of. A deadly virus has spread across the Earth, and the recently dead populate a city located in an Earth-like alternate reality–their posthumous existence depends on the memories of the living. As the living die, so the “after-living” gradually disappear entirely.
Whether as story or opening salvo in the novel, the first chapter operates as both puzzle and memento mori, though as puzzles go, it’s more about effect than traceable formulae. How “the rules” work in the tale’s “city of the dead” is mostly backgrounding for Brockmeier’s characters, like the blind man who arrives in the city having traveled through a desert of living sand. The dunes break “apart beneath his feet, surging up around him to lash at his face” as he gradually accepts his death. Trees like giraffes, spots like floating flower petals or wisps of paper, a girl who dies into an ocean the color of dried cherries, then swallows thousands of ball bearings as they suddenly fall from the sky, sinking to the ocean’s bottom before–snap!–arriving in the city. Brockmeier’s imagery is incredibly powerful without a trace of ornamentation, a powerful assemblage of ten dollar sentences crafted from two cent words.
“The City” opens with stories of deaths and tales of rebirths. With narrative ambiguity (as opposed to controlled mystery) in vogue, I half-expected one man, who commits suicide to reunite with his dead wife and child (killed by a land mine), to in fact not find them. He does, and with them, happiness. Until the city starts bleeding out. Brockmeier’s faintly Heideggerian premise is that the city is a temporary location for the recently dead, but only so long as they’re remembered by the living. “The living carry us inside them like pearls; we survive only so long as they remember us,” theorizes one reporter. It’s the old materialist notion reified, that existence is irreducibly physical, and life after death–which is to say, knowledge of other beings–is limited to social memory.
As the story unfolds, the city expands and shrinks, growing blocks or entire boroughs like mutant appendages as people arrive. In my notes I’ve scribbled “a roiling landscape,” fluid, capacious, accommodating yet perhaps mercilessly purposeless in the end. People persist for six or seven generations, working as taxi drivers or writers or businessmen or newsstand barkers, then disappear suddenly without explanation. Brockmeier overlays a skein of rumor and supposition to explore theories about what’s happening and why as the city begins to empty out (the killer virus is finishing its work in the “real” world). The land of the living becomes almost like Germany in the 1940s, the land of the dead an anxious rumor-riddled hinterland of refugees desperate for news from the war front.
Until the city is empty at last, and all that’s left is a blind man, who raises his hand to his chest and wonders if the heartbeat he hears is his own.








