Frank Herbert offers us an insight into the darker side of human nature in The White Plague, an apocalyptic tale of revenge.
The cover of the book is very apt – murky fog, a solitary figure, a town shrouded in obscurity. Even if the weather is fine, or we are indoors, this novel revels in the unknown. The words not said, agendas not revealed, or the problems or changes that might be lurking just around the corner. The message is clear: no-one is to be trusted.
In Ireland, a man is visiting with his family. In one push of a button, his life is destroyed. The provisional IRA detonate a bomb, killing his wife and two children. From this, a desperate revenge unfolds. He creates a virus that attacks only women, the worst possible curse he can imagine to harm the nations that have wronged him.
We are offered a fairly universal viewpoint as the book develops, rather than being ‘on the ground’ in one country, as most dystopias tend to be. We shift between Irish, English and US perspectives, with some French and Russian characters thrown in to counterbalance it all. This gives a true sense of the scale of this hypothetical virus, and allows the author to imagine the global conflict and power struggles that would erupt under such conditions.
There are a few questionable plot points, which didn’t gape wide enough to unhinge the story. How, for example, is it possible that one scientist, in a makeshift lab, can disprove theories of molecular DNA? His science also feels overstated, and for that purpose, doesn’t ring quite true, almost as though he’s trying to labour the fact that he’s done his research. Having said that, his prediction of the use of genetics in warfare was pretty spot on, with the book being written in 1982.
These questions make the book feel more like a ‘what if?’ than a genuine scientific possibility. This perhaps impacts on how much we care about outcomes, but it still explores these ideas in an incredibly interesting way.
The later parts of the book are mostly set in Ireland. We follow a tortuous journey through the Irish countryside – devastated as it was one of the first areas hit, with the characters arguing over the long-term problems of Ireland and the possibility of hope and faith in such a world. We follow the man who created the virus (slightly dodgy use of schizophrenia as a plot tool), the man who blew up his family, a priest, and a young boy silenced by the horrors he has seen.
It’s certainly compelling. I found myself unable to put the book down. Each character had enough depth that I cared what happened to them. The setting was very atmospheric and moody, painting a bleak picture of how humanity might behave if it were faced with such problems.
I did find, however, that the rambling conversations of the troupe in Ireland were unnecessarily long. It almost felt like the author had an interest in philosophy, especially in relation to religion, and wanted to debate a series of arguments. In an extreme setting, questions of God and morality are important, but at times it felt laboured.
Of course, what Herbert is really questioning is the extent to which scientific understanding, in the wrong hands, is perhaps the most dangerous knowledge on earth. Which makes for a pretty good book.