The Novel That Looks Death in the Eye

Humanity possesses a mechanism to cope with the inherent dread of death, as outlined by terror-management theory, which is rooted in the work of cultural anthropologist Ernest Becker. This theory posits that people cope with this fear through various means, such as escapism via sex, drugs, or entertainment, or by adopting belief systems that promise immortality.

Alternatively, individuals might immerse themselves in family, culture, or other aspects of life that imbue existence with meaning. If not for this coping mechanism, the theory suggests, we would be rendered cognitively incapable by the impending certainty of our own demise. In her third novel, Switzy, Emma Cline defies the principles of terror management by thrusting death into the forefront and compelling readers to confront it for over 300 pages.

Switzy follows the final days of David Hastings, a once-successful executive who has been compelled to retire due to an Alzheimer's diagnosis. He has utilized Switzerland's right-to-die laws, paying the modest fees and completing the necessary paperwork, to end his life in an impersonal room just outside of Zurich, away from his family and his home in America.

Cline's approach is unapologetic—not towards David, for whom she shows compassion and empathy, but towards the reader, who may be left utterly overwhelmed by this novel. The story opens mid-journey as David travels across the Atlantic in a friend's private jet, accompanied by Cody, a former colleague who now serves as David's caregiver, bodyguard, and secretary.

They first land in London, where David shares a dinner with his only child, a distant daughter who is unaware of her father's decline and impending euthanasia. David tours a museum, visits his grandson, boards the plane for his final journey to Zurich, and Cody guides him through the day-to-day tasks as if he were guiding a small child.

The younger man manages the complexities of the world on David's behalf, sparing him from the responsibilities of everyday life. David's condition is exacerbated by his diminishing awareness of basic memories and social conventions. He relies on a notebook to remember his grandson's name, "Rainer," a clock with "big kindergarten letters" to tell him the date and time each day, and stares at people in the museum, provoking their annoyance.

As the narrative unfolds, Cline employs a meandering, dreamlike style to depict David's thoughts, which frequently jump back and forth in time, revisiting memories of his failed marriage and his time at a boys' boarding school. These memories are interspersed with flashes of his impending death, as the novel progresses. Cline's previous novel, The Guest, also centered on a character grappling with a looming confrontation.

Alex, a 22-year-old sex worker struggling to maintain her position in a high-end milieu, faces a similar quest for survival. Switzy raises the stakes in this type of narrative. As the novel's second half intensifies, the pace of David's confrontations with his impending death accelerates. Upon arriving in Zurich, an official inspects their passports, and David remarks on the inevitability of Death, who recognizes David's imminent demise.

Throughout the story, David repeatedly encounters figures embodying Death, such as an inspector, a waiter, and a busboy. In his final moments, David fixates on a watch advertisement, noticing the significance of the letter "Omega," the last letter in the Greek alphabet, symbolizing finality. As David struggles to come to terms with his imminent demise, readers may also experience moments of profound clarity.

While the novel may not evoke happiness in most readers, it could serve as a subversive reminder of the importance of contemplating mortality and its potential to enhance the quality of life.