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Book Reviewed by:Books are like meals for me; some are light and tasty, but eventually I hunger for something more substantial. Others are "stick-to-your-ribs;" you feel satisfied afterward, and you remember it for a long time. Janne Teller's Nothing is a full meal deal. I have not been able to stop talking about it since I read it (twice) before writing this review. Nothing is ready-made for book club or classroom discussions, and it's guaranteed to provide (forgive me) food for thought long after you have finished reading.
The story centers on a group of 13 and 14 year old classmates struggling with what to do when one of them, Pierre, suddenly declares that "life is meaningless," and promptly climbs a plum tree. From there, he spends his days mocking his friends for their insistence on participating in the world in the face of its meaninglessness, and their inevitable demise. His stance, at first, seems nihilistic (see Sidebar). However, a nihilist does not withdraw from the world and shout his beliefs from the treetops, nor does he care whether or not he can convert others to his philosophy. Pierre's acts belie nihilistic intent, and show that he does care. When he petulantly throws plums at the children and claims that they're hitting their marks by chance (because aiming "wasn't worth it"), it seems disingenuous. When he tells Agnes, the narrator, that she will discover her life to be meaningless when she is an adult because, "you'll find out you're a clown in a trivial circus," it comes across as a lament. Pierre wants the world to be different than what he perceives. Unlike a traditional nihilist, he is not bent on self-destruction, or outward violence toward those who disagree with him. He wants to find meaning and value, but he doesn't quite believe it to be possible.
Nevertheless, Pierre's friends find his actions very disturbing, not least because they secretly fear that he might be right. Desperate and frustrated, the children hit upon the idea of building a collection of objects that are personally meaningful to each of them, in the hope that Pierre will look at it and realize that there is meaning, and come back into their world.
At this point, the story takes a critical turn, going from fanciful fable to dark realism. Shortly into the project, the children recognize that none of them has the fortitude to truthfully name and give up, perhaps permanently, their most beloved possession. So a fateful decision is made: each child will choose the item that another child must give up, and there can be no arguments, no deals. As each child tearfully parts with something he or she prizes, resentment and anger begin to build, with no outlet except the power to take it out on the next one in line.
The children's heap of meaning may be the most important "character" in the book, made up as it is of the things that give value to their world. It is so unique that when news about it is released to the media, it gains status as a work of art. The implications of this new "aesthetic" value for the heap's meaning, or lack thereof, can make for some wonderful discussion, especially in light of Pierre's angry comment that, "If that pile of garbage meant anything at all, it stopped the day you sold it for money."
Nothing delves deep into philosophical territory in a way that few modern fiction novels (especially YA novels) do. Within this tale we find themes of nihilism and existentialism, materialism, and fear of nonconformity. Teller makes us think about how we are able to face the reality of death, and still manage to find meaning in life (whether one is religious or not). Most importantly, the novel asks: what creates "meaning?" I'll warn you that it doesn't answer all of these questions, but this is a good thing for thoughtful readers.
I wish that I could say so much more about this novel. It is a simple tale on the surface, but one with many extraordinary layers.
This review was originally published in March 2010, and has been updated for the
March 2012 paperback release.
Click here to go to this issue.
Although Nothing's protagonist, Pierre, seems to withdraw from the world, he is not necessarily a nihilist (one who believes in nothing). When he tells the other children he is "contemplating the sky, and getting used to doing nothing," and urges them to "enjoy the nothing that is," his attitude is reminiscent of the French novelist and philosopher Albert Camus. Camus and Friedrich Nietzsche both found some rationale for living inspite of the inevitability of death and the absence (in their view) of an afterlife. Trying to find a way to live life in spite of the emptiness he perceives, Pierre watches with disappointment from his plum tree at his friends who seek meaning in the world of objects (literally, in a pile of objects), rather than finding meaning within themselves. Following are a few interesting details about the philosophical movements and thinkers that play an important role in Janne Teller's story.
Existentialism
Existentialism is really an amalgam of different ways of thinking about the world, all of which pose questions about how individuals might find meaning and morality in life without depending on a personal deity. Existentialist philosophy concerns itself with many of the themes that make up the novel Nothing, particularly individualism, responsibility, choice and knowing (or trying to know) right from wrong. Two philosophers most closely associated with existentialism are Friedrich Nietzsche and Albert Camus.
Friedrich Nietzsche and Nihilism
Nihilism is often associated with Friedrich Nietzsche (1844-1900), who was one of the first existentialists. Nietzsche actually argued against Nihilism - the view that nothing in life has value or meaning, and that existence is useless. Nietzsche believed that our social mores and values have no objective basis. Instead, he saw that morality (our idea of right and wrong) was something that emerged from culture and history. He did not believe, however, that this lack of objective morality made values meaningless. Although there are similarities, the character of Pierre does not come across as a traditional Nihilist.
Albert Camus and Absurdism
French Algerian writer Albert Camus (1913-1960) is known for a school of thought called Absurdism that would probably appeal to Pierre Anthon. Camus also opposed Nihilism, but did say that the "human condition" is mortality, and that the world lacks external meaning, even though we crave it. For Camus, this contradiction makes life absurd, and humans must accept the absurdity and try to live life happily. However, unlike Pierre, Camus believed that people can make their own meaning (as Pierre's classmates try to do), even if that meaning cannot be understood or felt by others.
This review was originally published in March 2010, and has been updated for the
March 2012 paperback release.
Click here to go to this issue.
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