DEATH and the Novel

3S10: The Saving Remnant (Something Needs To Be DoneAbout The Humans) is about the much-hackneyed theme of AI-takeover (but with a unique spin, the author protests!) on the one hand, and about ‘what is a life worth living’, ‘can I have a good death, please,’ and 'why is "death" an institutional matter with loads of experts covering (having to cover) their own backs???' on the other. It’s about death, and the denial of death, which is a denial of life (with a lot of swearing en route…).

Here’s Kevin Toolis on The Matter:

"In the Anglo-Saxon world, death is a whisper. Instinctively we feel we should dim the lights, lower our voices and draw the screens. We want to give the dead, dying and the grieving room. We say we do so because we don’t want to intrude. And that is true but not for these reasons.

We don’t want to intrude because we don’t want to look at the mirror of our own death. We have lost our way with death"

Here's the article: WHY THE IRISH GET DEATH RIGHT

Here’s Simar and Sharon’s of OCL Demographics reaction on being commissioned by the government to give them some background on ‘the ageing crisis’:

SIMAR –TWO-GIRL OUTFIT

‘They want us to do some work for them,’ said Simar.

‘Blimey,’ said Sharon. ‘I knew we were top drawer, but I didn’t know we were that top drawer.’

‘Well, we are now,’ said Simar.

‘So,’ said Sharon, ‘what do they want from a two-girl outfit like us?’

‘Figures,’ said Simar.

‘That figures,’ said Sharon, ‘but what figures?’

‘On the impact of the ageing population,’ said Simar. ‘They want chapter and verse – you’ll be good at that: verse, I mean – on everything to do with the ageing population scenario. Current state, projections to 2050, the lot.’

‘Everything? Why? Where? What?’’

‘Detail on the UK, where we fit internationally. We’ve got our work cut out for us. You know that holiday you’ve got booked for next month?’

‘Damn,’ said Sharon.

‘Think of the Christmas bonus – and the firm,’ said Simar. ‘Weep all the way to the bank.’

‘Yes, boss,’ said Sharon, ‘when do we start?’

‘How’s “yesterday” sound?’

Sharon sighed. ‘Why us?’ she asked. ‘Do you know someone? Sure we’re not biting off way more than we can chew? What’re we going to tell them? What do they want to be told? And more: why do they want to know it? Why aren’t they doing it in-house? Are we being set-up?’

‘Wow,’ said Simar, ‘that’s a whole string of questions. With no answers. Except: they’re the Government. We’re just two girls. Not very nice girls, but very good girls. But essentially still just bean counters and low-class stats monkeys - with attitude. They ask us for figures, we give ‘em figures. They do what they want with them. That’s their business, not ours. We put in our invoice plus 20% for smiling, kowtowing and wearing nice skirts, say pretty please and thank you very much, and where’s the next job coming from por favor.’

‘Ours not to ask why, ours but to do and die,’ said Sharon.

‘Bloody poetry again,’ said Simar. ‘I’m beginning to wonder if you’re in the right job. Don’t know why I hired a classicist.’

‘Because I’m bloody good, too,’ said Sharon. ‘And here’s another reason why.’ She got up and kissed Simar.