The End of Everything: M John Harrison on Mastering the Art of Ambiguity

The Philosophy of Ambiguity in 'The End of Everything'

M John Harrison's latest work, The End of Everything, presents a disintegrating Britain where the country is ruled by 'iGhetti'—monstrous, powerful lifeforms that appear as slow-motion explosions. Unlike traditional alien invasion narratives, Harrison’s novel focuses on 'alien evasion' rather than conquest. The core challenge for the author was to convey bafflement without sacrificing readability, forcing readers to grapple with the same epistemological confusion as the characters.

• The Nature of the 'iGhetti': The origins and purpose of these entities remain obscure, described as potentially engaging in 'spiritual tourism and gentrification' rather than hostile colonization.
• The Author's Insight: Harrison argues that if humanity met a real alien, we would have 'no clue whatsoever what they thought,' a concept he believes science fiction often pays lip service to but fails to fully transmit to the reader.
• Narrative Strategy: The book is designed to have the 'flavour of the novel' Harrison would have submitted in 1967, appearing like sci-fi on the surface but gaining depth as the reader progresses.

A Career Re-evaluated: From Genre to Literary Masterpiece

Harrison’s journey from a struggling writer in 1968 to a literary heavyweight is marked by a deliberate rejection of genre conventions in favor of 'depth and density of observation.' His recent success, including the Goldsmiths Prize in 2020 for 'The Sunken Land Begins to Rise Again,' marks a turning point where he finally felt recognized after 40 years of effort.

• The Iain Banks Influence: A pivotal moment came in 1998 when Iain Banks challenged Harrison to have 'more fun on the page,' leading to the creation of the Kefahuchi Tract trilogy.
• Critical Recognition: Harrison credits the Goldsmiths Prize for allowing him to 'relax for the first time in 40 years,' validating his uncompromising style.
• Evolution of Style: Moving away from the 'causalities' of genre fiction, Harrison adopted techniques of fragmentation and anti-novel styles, influenced by authors like Ballard and Robbe-Grillet.

The Climber's Mindset in Modern Literature

Harrison attributes his sustained creativity to a 'climber's mindset.' Just as climbers view a rock face as a sequence of problems to solve, Harrison approaches writing as a series of challenges to overcome. This perspective allowed him to move to the 'boondocks outside Huddersfield' and later Shropshire, prioritizing creative freedom over industry validation in London.

• Problem Solving: The inspiration for his masterpiece 'Climbers' came from a simple observation of shadows in a quarry, proving that his authority as a writer was innate rather than learned.
• The 'Other' Voice: Harrison describes a recurring sensation of an 'impostor' or a 'better writer' inside him who takes over during creative bursts, suggesting a complex relationship with his own genius.
• Place and Space: His work is deeply rooted in place, whether the Peak District or the fictional landscapes of his novels, reflecting a deep connection to the physical world.

The Next Problem: Uncompromising Creativity at 80

At 80, Harrison shows no signs of slowing down. His approach to aging is framed as a new set of problems to solve. With 'The End of Everything' complete, he is already tackling intractable short stories, demonstrating that his creative drive is fueled by a desire to push boundaries rather than a need for recognition.

• Future Outlook: Harrison plans to continue writing without apology, focusing on 'impossible things' he can try to do next.
• Legacy: The novel serves as a testament to a career that successfully bridged the gap between genre fiction and literary fiction, proving that ambiguity can be a powerful tool for storytelling.