The Age of Miracles
| Company type | Novel |
|---|---|
| Industry | Publishing |
| Founded | June 2012 |
| Founder | Karen Thompson Walker |
| Products | Book |
| Owner | Random House (US), Simon & Schuster (UK) |
The Age of Miracles marks the first novel by American author Karen Thompson Walker, released in June 2012 through Random House in the United States and Simon & Schuster in the United Kingdom. The narrative centers on a fictional event known as "slowing," where the Earth's rotation progressively extends the length of each day. Garnering favorable critiques, the book secured publishing contracts valued at £1.12 million and has been translated into numerous languages. It also earned a nomination for the Waterstones 11 literary prize in 2012.
Background
The concept of "slowing" originated with Walker after discovering that the 2004 Indonesia tsunami caused a minor deceleration in Earth's rotation. To maintain scientific credibility, she undertook thorough online research and consulted with an astrophysicist. Balancing her full-time editorial role at Simon & Schuster, Walker dedicated four years to writing the novel, describing the experience as a form of meditation. She identifies Blindness by José Saramago as a significant influence on her work.
Plot
The plot follows Julia, an eleven-year-old residing in California, amid a worldwide event termed "slowing," where Earth's daily rotation increasingly lengthens. Initially, days last 24 hours and 56 minutes but continue to grow longer, disrupting normal routines. Responses differ widely: some people adjust, Julia's grandfather suspects governmental deception, while others, such as her friend Hanna's family, interpret the phenomenon as divine retribution and return home.
The U.S. government enforces "clock time," preserving the 24-hour schedule irrespective of daylight changes. Individuals like Julia's neighbor Sylvia who reject this system live according to natural sunlight and face marginalization as "real timers." The prolonged days induce psychological disturbances referred to as "the syndrome," manifesting variably—Julia's mother is affected while crime rates escalate. Julia also faces emotional challenges upon uncovering her father's affair with Sylvia.
On Julia’s twelfth birthday, her grandfather vanishes but is later discovered deceased within his nuclear-proof cellar, prompting her father to end his affair and rebuild his marriage. Concurrently, Earth's diminishing magnetosphere leads to intense solar superstorms, exacerbating "the syndrome." Seth Moreno, Julia’s boyfriend, develops a severe case and is transported to Mexico for care. Following a 72-hour blackout caused by excessive power consumption for artificial agriculture, authorities limit electricity use to critical services. Despite efforts, Julia loses communication with Seth.
As years pass and day lengths extend into weeks, pushing humanity toward near extinction, the government launches The Explorer, a spaceship carrying records of Earth's history. Julia holds onto hope of reuniting with Seth, recalling their message inscribed in wet cement: "We were here."
Reception
The Age of Miracles was met with predominantly positive critical reception. Michiko Kakutani from The New York Times described it as a "clever fusion of disaster epic and sensitive young-adult coming-of-age tale," despite noting occasional "Hollywood-style polish" and plot weaknesses. Melissa Maerz of Entertainment Weekly awarded it an "A−," commending its straightforward prose and subtle moments. NPR's Maureen Corrigan labeled it a "thoughtful page-turner" that contemplates loss and planetary vulnerability. Claudia Yusef of The Daily Telegraph praised its evocative depiction of adolescence, dismissing criticisms regarding its scientific elements as pointless.
Abigail Tarttelin writing for The Huffington Post valued the novel's "delicate, fleeting tone," although she felt it lacked the dramatic intensity its premise implied. Kirkus Reviews granted it a starred review, calling it a "remarkable debut" that is "captivating, heartrending, and deeply affecting." Becky Toyne from The Globe and Mail noted some repetitive aspects but summarized it as "moving and distressing yet ultimately enchanting." Jackie Stewart in The Washington Post acknowledged heavy-handed literary devices but concluded it is a "dark yet beautiful work" portraying both individual and societal reactions to catastrophe.
In contrast, Christopher Priest, writing for The Guardian, criticized the novel for its "complete absence of irony," weak character development, and scientific inaccuracies.