ABOUT THE AUTHOR

I graduated from Dawson College in 2024 and now attend McGill University in Biomedical Sciences. I wrote this essay on Ling Ma’s novel Severance as a summative assessment for Professor Liam Lachance’s course Anti-capitalism in Fiction. Essentially, this essay explores the significance behind the author’s strategic employment of flashbacks throughout her novel, as well as how she utilizes this literary tool to include the reader in the events of the story to further the underlying message of the novel itself.

–Kamilia Shome

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Among the plethora of literary devices at our disposal, flashbacks are considered to be one of the most strenuous to master; however, when employed effectively, they contribute greatly to the overall artistry and impact of a literary work (Cuddon 280-285). Ling Ma’s novel Severance skillfully employs this literary device to provide a nuanced exploration of the choices and societal pressures that shape the lives of the working class in modern-day society. This essay will assess the effectiveness of the use of flashbacks in Severance to accentuate the underlying theme of the novel: the absurdity behind the normalization of society’s expectation for individuals to lead a monotonous life devoted to the advancement of the capitalist regime.

To start off, the use of flashbacks in Ling Ma’s Severance furthers the themes of the novel as it depicts the contrast between the past and present events which invites the readers to reflect on the dichotomy of these two worlds. In fact this contrast—induced by the juxtaposition of the vibrant, diverse, full of potential world of Candace’s life in New York and the sterile, desolate reality of the post-fever present setting of the novel through the utilization of flashbacks—emphasizes the high cost of societal expectations to navigate a life stripped of its richness and variety, solely for the pursuit of economic success. An example demonstrating this would be Candace’s partner, Jonathan, who profoundly opposes these exact societal norms and decides to escape the city purely because he can no longer bear to live with the objectification of  human lives that reduces them to mere commodities in the face of capitalism: “You think like that because you live in a market economy […] The future is more Urban Outfitters, more Sephoras, more Chipotles. The future just wants more consumers […] Manhattan is sinking” (Ma 13). The employment of flashbacks elucidates the novel’s moral stance, persuading the readers to question the wisdom of a system that demands unquestioning allegiance to a path defined by consumerism. Furthermore, the author uses flashbacks to emphasize how corporate demands can overshadow and distort one’s sense of self, contributing to the overall exploration of the negative impact of corporate culture on individuality. An example supporting this statement is Micheal Rietmann’s reaction to Candice’s decision to resign from her position at Spectra: “‘You’re young,’ he repeated. ‘You’re maybe under the impression that everyone gets to do what they want for a living’” (275). This passage demonstrates how society expects the working class to blindly adhere to a system that values routine over genuine fulfillment. The loss of individuality in the novel becomes noticeable as Candace’s personal memories are almost entirely overshadowed by the relentless demands of her job, accentuating the gradual erosion of her identity in the pursuit of professional success. Moreover, Ling Ma critiques the way in which the working class is unnecessarily loyal to this capitalist regime to the point where they have impetuously ceded control of their life to an authority which capitalizes entirely on their exertion. A notable example illustrating the use of flashbacks to render this loyalty evident to the reader is the conversation between Candace and the 911 operator when the elevator at the Spectra office breaks down at the pinnacle of the Shen fever outbreak: “‘If you don’t mind me asking, what are you still doing in there?’ ‘I’m working,’ I said, as if it were obvious […] ‘The city should do its job,’ I said, suddenly angry, frustrated” (250-251). In sum, the use of flashbacks in Severance creates a desolate contrast between the past and present which allows the reader to reflect on the consequences of conformity.

To continue, the use of flashbacks in Ling Ma’s Severance effectively delineates the parasitic relationship between society and materialism. The flashbacks in the novel take readers back to the pre-apocalyptic world, offering glimpses into a society where consumerism is not only prevalent but also glorified through the engagement in routine behaviors and habits that revolve around the acquisition of material goods, portraying a culture where success and identity are intricately linked to possessions. For example, the emphasis on particular brands and lifestyle markers signifies the glorification of consumerism, where one’s identity is shaped by the ability to align with specific products, brands and trends, and Candace admits she is no exception to this: “With the money I made, I bought Shiseido facial exfoliants, Blue Bottle coffee, Uniqlo cashmere” (11).  In fact, these flashbacks reveal how the parasitic relationship between society and materialism is so deeply embedded that individuals cannot fathom a life without constantly consuming, as conforming to these choices becomes a way to signal one’s success and acceptance within the societal framework portrayed in the novel. Furthermore, through the employment of flashbacks, the author unmasks the insidious influence of societal expectations which consequently propels individuals into a cycle of consumerism and conformity, giving them an insatiable desire for material possessions. An example of this is Ruifang Chen’s obsession with Clinique skincare products: “Are you moisturizing? […] I sent you a set of Clinique […] They were having a sale with a free gift. It was a good deal” (63). This passage suggests that Ruifang’s attachment to Clinique is not purely about skin care but is intertwined with her sense of self. This in turn reflects the parasitic nature of societal expectations as individuals derive a sense of identity and worth from their ability to align with materialistic standards. Additionally, through the use of flashbacks in the novel, consumerism is portrayed as an illusionary source of fulfillment which perpetuates a ruthless cycle of consumption as this pursuit for material validation develops into an endless loop, leaving individuals incessantly unfulfilled. For example, when Candace attempts to establish a home within the confines of her workplace, she collects an assortment of items in her pursuit of normalcy and comfort (263-264). Candace’s repeated endeavors to create a sense of home and normalcy through consumerism exposes the illusory promise of satisfaction through the act of consuming, highlighting the novel’s broader critique of the parasitic relationship between society and materialism.

Through flashbacks, readers are given insight into life before the Shen Fever outbreak, allowing them to connect with and empathize with the struggles and contradictions inherent in the pursuit of societal expectations. In other words, flashbacks reveal the Candace’s personal history and aspirations before the unraveling of society, which ultimately humanizes the protagonist’s character. Given that these flashbacks often capture every day, relatable moments in Candace’s life, they stress the absurdity of societal expectations by demonstrating the way in which her entity is shaped entirely by the customarily accepted desires and ambitions of society. For example, when she says, “I didn’t need a job right away, but I needed something […] I could feel my parents’ disapproval hanging over me” (47), we see the relatable struggles that Candace faces, permitting the readers to visualize reflections of their own lives, making the critique of societal norms more poignant and relatable. An example of this would be the way in which the author skillfully incorporates the abysmal difficulties faced by immigrant families to conform and adhere to Americanized societal norms, such as when Candace’s parents began attending the local church in hopes of enlisting into a new community regardless of their non-religious background: “Neither Ruifang nor Zhigang were religious, but if this is where the Chinese community congregated, then this was where they would go […] Zhigang and Ruifang returned the following week, and the week after that” (178-179). This connection to the characters enhances the impact of the novel’s message by showing the universality of human desires and the struggles against societal expectations. In addition to this, the usage of flashbacks explores the idea of personal sacrifices made for professional success, which translates to conforming to the expectations of capitalism. An example of personal sacrifice would be when Candace, driven by her ambitions and the expectations ingrained in her by society, decides to terminate her relationship with Jonathan: “I had stopped seeing him after that night. […] I lost myself in the work. I got up, I went to work in the morning. I went home in the evening. I repeated the routine” (151). Candace’s choice serves as a base for larger themes in the novel, illustrating how individuals, in their pursuit of professional achievements, often face the dilemma of sacrificing personal relationships and authenticity.

In conclusion, the strategic use of flashbacks in Ling Ma’s Severance transcends the confines of a linear timeline, providing contrast between the past and present events of the novel, as well as exploring the symbiotic relationship between society and materialism, and provides a realistic approach which resonates heavily with the reader. Ling Ma’s masterful storytelling, augmented by the temporal complexity of flashbacks, leaves a lasting impression on readers, encouraging them to reconsider the consequences of conforming to a monotonous life dictated by the relentless pursuit of capitalist ideals.

 

 Works Cited

Cuddon, J A. “F Division.” A Dictionary of Literary Terms and Literary Theory, edited by Matthew Birchwood, Fifth edition ed., A John Wiley & Sons, Ltd., Publication, Chichester, West Sussex, 2013, pp. 280–285.

Ma, Ling. Severance. Farrar, Straus and Giroux, 2018.