53 pages • 1 hour read
Patrick NessA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Throughout More Than This, Seth constantly questions the nature of the world around him. He is unsure whether it is real and his memories were created in a simulation, whether he is in the afterlife, or if he is perhaps experiencing vivid hallucinations. When he starts to remember Owen’s death, Seth “both knows it’s true and knows it must be a lie” (291). This contradictory statement epitomizes the ambivalent status of reality in the novel.
Seth’s doubts lead the narrative to an Open Ending which does not provide the reader with a clear answer. The ending leaves many narrative arcs and subplots unfinished but uses the ambivalent ending to explore its philosophical concerns about reality and trauma. The story uses Speculative Fiction and Subverted Narrative Tropes to explore the nature of reality. The motif of Storytelling, for instance, allows Seth (and by extension the reader) to make predictions about upcoming narrative events. When those predictions are confirmed, Seth interprets it as proof that he is making up the story in a kind of elaborate dream. When they are subverted, Seth’s lack of control in the narrative is revealed. At the end of the book, he returns to the online world, but he wonders: “who can say in the end that any one of these places is more real than any other?” (402). Although the novel does not make it clear which of the Worlds is real, it does suggest a broader definition of reality. Regine, who often acts as Seth’s mentor, dismisses the question of which of their past or present lives is a simulation as a false dichotomy. She states: “Oh, it was real, all right […]. We lived it; we were there. If you go through something and put up with it even if you want to get away from it more than anything in the whole world, then it was definitely bloody real” (190). She further argues that, regardless of her perception of her situation, “wherever I am, whatever this world is, I’ve just got to be sure I’m me and that’s what’s real” (198). Consequently, human connection is what makes something real; Seth’s relationship with Gudmund is as real as his friendship with Regine and Tomasz. More Than This argues that what matters most is human connection, rather than whether the world itself is physically real.
Throughout the novel, most characters experience some kind of trauma. Characters learn to cope with the long-lasting consequences in different ways, and varying degrees of success. Seth, the protagonist, experiences personal and familial trauma, and his reactions are explored in depth throughout the story. At first, he struggles with loneliness and depression. Over the course of the narrative, however, Seth’s mental health improves as he processes his trauma and develops meaningful relationships with Regine and Tomasz.
His familial trauma stems from his brother Owen’s kidnapping and murder when they were young, and Seth is impacted by this experience. Candace, Seth and Owen’s mother, copes with her trauma by running and often deals with underlying anger. On the other hand, Edward, their father, takes medication and focuses on home projects to avoid his issues. Both chose to deny their son’s death by recreating a simulated version of Owen in the online world. As Regine states, “the worst thing in the world [...] happened to them and they weren’t able to deal with it” (310). The inability to confront this trauma in Seth’s household festers, making him feel neglected and blamed for Owen’s death. This trauma exacerbates Seth’s personal trauma of being outed and bullied for his relationship with Gudmund.
Regine and Tomasz both experience personal trauma. Regine’s stepfather was abusive and she has difficulty trusting people and showing affection, although she is very protective of Tomasz. Tomasz experienced poverty and was killed by a smuggler. Throughout the story, he claims that he was hit by lightning and often makes light of difficult situations. Tomasz’s bombastic story and lightheartedness are suggested to be his own way of avoiding reconciling with his own trauma.
All characters also experience a collective cultural trauma, as they witnessed society’s economic, political, and environmental collapse. Although they collectively chose to move online and erase their memories of the past, that trauma affects them subconsciously. Seth for instance suggests that his parents knew “on some level [that Owen] wasn’t real [and that] was there in how they treated [him]. Like an afterthought. Like a burden, sometimes” (301). Seth believes that his parents’ repressed memories are what he interpreted as blame. Seth’s parents’ trauma shows that trauma is inescapable except through confrontation; the Lethe process, an online simulation, and a simulated Owen are not enough to let them completely avoid their trauma.
By the end of the story, Seth has learned not to internalize other people’s trauma. He realizes that his parents’ anger was not about him but to their own inability to grieve Owen. He also processes his loneliness by creating and reclaiming meaningful friendships with Regine, Tomasz, Gudmund, and H. In short, More Than This explores the effects of personal, familial, and cultural trauma, with Seth’s journey acting as a catalyst to underline the complexity of human emotions.
The dualistic theme of life and death runs throughout More Than This both in literal and symbolic ways. The very premise of the story is the protagonist’s death and apparent rebirth, leading the characters to grapple with the concepts of life and death to figure out The Nature of Reality. At the beginning of the story, Seth believes that he has died and is now in hell because he finds himself in a post-apocalyptic world devoid of human life, where nature has reclaimed its rights. His suspicion is confirmed when he realizes that he woke up in a Coffin. The coffins represent both life and death since they are associated with dying yet are life-support machines in More Than This. The coffins intentionally blur the line between life and death, two concepts usually treated as strictly separate.
Seth goes through several deaths and rebirths in the story. First, he drowns himself at the beginning of the novel. Then, he attempts to kill himself again when he is overwhelmed by loneliness. In the end, he re-enters his coffin and the narrative leaves his fate unknown. The Open Ending keeps the matter of life and death ambiguous. The narrative does not clarify whether the characters are alive or dead, but instead leaves room for the reader to interpret what is real or not.
Ness uses the ambiguity around life and death to explore the meaning of life. At the beginning, Seth is driven to the edge because he feels alone and overwhelmed, but over the course of the story, he finds a new reason to live. His family’s inability to cope with Owen’s death led them to create a fake version of him, neither alive nor dead, which kept them from being able to grieve by doing everything in their power to avoid The Effects of Trauma.
Seth, Regine, and Tomasz learn that they died in one world and woke up in the other. Society also escaped death by entering the “paradise of second chances” (295) of the online world. In the end, Seth decides to embrace both of his lives, in the real world and online, because he wants “to live all of it” (374). Regine further points out that “what real life means depends on how you look at it. The only thing you’ve got to do is find a way to live there” (389). More Than This suggests that the only meaning in life is human connection, and that everyone must make sense of it for themselves through the ambiguous borders between life, death, and symbolic rebirths.
By Patrick Ness