The Death of Grass by John Christopher
"The Death of Grass" by John Christopher is a speculative fiction novel that explores themes of survival, human nature, and the breakdown of societal norms in the face of a catastrophic agricultural disaster. Set against the backdrop of a deadly agricultural virus that threatens crops and livelihoods, the story follows John Custance and his family as they navigate the challenging transition from a stable life in London to a desperate journey toward his brother David's rural farm, Blind Gill. As the families encounter increasing violence and moral dilemmas along their trek, the narrative delves into the transformation of individuals when survival becomes paramount, highlighting the struggles of leadership and familial loyalty.
The novel is characterized by its intense and often brutal portrayal of human behavior under duress, forcing characters to make harrowing choices that test their relationships and humanity. In a climactic confrontation at Blind Gill, the complexities of brotherhood and sacrifice come to the forefront, leading to tragic yet poignant outcomes. "The Death of Grass" stands as a compelling commentary on the fragility of civilization and the instincts that emerge when faced with existential threats, making it relevant to readers navigating contemporary societal challenges.
On this Page
Subject Terms
The Death of Grass by John Christopher
First published: 1956 (also published as No Blade of Grass, 1957)
Type of work: Thriller
Themes: Nature, gender roles, and death
Time of work: 1958
Recommended Ages: 15-18
Locale: London, Westmorland, the north Midlands of England
Principal Characters:
John Custance , a London engineerRoger Buckley , a public relations officer in London whose access to top-secret information proves crucialAnn Custance , John’s compassionate and caring wifeOlivia Buckley , Roger’s wife, more accepting and adaptable than Ann, though equally compassionatePirrie , a London gun-shop owner whose aim with a rifle matches his ruthless nature
The Story
The Death of Grass opens with a foreshadowing episode set twenty-five years before the main events of the story begin. Blind Gill, the Custance family farmstead, is at a crossroads: Its present owner, Grandfather Beverley, must decide which grand-son is most suited to inherit the land—John, the more intelligent, less patient grand-son, or David, the more down-to-earth and level-headed one. Immediately the book’s pace is established. By the end, the conflict between brothers will be resolved, as will the final ownership of Blind Gill, toward which John and his band will struggle following the virus’ devastation.
Following the plot-setting chapter, the plot moves into the present, the life of John’s family and their closest friends, the Buckleys, in London. As news comes in of the progress of a devastating agricultural virus, John confides to Roger that David has begged them to take refuge at Blind Gill. Roger, at once seeing the value of the offer, hears weeks later that the virus has finally overcome all efforts at control. The families begin an exodus to David’s farm, enlisting the help of a local gun shop owner, Pirrie, whose quick transition into the nightmare world convinces the families that life will never be the same.
The group elects John the leader on the journey, and in no time, he calls for the murder of two policemen blocking their way. A series of brutal events follow: The women are abducted, raped, and rescued; Pirrie shoots his wife for infidelity; the cars the group relies on are stolen. On foot, they continue their desperate march, enlisting the aid of another band, whose leader Pirrie shoots instinctively. Human nature has become savage, merciless in a world where only survival matters.
In his role of leader, John changes to accommodate the new fierce quality life has taken; as a result, his wife and children become severely distanced. Even Roger seems unable to reach him, noticing an atmosphere of constrained friendship one night while a hostile band lays siege to the group in an abandoned house. Only by Pirrie’s marksmanship is the group saved.
Finally, at the gates of Blind Gill, the great irony behind the group’s struggle is revealed: David is unable to allow John’s entire group inside. Only John’s family is offered sanctuary. Refusing to betray his group by accepting his brother’s offer, John leads an assault on the farm. His brother’s death is a result, but John has succeeded in ensuring the survival of his children and the group that trusted him.
Context
The Death of Grass belongs among those books that Christopher wrote before his landmark work The White Mountains (1967), his first book for a younger audience, and the first volume of a trilogy that received wide acclaim. The more adult themes Christopher had found effective in earlier books such as The Caves of Night (1958) and White Voyage (1960) seemed readily adaptable to the style of speculative fiction that Christopher began to adopt by the late 1960’s. His second trilogy comprises The Prince in Waiting (1970), Beyond the Burning Lands (1971), and The Sword of the Spirits (1972). Just as the Custances and the Buckleys must struggle with their own freedom in The Death of Grass, the characters in both the White Mountains series and the Prince in Waiting series discover that the demands that freedom places on the individual are always greater than anticipated.
In The Lotus Caves (1969), two boys slip away from the protection of a planetary city in an attempt to explore the forbidden. Their eventual escape brings to mind the flight of the group in The Death of Grass, particularly the emphasis on the peace that John brings while in the presence of his brother’s corpse. There is “a city to be built,” he says, referring not only to the new beginning at Blind Gill but also the reconstruction of the past, just as the young heroes of The White Mountains realize the need to begin a new society apart from the Tripods and their mind-numbing methods of control by “capping.”
The differences that remain between Christopher’s books for adults and his books for young adults are slight. The experience required to understand tragic events such as those in The Death of Grass is no longer essentially restricted to adults, for exposure to violence, directly or through media images, has become a nearly universal experience for both young and old. It is a testament to Christopher’s storytelling skill that his earlier works are no longer being deemed “too much” for younger audiences.