I found it useful to think about José Saramago's Seeing as, not so much a sequel to his earlier novel Blindness (though it takes place in the same unnamed European city, four years later), but as, fittingly enough, its photographic negative. Whereas Blindness is a brutally dark story with a glimmer of hope toward the end, Seeing is a wickedly funny satire—a much lighter tone overall—but with a crushing bit of darkness at its close. Whereas Blindness does not hesitate to explore the vilest brutalities that humans perpetrate on each other, Seeing is oddly civilized—but while Blindness shows the reader the deep compassion and humaneness that can come out of hardship, Seeing implies that our more noble instincts might be beside the fact, an irrelevance in the face of the huge, facilely idiotic machine of national government. Having just finished Seeing, I'm left pondering which is the more pessimistic book: certainly Blindness spends more of its pages being viscerally difficult to read, but I can't help privileging their respective endings: in the one case, hope for a small band of individuals; in the other, the casual destruction of those individuals to suit the petty whims of clueless officials.

Seeing is a kind of political fable: the night after the election, an unnamed European government finds that 77 percent of the population of the capital city has cast blank votes. Alarmed, they declare a mistake and organize a second election (complete with reconnaissance agents stationed casually in line at voting booths to intercept any information about the supposed blank-vote conspiracy), and everything seems perfectly normal except for the now 83 percent of capital-city voters who cast blank ballots into the box. The government interprets this action as an "attack on democracy" and reacts with a steady stream of increasingly restrictive measures, none of which seem to do a bit of good or extract a modicum of information. Beginning by declaring a state of emergency and suspending all constitutional rights in the city (a change none of the citizens seem to notice), they progress to sending intelligence agents into the populace (no one is interested in talking about the blank votes), and detaining a random sampling of citizens whom they hold indefinitely for interrogation (everyone refuses to say who they voted for). As the citizens' dignified non-participation holds steady, the government gets more and more ruffled, eventually choosing to abscond absurdly in the dead of night with all its officials, police, paperwork, assistants, computers and assorted detritus and declaring a state of seige on the capital city, forbidding anyone to enter or leave before the government has received a tearful apology from the city at large.

Saramago's satirical ear is delightful fun to read, particularly the scenes in which the ministers of the various national departments squabble pointlessly while trying to decide on a course of action:

Sounds a bit odd to me, said the minister of culture, to my knowledge, anarchists have never, even in the realm of theory, proposed committing acts of this nature and of this magnitude, That, said the minister of defense sarcastically, may be because my dear colleague's knowledge dates back to the idyllic world of his grandparents, and, strange though it may seem things have changed quite a lot since then, there was a time when nihilism took a rather lyrical and not too bloody form, but what we are facing today is terrorism, pure and unadulterated, it may wear different faces and expressions, but it is, essentially, the same thing, You should be careful about making such wild claims and such facile extrapolations, commented the justice minister, it seems risky to me, not to say, outrageous, to label as terrorism, especially pure and unadulterated terrorism, the appearance in the ballot boxes of a few blank votes, A few votes, a few votes, spluttered the minister of defense, rendered almost speechless, how, I'd like to know, can you possibly call eighty-three out of every hundred votes a few votes, what we have to grasp, what we have to take on board, is that each one of those votes was like a torpedo striking below the water line, My knowledge of anarchism may be out of date, I don't deny it, said the minister of culture, but as far as I'm aware, although I certainly don't consider myself an expert on naval battles either, torpedoes always strike below the water line, they don't have much option, that is what they were made to do.

The above is a good example of Saramago's style in both of these books: phrases strung together with commas into long uber-sentences, characters designated by function rather than name, and dialogue marked by simple capitalization. Personally, I like reading him regardless of the content, but I think his narrative oddities work especially well to tell this particular story: Seeing, after all, is all about the mechanized aspect of human society, about how the slot we fill defines our relationships to other slots and therefore, but only tangentially, to other people. Only if we are very conscientious or very lucky can we manage to connect with another human AS another human, rather than as a function of her and our respective slots. Saramago's decision to mingle the dialogue into a single flowing stream of words seems to me to fit with this idea: the conversation above, for example, could be taking place among any ministers of culture, defense, and justice—petty squabbling and a greater or lesser respect for such concepts as hawkishness, the rule of law, wit, and individual prerogative, is likely to exist in any cabinet meeting. The event (the conversation) transcends, in some way, the individuals taking part in it, just as the reader's eye sees first the undifferentiated block of text, just as the epidemic of blank votes seems to transcend any individual voter or, indeed, any individual conspirator.

Saramago plays with these ideas incessantly: it is interesting to watch the characters who change throughout the book, and to note whether their designators change as well. In one case, the city council leader becomes disillusioned with the absent government and quits his post, becoming "the former council leader." His crisis of conscience results in a change of designator, although only in a negative sense: he doesn't become "the head of the resistance" or "the activist," but continues to be defined by the job he has chosen not to do. Later on, the police superintendent and his two assistants argue over whether to call a given suspect "the prostitute," "the wife of the man with the eye patch," or "the girl with the dark glasses." Readers of Blindness, who are familiar with this character as "the girl with the dark glasses," may feel like they "recognize" this appellation as her true identity: it is, in any case, more judgment-neutral than referring to her as a prostitute, and more respectful of her self-hood than designating her only by who her husband might be. I was rooting for "the girl with the dark glasses" to win out as title—which is funny, since in the novel Seeing she never appears with dark glasses at all. All this brings up interesting questions about identity: does someone who has known a person longer, necessarily know them better? When does a name, title, or designation no longer apply? What makes one mode of reference preferable to another? Are some experiences, such as the events of Blindness, so formative that, even though this woman no longer wears dark glasses, there is still some innate "rightness" to referring to her by that title?

As much as Seeing is preoccupied with the mechanistic, it does also acknowledge the soulful aspects of human existence, and I felt that Saramago interwove just enough moments of desperate honesty between individuals, so that his book gained depth and weight. I particularly loved his passage toward the beginning, in which a female interrogation subject has just proved to her interrogator the worthlessness of the government's lie detectors. "It's all your fault," he says, "you made me nervous,"

Of course it was my fault, it was the temptress eve's fault, but no one came to ask us if we were feeling nervous when they hooked us up to that contraption, It's guilt that makes you feel nervous, Possibly, but go and ask your boss why it is that you, who are innocent of all our evils, behaved like a guilty man, There's nothing more to be said, replied the agent, it's as if what happened just now never happened at all. Then, addressing the technician, Give me that strip of paper, and remember, say nothing, if you do, you'll regret you were ever born, Yes, sir, don't worry, I'll keep my mouth shut, So will I, said the woman, but at least tell the minister that no amount of cunning will do any good, we will all continue to lie when we tell the truth, and to tell the truth when we lie, just like him, just like you, now imagine if I had asked if you wanted to go to bed with me, what would you have said then, what would the machine have said.


  • I like the way you refer to Seeing as the photographic negative of Blindness. I'd agree with you. Everything I loved about Blindness was missing in Seeing - I hated it! I didn't find it funny, but then I often don't get satire, especially political satire. I found Seeing to be a terrible chore to read, with nothing for me to love. I didn't even make it to the end. I'm looking forward to finding more of Saramago's books that match Blindness in style and structure.

  • I have only skimmed this beyond the first paragraph. I'm really looking forward to BLINDNESS, I've heard so much about it. And it sounds like this is one that should soon follow it!

  • Jackie: Interesting that your reaction to Seeing was so negative. I tend to really enjoy political satire, but I can see how this book would be a hard sell if your tastes don't run that way. Can't help but be sorry you didn't make it to the end, though - I felt like the last few pages really packed a punch; I'm curious to know what you would have thought of them. Not worth reading a book that's a chore, however!

    Rebecca: I'd be very interested to know your reactions to both these books. Blindness has a super-grisly rape scene, in case you hadn't heard that; I know you aren't a huge fan of sex/sexual violence in books. I thought it was necessary to the plot development, but your mileage may vary. In any case, I look forward to your reviews if/when you get around to them!

  • I had planned on reading this a few weeks ago but time (and library due dates) got away from me. Blindness is one of my favorites. I'm glad to see a good review of this as Jackie's review had me worried because I know she loved Blindness as much as I did. But I do like political satire, so I'm optimistic that I'll end up liking this when I do get to read it.

  • I loved this book! I think of Seeing and Blindness as companion books, but I like your photographic metaphor. Blindness was filled with such horro but ended so hopefully and Seeing was so hopeful in many ways but I was sobbing by the end. I read Seeing several years ago so thanks for writing about it and reminding me how much I liked it.

  • Teresa: Oh, if you like political satire, I can't imagine you not disliking this book. It's a fine, fine example of the genre. Hope you enjoy it!

    Stefanie: Yay, another lover of Seeing! (Hardly surprising though; we seem to have extremely similar taste.) I know what you mean about the end of Seeing - it's pretty brutal.

  • I have The History of the Siege of Lisbon on my TBR bookcase, Emily, so I'm happy to be reminded that you're such a big Saramago fan. If I could just get my act together (a big "if"), I'd love to read Eça de Queirós, Pessoa, and Saramago this year as part of a big Portuguese reading orgy. Would be great, I'm sure!

  • Yay for Saramago! I didn't expect to like Seeing nearly so much as I did -- the politics of these kinds of books sometimes scares me off, but I should know better (I loved Stone Raft) -- but it was delightfully funny. Ultimately I'd have to side with it being more pessimistic than Blindness.

  • Richard: I'm now super curious to read Saramago that's not part of the Blindness/Seeing duet, since it's a weird feeling to have read two novels by a given author & still feel like I have no sense of his overall "scope." History of the Seige of Lisbon has been highly recommended by others; I'll be curious about your thoughts! And also curious about all the other Portuguese authors you mention, if/when you get around to them. :-)

    Isabella: Delightfully funny - yes! Couldn't agree more. And am also finding that, despite the overall experiences of reading both books, I am left with more pessimism from Seeing as well - there's so much power in an ending, isn't there? And that one is definitely dark.

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    link to Wolves 2011 reading list
    link to more disgust bibliography