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58 pages 1 hour read

Angelfall

Fiction | Novel | YA | Published in 2011

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Themes

The Importance of Community in Times of Crisis

Many classic works of science fiction and fantasy imagine a hostile, superhuman invader as a catalyst for unity among human beings, as a divided humanity comes together to fight a common enemy. The angels in Angelfall appear to be just such a hostile force—destroying cities and herding people into camps where they suffer forced labor, torture, and death. However, their presence creates at least as much conflict and division as it does unity and cooperation between humans. Penryn meets many other human beings throughout the book, both hostile and friendly. Very few are purely sympathetic; many act selfishly, asserting power over her or others or prioritizing themselves and their own gain over even the lives of others. Even characters like Obi, one of the more heroic of the rebels, demeans Penryn and enforces a heteropatriarchal society among the survivors for no apparent reason except personal power or biases. Despite the selfishness and competitiveness of many humans, however, Penryn learns that she must rely on others if she is to survive. The book suggests that humanity, too, will have to learn to prioritize communal solidarity over individual power.

Penryn is rarely alone for long, and she depends on others to ensure her survival. This is true of nearly everyone, angel and human alike. While Penryn and others loathe the gangs that roam the streets by day, even they represent this basic theme: Humans need to group together to survive, no matter the cost. The survivor base is another key example of this basic instinct. Penryn quickly notices that the survivors do not have anything in common except being alive; few, if any, are equipped for pseudo-military life, but all of them unite under the common goal of staying alive and beating the angels back. Their resilience and cooperation save their lives, enabling them to disguise the camp from angels and create a successful plan of attack, preserve a semblance of society, and keep everyone emotionally stable and physically cared for. While this society is deeply unequal, characterized by rampant sexism, it provides a degree of stability and safety that its members sorely need. Through this flawed but necessary community, the novel suggests that humans are, at their core, a social species, and that the need for community and safety is often at odds with other important values, including personal autonomy and equality.

The future of human society is left in question at the novel’s end, but Penryn’s hope and pride in her fellow human beings, which contrasts with her constant cynicism and snark for much of the rest of the book, emphasizes the possibility of not just survival, but a return to a thriving, more accepting society. Paige’s survival and the victory over the angels provides ample evidence of human resilience. In the novel’s post-apocalyptic world, small communities provide the hope that people need to keep their metaphorical fires burning until better times return. Hope, the book argues, can be found in many things, but humanity is uniquely capable of stoking it in one another. The rebels have hope because they have each other, and the fracturing angels, split apart by politics and internal betrayals, have anything but.

The Mutual Nature of Caregiving

Penryn’s life is consumed with trying to keep her sister, who is paraplegic, and her mother, who has schizophrenia, safe and cared for, and these challenges are only complicated further by the apocalypse. She even becomes a caretaker to Raffe—an archangel whose strength theoretically far exceeds that of any human—when he too becomes disabled with the loss of his wings. While Penryn acts as a caretaker for the people in her life, they each also care for and protect her: Raffe fights side by side with Penryn against their many enemies, Penryn’s mother provides them with food and shelter by killing the person guarding the office building in Chapter 6, and Paige rescues both Penryn and Raffe at the end of the book. These characters’ disabilities mean that they sometimes need Paige’s help, but she needs them as well.

The presence of characters with disabilities is somewhat rare in apocalyptic fiction, perhaps due to a conscious or unconscious bias that people with disabilities would not survive harsh conditions or would not be valued enough to warrant the care they would need. Penryn’s entire character negates this ableist belief, as she devotes all her energy, no matter how little she has, to keeping her family members alive, and receives care in return from them. Because Penryn, the narrator, is not disabled, the novel does not depict what living with disabilities during the apocalypse is like, but what caring for people with disabilities as an abled person is like. Penryn’s status as a caretaker becomes a core part of her sense of self, but she must learn to let go of this identity if she is to see her loved ones as full human beings.  

Penryn’s identity, whether she realizes it or not, has been eroded by years of caring for her family members. The book does not make any claim that this is “bad” or “good,” nor that Paige or her mother are guilty somehow for causing it, but it is clear in multiple scenes that Penryn does not know how to function without caring for others. Penryn’s responses and personal goals have been numbed. She hardly reacts when her mother slaps her, viewing abuse as a natural outcome of her mother’s mental illness, one she must suffer to keep her mother safe. Additionally, Penryn’s single-minded devotion to saving her sister, while certainly a sign of love, also suggests that Penryn depends on the belief that Paige needs her: In a dangerous and often miserable post-apocalyptic world, her sister’s need for her gives her a reason to keep living. This dynamic becomes especially apparent toward the climax of the novel: When Penryn realizes that the angels’ horrific experiments have restored Paige’s ability to walk, she considers leaving her behind. Paige no longer needs Penryn, and for a moment, Penryn wonders whether this means she no longer needs Paige. Penryn must struggle with her sister’s identity as a human being rather than an object. Although she internally believes that she views Paige as a human, Paige’s transformation into something different—yet still human, and still capable of care—shows that she has never really seen Paige as more than an object needing care. When the status quo changes, Penryn does not know how to react and is forced to reassess her entire view of her sister in response. Ironically, Paige’s transformation forces Penryn to realize that she has been human this entire time—it is Penryn, with her numbed, robotic view of Paige as a helpless object, who must change and grow in response.

Penryn’s internalized beliefs about herself and her disabled family members are overturned by the end of the novel, thematically reestablishing the value and humanity of these characters. Paige carries Penryn to safety, reasserting the value of both of their lives, and Penryn is rendered powerless for the entire conclusion, forcing her to rely on others for her care rather than vice versa. Penryn’s mother never makes a miraculous “recovery” like Paige does, and Penryn’s frustration at this lack of change reflects the intensity of her isolation and forced role as caretaker. Altogether, the novel presents characters with disabilities as they are: humans in need of care, just like everyone else in the apocalypse. The issue is not with them, but with Penryn—while her efforts to keep them alive are crucial, her single-minded determination to be their abled savior ultimately harms both her and those around her.

The Politics of Sin

Much of the tension between the angels and within Raffe’s own mind centers around the state of being “fallen,” though this spiritual condition is largely undefined within the novel. While one could interpret “falling” as committing sin or turning against God, as in the biblical sense, the angels themselves do not seem to hold to such a definition except when it is convenient for them. By complicating the definition of “sin” and expanding it to mean “going against the status quo,” the novel exposes condemnation of others as a tactic of power rather than an effective method of determining moral purity.

The defining characteristics of the angels are their hypocrisy and their fascistic worship of beauty and power. They look beautiful but commit atrocities against human beings; they condemn each other for loving or bearing children with human women but treat women as a sexual commodity. Their aerie is a place of luxury and debauchery, where the angels thrive while human beings outside starve. Even their descriptions represent this dichotomy between superficial beauty and inner, moral ugliness—as in the case of Uriel, who looks kind and friendly but in reality is even more monstrous and abusive than the rest. Their hypocrisy means that the angels are willing to use the concept of sin as a means to maintain power, creating an intense fear of being “fallen” that quickly eradicates dissent and rebellion. Even leaving the aerie leads to Raffe being accused of falling from grace, making it clear that the angels’ moral standards have more to do with maintaining power than with doing what is right. Despite these stringent rules, fallenness has no clear definition: Beliel, a demon, is welcomed into the aerie, while Raffe is given his demonic wings and treated as a pariah. The issue is clearly revealed to be one of power: Raffe, as an agnostic and a threat to Uriel’s ascension to power, disagrees with the status quo and is ousted, while Beliel maintains the appearance of cooperation and is praised.

The novel’s interrogation of the politics of sin extends to the rest of the world as well. Penryn is intensely critical of other women, particularly women who act sensually for their own benefit, but quickly realizes that sexuality is key to survival, forcing her to rethink her own moral biases. In the apocalypse, sin does not truly exist; power and lack thereof do. Still, love and kindness do exist—not as a counterpoint to sin, which has no definition, but as a counterpoint to power. Raffe’s love for Penryn sets him apart from the other angels and gives him a power unique to him, and Penryn’s love for her family drives and motivates her to survive. Raffe may “fall,” but ultimately, his newfound love for Penryn, and humanity by extension, empowers him to become something entirely more powerful than Uriel.

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