Excerpt from How High We Go in the Dark by Sequoia Nagamatsu
This is an excerpt from the book How High We Go in the Dark by Sequoia Nagamatsu.
My tenuous friendship with Val was a constant reminder of how close I was to being entirely alone, which I think made me more thoughtful 50 percent of the time, the kind of person Val might want to hang around. The only other coworker I talked to was Mr. Leung, our head janitor. He had a long, wispy beard and bushy eyebrows reminiscent of an old master in a seventies kung fu film. It made watching him work an almost meditative experience. I confessed as much to him once and was immediately afraid that I’d come off as one of those Asians who knew jack shit about being Asian, which was mostly true. But he smiled and a few days later asked for my help in providing under-the-table services for some impoverished families around Chinatown.
“We have bio bag,” he said in a thick accent. “We need to burn. No money.”
I spent that night mulling over Mr. Leung’s request, realized that I’d be helping someone while also sticking it to Mr. Fang, who hated the idea of assisting the needy or desperate. I almost didn’t tell Val about it at all, since she seemed like a rule-following whistleblower, but when she saw me passing a note to Mr. Leung, I let her in on the plan. We would wait until Friday evening to begin, when Mr. Fang went to see La traviata for the umpteenth time with his wife. I’d wait by the service entrance for Mr. Leung and his friends to roll in the bodies they’d been storing in the freezers of local restaurants.
“Den has a heart after all,” she said on the first night of our covert mission, climbing into the biohazard suit the sterilization techs wore when handling unprocessed bodies. And who wouldn’t want to help?
“We can only give you this,” a teenage boy with his grandfather told us after we presented them with a cardboard urn. He pulled out his phone and transferred fifty funerary tokens to my account, handed me a tote bag filled with food. After the initial group of families left, Mr. Leung, Val, and I ate the dumplings they gave us on the embalming table.
Everyone Mr. Leung brought to us over the next few nights was solemn and thankful.
“Is that enough?” they would always ask. “We’re sorry we don’t have much to offer.”
“It’s fine,” I’d answer. Because money was never the reason and, honestly, I would have done it for free if they hadn’t insisted. It made me feel good. They burned incense and held each other and cried while gazing at photos of their relatives. I bowed my head in respect. Once upon a time this was how we dealt with death. But something snapped in us when the dead could no longer be contained, when people didn’t really get to say goodbye. Cryogenic suspension companies proliferated, death hotels, services that preserved and posed your loved ones in fun positions, travel companies that promised a “natural” getaway with your recently departed. I remember Mr. Fang reminding us upon hire to always exude customer service, to never upset the guests, to remember that we were a hotel first and foremost, a funeral home second.
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How High We Go in the Dark – Summary
A debut that follows a cast of intricately linked characters over hundreds of years as humanity struggles to rebuild itself in the aftermath of a climate plague.
Beginning in 2030, a grieving archeologist arrives in the Arctic Circle to continue the work of his recently deceased daughter at the Batagaika crater, where researchers are studying long-buried secrets now revealed in melting permafrost, including the perfectly preserved remains of a girl who appears to have died of an ancient virus.
From funerary skyscrapers to hotels for the dead to interstellar starships, Sequoia Nagamatsu takes readers on a journey spanning continents, centuries, and even celestial bodies to tell a story about the resiliency of the human spirit, our infinite capacity to dream, and the connective threads that tie us all together in the universe.
Copyright © 2022 by Sequoia Nagamatsu.
You can find more details here on Goodreads and on StoryGraph.
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