54 pages 1-hour read

Twist

Fiction | Novel | Adult | Published in 2025

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Background

Content Warning: This section contains mention of suicidal ideation.

Technological Context: Fiber Cables

At the heart of Colum McCann’s Twist lie the fiber-optic underwater cables, or submarine cables, that Anthony must write about. These cables connect the world in the unlikely place of oceans’ depths: “There are currently around 600 in-service and planned submarine cable systems, stretching nearly 1.4 million kilometers across the Atlantic and Pacific oceans and other strategic passages” (“Submarine cables: The invisible backbone of the digital revolution.” Hanwha Group, 13 Sep. 2024). These cables are expansive and facilitate the transfer of information and global communication. Started as a means for transatlantic communication using Morse code, the cables have evolved with technology: “Modern submarine cables use fiber-optic technology. Lasers on one end fire at extremely rapid rates down thin glass fibers to receptors at the other end of the cable. These glass fibers are wrapped in layers of plastic (and sometimes steel wire) for protection” (“Submarine Cable 101.” Telegeography). This imagery, of tiny wires that transmit information at seemingly impossible speeds, is one that McCann employs frequently in the novel. The protagonist, Anthony, often wonders in amazement at how the cables function and speculates on what is going through them.


The premise of the novel is that a cable breaks off the coast of Africa, creating a major internet and communications disconnection. Anthony, hired to write about the cables and the company that controls them, finds himself following Conway, the chief of mission of the Georges Lecointe, out to repair the cable. Though Twist is a fictional, and dramatic, depiction of what occurs when a cable breaks, the occurrence is actually not that rare: “Submarine cables break all the time. On average, two to four break somewhere in the world every week. […] Most [breaks] come from fishing equipment, normal anchoring activity, and natural disasters like undersea earthquakes” (Burdette, Lane. “What To Know About Submarine Cable Breaks.” Telegeography, 21 Nov. 2024). In Twist, the main cable breaks because of an underwater avalanche caused by flooding in Africa. Another cable breaks, however, because of a fishing vessel, capturing both the everyday and severe causes of the breaks. Though these breaks do happen frequently, they do not often cause major outages, as the organizations that control the cables are able to redirect information through other cables, demonstrating how global connection depends on a largely invisible web of cables.

Literary Context: Waiting for Godot by Samuel Beckett

In Twist, Zanele leaves for England to act in and produce a climate crisis-focused version of Waiting for Godot by Samuel Beckett. The play is one of Beckett’s most well-known works and an important addition to the tradition of the Theater of the Absurd. The tradition arose in the aftermath of World War II, as many grappled to make meaning from the horrors of the war and the Holocaust. Plays in this style relied on absurdity, meant to reflect the absurdity of the moment: “Such theater startled audiences by breaking from traditional stage techniques, raising questions instead of providing answers, and expressing an inability to make sense of human actions, choices, and indeed life itself” (“Samuel Beckett + Waiting for Godot.The Kennedy Center). Zanele’s choice of an absurdist play such as this ties into her views of humanity and the climate crisis. She sees it as an existential threat to the world and is horrified to see so little action taken to prevent it. She cannot make sense of how humanity refuses to react or act, despite the mounting evidence to say that the crisis is here.


The play itself centers around two men who meet under a tree, both waiting for Godot. They are visited by Pozzo, a friend, and Lucky, whom Pozzo enslaves. The entirety of the play occurs under this tree, as the friends wait for Godot. On the first day, a boy tells them that Godot is not coming today but will arrive tomorrow. The friends agree to leave but do not. In Act II, the friends remain under the tree, waiting for Godot on a different day, but nothing changes: “After Pozzo and Lucky leave, the boy arrives to say Godot will not be coming. The men once again contemplate suicide, but decide to wait for tomorrow, in case Godot comes. And so the play ends: they decide to leave, but do not move” (“Samuel Beckett + Waiting for Godot.”). Once again, despite the men being told that their waiting is futile, they do not move. They refuse to take sensible action. Zanele seeks to capture this absurdity and project it onto the climate crisis. Like the friends, humanity waits and waits but refuses to take sensible action to save itself.

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