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	 Post-apocalyptic	fiction	has	often	been	criticized	as	a	source	of	fear	mongering	and	
of	dangerous	fantasization	about	the	end	of	the	world.	Critics	such	as	James	Berger	have	
argued	that	this	imagining	of	the	end	times	diverts	too	much	attention	towards	the	
perceived	horrors	of	an	uncertain	future	rather	than	focusing	on	the	real	problems	of	the	
present.	As	Berger	states	in	After the End,	“The	most	dystopic	visions	of	science	fiction	can	
do	no	more	than	replicate	the	actual	historical	catastrophes	of	the	twentieth	century”	(xiii).	
Though	this	argument	definitely	highlights	the	importance	of	actually	taking	action	once	a	
real	threat	has	been	understood,	it	fails	to	recognize	the	important	role	that	narratives—
particularly	fiction	narratives—play	in	developing	a	person’s	perception	of	the	apocalypse	
and	of	the	empathy	required	to	prevent	it.	The	ability	to	empathize	with	other	people	is	
critical	for	an	individual’s	motivation	to	take	action	in	correcting	societal	problems.	In	this	
paper,	I	examine	The Sight,	a	young	adult	novel	by	David	Clement-Davies,	and	its	themes	
of	empathy	and	apocalyptic	thinking.	In	essence,	The Sight	presents	a	powerful	message	
on	how	stories	construct	the	future.	I	will	explore	how	post-apocalyptic	fiction	can	help	
inspire	empathy	and	bridge	the	gap	between	understanding	and	activism.	In	addition,	I	
will	emphasize	the	importance	of	moving	the	focus	of	post-apocalyptic	fiction	away	from	

messages	of	inevitable	catastrophe	and	towards	opportunities	for	social	change.	

In post-apocalyptic fiction, the concept of empathy often is depicted as a weakness that the 

characters cannot afford if they hope to survive. This depiction leads to harmful perceptions on 

the value of empathy and its ability to avert apocalyptic catastrophes. By examining 

David Clement-Davies young adult novel The	Sight through theories of narrative empathy 

and through James Berger’s theories of post-apocalyptic representation, this essay argues that 

by representing empathic understanding, fiction writers have the power to influence positive 

changes in real world situations. By representing the need to teach empathy for all people, 

regardless of their differences, and the harm a lack of empathy can cause on both a personal 

level and on a large societal scale, this novel encourages future generations to seek peaceful and 

empathic solutions instead of repeating the cataclysmic mistakes of their forebearers. 

by Tynan Drake, Ball State University

Change the Narrative: Empathy in 
Post-Apocalyptic Fiction



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	 In	most	post-apocalyptic	fiction,	the	story	is	based	around	the	struggles	for	survival	

after	a	cataclysmic	event,	but	the	reality	of	apocalyptic	events	is	that	they	have	already	

occurred	all	around	us.	From	the	Holocaust	to	natural	disasters,	large-scale	wars,	and	

devastating	plagues,	our	world	has	already	seen	one	apocalyptic	event	after	another,	many	

of	which	have	served	as	the	inspiration	for	these	after-the-end	kind	of	stories	(Berger,	

After the End xii-xiii).	The Sight	presents	a	sort	of	paradox	among	post-apocalyptic	fiction	

as	its	own	story	touches	on	the	repetitive	history	of	apocalyptic	events,	dipping	even	into	

a	near-metafictional	narrative	at	times	as	it	contemplates	the	driving	social	forces	behind	

apocalyptic	events	and	their	recurrence	throughout	history.	During	the	whole	of	the	novel,	

the	characters	question	whether	the	story’s	central	prophecy	is	really	a	prediction	of	the	

future	or	if	it	is	a	memory	of	the	past	repeating	itself,	bringing	out	an	apocalyptic	event	

that	has	been	seen	before	and	has	been	passed	down	through	the	generations	as	story	and	

legend.	

	 Many	people	think	of	the	apocalypse	as	a	single	destructive	event	that	overshadows	

all	the	horrors	of	before—a	true	end	of	the	world	and	all	we	know—but	as	James	Berger	

states	in	After the End,	“Very	few	apocalyptic	representations	end	with	the	End.	There	is	

always	some	remainder,	some	post-apocalyptic	debris,	or	the	transformation	into	paradise”	

(34).	In	essence,	for	the	post-apocalypse	to	exist,	the	world	must	continue	to	exist	even	after	

the	cataclysmic	event,	and	therefore	it	is	in	the	real	world	history	of	horrors	that	we	find	the	

true	“world	ending”	events	of	post-apocalyptic	fiction.

	 The	irony	about	these	kinds	of	events	is	that	no	matter	how	horrifying	or	eye-

opening	they	are	at	the	time	of	their	occurrence,	the	human	race	has	the	remarkable,	and	

often	detrimental,	ability	to	erase	the	evidence	of	what	happened.	Cities	that	were	bombed	

in	warfare	are	rebuilt	and	made	to	look	exactly	as	they	had	before	the	destructive	event	

(Berger,	After the End	20).	Genocides	are	quickly	forgotten	within	a	few	generations,	either	

being	covered	up	or	justified	as	a	necessity,	often	by	some	nationalistic	or	religious	agenda.	

Manifest	Destiny	was	a	common	excuse	for	the	genocide	of	Native	Americans,	and	as	the	

last	of	the	Holocaust	survivors	pass	away,	we	are	already	beginning	to	forget	the	stories	

they’ve	told,	the	agony	of	the	horrors	they	faced,	and	the	dangers	of	allowing	a	prejudiced	

tyrant	to	seize	control.

	 In	Trauma and Memory,	Dennis	A.	Foster’s	review	of	Berger’s	After the End,	Foster	

states,	“What	Berger	wants	to	produce,	and	what	he	wants	other	historians	to	produce,	is	

ultimately	not	the	meaning	or	significance	of	the	apocalyptic	event—such	terms	displace	

the	event	and	lead	to	its	forgetting—but	its	continued	presence	as	the	most	true	thing	in	our

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world”	(740-741).	Though	critics	and	writers	of	post-apocalyptic	fiction	differ	in	opinions	

on	what	this	genre	actually	accomplishes,	these	scholars	essentially	want	the	same	thing:	to	

see	our	world	turn	away	from	the	harmful	paths	it	has	taken	so	far	and	to	avoid	the	terrible	

futures	many	have	grown	to	fear.	Not	heeding	the	warnings	of	authors	and	critics	would,	in	

itself,	be	a	dangerous	path	towards	the	ever-present	threat	of	an	apocalyptic	future,	but	the	

line	between	bringing	the	horrors	of	real	apocalyptic	events	to	light	and	indulging	in	the	

fantasy	of	wiping	the	slate	clean	is	a	fine	one	to	tread;	however,	this	is	a	line	that	I	believe	

David	Clement-Davies’	The Sight	balances	with	thoughtful	precision.

									 In	this	paper,	I	am	arguing	that	The Sight	deviates	from	traditional	apocalyptic	fiction	

by	focusing	on	the	social	forces	that	build	up	to	the	inciting	cataclysm	rather	than	on	the	

consequences	and	hardships	of	the	post-cataclysm	world.	The Sight	represents	an	optimistic	

perspective	of	how	empathic	understanding	can	be	used	to	avert	apocalypse	rather	than	

relying	on	the	traditional	scare	tactics	that	many	post-apocalyptic	stories	seem	to	employ	

in	the	hopes	of	avoiding	catastrophe.	Within	this	paper	I	will	discuss	how	post-apocalyptic	

fiction	can	motivate	readers	to	take	action	against	dangerous	potential	futures,	but	I	will	

take	it	a	step	further	by	arguing	that	this	fiction	has	a	responsibility	to	advocate	for	change	

and	to	provide	guidance	for	the	proposed	action.	In	the	first	section	of	this	paper,	I	will	

introduce	the	plot,	the	key	characters,	and	the	major	themes	within	The Sight,	and	I	will	

examine	how	it	both	fits	within	and	deviates	from	typical	apocalyptic	literature.	The	second	

section	will	discuss	representations	of	empathy	in	The Sight	and	the	potential	that	narrative	

empathy	possesses	for	inspiring	social	activism.	Finally,	I	will	conclude	the	essay	with	a	

suggestion	for	how	authors	of	post-apocalyptic	fiction	can	work	to	change	the	future	by	

redirecting	the	focus	of	the	narratives	they	tell.

THE STORY OF THE SIGHT

	 The	story	of	The Sight follows	Larka	and	her	family,	a	pack	of	intelligent	wolves	

caught	up	in	the	middle	of	a	brutal	period	of	civil	war.	On	one	side,	Larka’s	aunt	Morgra,	

the	main	antagonist,	is	trying	to	fulfill	a	world-ending	prophecy.	The	prophecy	can	only	be	

fulfilled	by	an	individual	who	wields	the	psychic	powers	of	the	Sight.	Whoever	fulfills	the	

prophecy	and	claims	the	ultimate	power	of	the	Sight	will	gain	the	power	to	control	others	

in	mind	and	body	and	will	also	release	the	Vision	for	all	living	creatures	to	see,	a	knowledge	

that	all	need	to	possess.	On	the	other	side	of	the	conflict,	the	Rebels	band	together	in	

opposition	of	Morgra,	proclaiming	that	all	who	believe	in	or	speak	about	the	superstitions	

of	the	Sight	are	enemies	of	the	wolves	and	should	be	treated	as	allies	to	Morgra.	For	the	

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purposes	of	this	paper,	I	will	be	focusing	on	the	stories	of	Larka	and	Morgra	and	the	ways	

their	two	stories	intertwine.	Each	of	them	faces	violence	and	persecution	at	the	hands	of	

others,	and	both	are	born	into	a	world	that	fears,	and	doesn’t	understand,	the	powers	of	the	

Sight	that	they	are	born	with.	Their	stories	parallel	each	other	in	many	ways,	and	at	times	it	

appears	that	their	worldviews	are	very	similar,	but	there	is	one	key	difference	that	changes	

the	course	of	their	stories:	while	Morgra	is	always	forced	to	suffer	alone,	denied	the	basic	

need	of	all	social	creatures	to	be	accepted,	understood,	and	shown	empathy,	Larka	is	always	

surrounded	by	friends,	family,	and	allies.	Even	as	Larka	is	violently	ripped	away	from	her	

companions,	she	is	never	alone,	immediately	being	enveloped	into	the	comfort	and	support	

of	new	allies	or	else	being	reunited	with	old	friends	and	family.	The	differences	in	their	

stories	can	be	seen	in	the	opportunities	they	are	given	to	heal	from	the	traumas	they	faced,	

and	in	turn	this	show	of	empathy	(or	lack	of	it)	influences	the	ways	they	treat	others.

	 The	Sight	itself	is	a	psychic	ability	that	certain	individuals	are	born	with,	and	the	

truths	surrounding	its	existence	are	steeped	in	controversy,	misinformation,	and	distress.	

While	many	fearful	rumors	circulate	among	the	wolves	about	what	the	Sight	is	actually	

capable	of,	the	confirmed	powers	of	the	Sight	include	the	ability	to	see	through	the	eyes	of	

other	animals;	the	capacity	to	view	distant	realities	of	the	past,	present,	and	future	in	

reflective	surfaces	such	as	water;	and	the	power	to	heal	the	minds	and	bodies	of	others.	In	

some	legends,	those	possessing	the	Sight	are	said	to	have	the	power	to	call	spirits	of	the	

dead	from	an	alternate	world	and	the	ability	to	travel	to	that	other	world	themselves,	as	well	

as	the	capacity	to	curse	and	even	control	other	living	creatures.	The	Sight	is	viewed	by	some	

as	mystical	or	even	evil,	while	others	view	it	as	natural	and	believe	that	long	ago	all	living	

creatures	could	harness	its	powers.

	 As	James	Berger	states	in	After the End,	“Trauma	is	the	psychoanalytical	form	of	

apocalypse,	its	temporal	inversion.	Trauma	produces	symptoms	in	its	wake,	after	the	event,	

and	we	reconstruct	trauma	by	interpreting	its	symptoms,	reading	back	in	time”	(20).	Larka	

and	Morgra	both	are	exposed	to	traumatic	events	that	shape	their	future	personalities.	For	

Larka,	the	formative	events	of	trauma,	loss,	and	sorrow	lead	her	to	seek	an	understanding	of	

others	and	drive	her	to	show	mercy	and	forgiveness	even	towards	those	who	consider	her	an	

enemy.	Morgra,	on	the	other	hand,	grows	bitter	and	resentful	from	her	experiences,	which	

in	time	turns	her	towards	a	destructive	path	as	she	seeks	revenge	in	her	pursuit	to	fulfill	the	

prophecy	of	the	Sight.	This	show	of	empathy	and	compassion	is	denied	to	Morgra	from	the	

time	of	her	birth.	Her	abilities	with	the	Sight	are	feared	by	her	pack,	eventually	leading	to	

the	false	accusations	that	cause	her	banishment	and	her	first	steps	towards	seeking	the	



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fulfillment	of	an	apocalyptic	end.	

	 Larka	often	questions	what	the	purpose	of	the	Sight	really	is	and	what	the	

responsibilities	of	wielding	its	power	are.	She	discovers	the	wonderful	ways	it	can	be	used	to	

communicate	with	others,	from	seeing	through	the	eyes	of	a	bird	and	experiencing	their	way	

of	life,	to	seeing	into	the	hearts	of	others	to	understand—and	even	try	to	heal—their	pain.	

Ultimately	the	Sight	itself	is	determined	as	neither	evil	nor	good	but	simply	as	a	source	of	

knowledge,	and	therefore	of	power,	to	be	used	however	the	wielder	chooses.

									 Morgra	also	is	forced	to	undertake	this	journey	to	discover	the	meaning	of	the	Sight,	

but	her	experiences	lead	her	to	a	different	conclusion.	Because	she	is	cast	out	from	her	pack	

and	banished	for	a	crime	she	doesn’t	commit,	she	harbors	much	bitterness.	In	the	first	scene	

from	Morgra’s	point	of	view,	Clement-Davies	says,

	 Resentment	was	her	birthright.	Long	before	she	had	been	driven	out	they	had	feared		

	 her	for	her	strange	ways,	even	as	a	cub.	How	she	had	yearned	for	affection,	and	as	she		

	 grew,	she	had	craved	cubs	of	her	own.	She	had	ached	to	share	so	much	with	others,	to		

	 be	a	pack	wolf	and	share	the	secrets	she	was	learning	about	the	Sight.	About	Life.	She		

	 had	ached	to	be	allowed	to	love	something.	(184)	

Though	Morgra	craves	connection	with	others,	she	often	suffers	great	pain	and	injustice	

instead.	Instead	of	being	shown	empathy	in	the	critical	moments,	she	is	treated	with	fear,	

resentment,	and	hatred.	The	pain	and	isolation	she	feels	as	a	child,	knowing	that	her	family	

views	her	as	strange,	even	dangerous,	is	devastating	to	her	perception	of	self.	As	Morgra’s	

anger	and	bitterness	grow	from	the	betrayals	that	follow	her	throughout	her	life,	she	begins	

to	accept	the	only	identity	that	is	allowed	her.	As	such,	the	fear	and	resentment	she	feels	

transform	into	malignant	anger,	until	the	only	thing	she	believes	in	anymore	is	the	power	

to	control	and	manipulate	others,	hoping	that	at	least	in	this	she	can’t	be	hurt	again.	These	

feelings	drive	her	to	seek	the	fulfillment	of	the	prophecy,	an	act	which	in	itself	is	a	final,	

misguided,	and	desperate	attempt	to	obtain	the	empathy	she	craves.	Like	many	who	are	

denied	empathy	when	they	need	it	most,	she	lashes	out	at	those	who	she	perceives	to	have	

hurt	her,	feeling	that	if	they	won’t	share	love	with	her,	then	she	will	make	them	all	feel	her	

pain.

	 The	prophecy	that	The Sight	revolves	around	is	closely	related	to	concepts	of	memory	

and	empathy,	and	to	the	power	both	have	to	change	the	course	of	history	and,	by	extension,	

the	world	itself.	The	prophecy	itself	talks	about	empathy	and	understanding	as	a	means	to	

overcome	fear,	hatred,	and	despair.	Some	of	the	most	critical	lines	of	the	prophecy	say,	“And	

only	a	family	both	loving	and	true,	/	May	conquer	the	evil,	so	ancient,	so	new.	/	As	they	fight	



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to	uncover	what	secrets	they	share	/	And	see	in	their	journey	how	painful	is	care”	

(Clement-Davies	175).	These	lines	specifically	speak	of	the	need	for	empathy	and	for	the	

understanding	of	the	traumas	others	have	experienced	in	order	to	conquer	the	true	evil	

which	the	next	line	speaks	of:	“Beware	the	Betrayer,	whose	meaning	is	strife”	(Clement-

Davies	175).	The	Betrayer	becomes	a	source	of	anxiety	throughout	the	novel,	always	coming	

up	at	critical	turns	as	the	characters	each	fearfully	wonder	who	will	betray	them.	In	the	end,	

Larka	says	to	Morgra,	“Don’t	you	know	yet	who	the	Betrayer	really	is?	Hate	is	the	Betrayer,	

Morgra,	for	it	feeds	on	itself.	Hate	and	its	mother,	Fear”	(Clement-Davies	446).		

	 The	presence	of	the	prophecy	in	the	story	functions	as	a	symbol	of	how	the	stories	

and	knowledge	passed	down	from	one	generation	to	the	next	influence	the	actions	of	future	

generations	and	how,	in	turn,	those	future	generations	impact	the	world.

	 Ironically,	though	Morgra	is	presented	as	a	true	believer	in	the	Sight	and	in	the	

prophecy	connected	to	it,	she	also	presents	a	bit	of	a	paradox,	actively	scorning	the	family	

for	believing	in	her	curse	and	claiming	they	have	become	the	curators	of	their	own	demise	

through	their	fear	of	it.	She	also	scorns	those	who	believe	in	a	literal	interpretation	of	the	

foretold	events,	openly	acknowledging	to	her	closest	conspirator	that	even	a	symbolic	

representation	of	many	of	the	required	signs	is	enough	to	drive	the	course	of	history	towards	

very	real,	and	often	deadly,	consequences.	As	she	actively	pursues	the	prophecy,	she	makes	

use	of	the	fear	and	superstition	among	the	wolves	to	manipulate	events	behind	the	scenes,	

exploiting	these	legends,	even	though	she	does	not	believe	in	them,	as	she	drives	the	world	

towards	a	terrible	end	in	which,	as	the	prophecy	claims,	“[n]one	shall	be	free”	(Clement-

Davies	207).

EMPATHY AND THE APOCALYPSE

 The Sight	is	told	from	the	viewpoint	of	intelligent	wolves	who	live	in	an	imagined	

civilization	that	mirrors	various	dominant	human	cultures	and	religions.	The	wolves’	

civilization	lives	alongside	real	historical	humans	of	Transylvania	and	the	surrounding	

areas,	but	their	civilization	is	unknown	to	the	humans,	who	are	too	preoccupied	with	

their	own	conflicts	to	recognize	the	value	in	the	lives	of	others.	To	the	humans,	the	wolves	

are	mere	animals,	and	the	events	of	The Sight,	with	its	world-ending	prophecy,	pass	by	

unbeknownst	to	the	human	world,	just	as	many	human	apocalypses	pass	by	unbeknownst	

to	people	who	are	not	directly	affected	by	the	atrocities	committed	against	people	of	other	

cultures	or	in	other	places	of	the	world.

	 Though	the	story	of	The Sight	does	include	humans	in	specific	key	instances,	the	



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majority	of	the	action	and	plot	is	performed	by	the	wolves	themselves	and	centers	around	

their	conflicts	with	one	another.	The Sight	works	as	a	commentary	upon	human	catastrophes	

by	creating	a	story	that	parallels	these	real	world	histories.	The	narrative	of	real	world	

atrocities	is	repeated	in	the	story	of	the	wolves	as	they	turn	on	one	another	in	a	brutal	

civil	war	that	is	born	from	nationalistic	pride,	which	is	itself	a	fearful	response	to	a	world-

ending	prophecy.	In	his	essay,	“Introduction:	Twentieth-Century	Apocalypse:	Forecasts	and	

Aftermaths,”	James	Berger	says,	

	 In	representations	after	the	Second	World	War,	the	apocalypse	became,	to	a	

	 greater	degree,	a	matter	of	retrospection.	It	had	already	happened.	The	world,	

	 whether	it	knew	it	or	not,	was	a	ruin,	a	remnant.	More	destruction	could	occur,	but	it		

	 could	only	be	more	of	the	same.	Nothing	more	could	be	revealed.	All	subsequent,			

	 post-apocalyptic	destruction	would	be	absolutely	without	meaning,	mere	repetition.		

	 (390)

The	flaw	I	see	in	this	representation	of	apocalypse	is	the	concept	that	it	is	the	destruction	

that	creates	or	inspires	meaning	and	revelation.	The Sight,	by	contrast,	counters	this	concept	

by	suggesting	that	it	isn’t	the	pain,	trauma,	or	destruction	of	apocalyptic	events	that	gives	

it	meaning	but	rather	the	ways	in	which	people	respond	to	that	trauma.	The	choices	people	

make	in	how	they	treat	one	another—friends,	loved	ones,	enemies—define	what	future	

generations	will	learn	from	the	experience	and	whether	or	not	the	mistakes	of	the	past	will	

be	repeated	once	more.	The	lessons	people	learn	from	apocalypse	can	be	ones	of	fear	and	

anger,	or	they	can	be	ones	of	empathy	and	understanding.

	 Reading	fiction	has	long	been	credited	with	the	ability	to	instill	empathy	in	readers,	

and	by	extension,	to	motivate	change	in	how	they	view	the	world,	themselves,	and	others.	

These	changes	in	view	influence	readers’	actions	and	choices	and	can	make	a	lasting	impact	

on	how	they	interact	with	the	world	around	them.	According	to	Suzanne	Keen,	

	 Narrative	empathy	means	feeling	with	fiction.	A	common	experience	of	immersion		

	 readers,	a	frequently,	though	not	universally,	cultivated	effect	of	fictions,	and	a	

	 desired	outcome	of	many	novelists,	filmmakers,	and	storytellers,	narrative	empathy		

	 features	in	accounts	both	of	emotional	triggers	in	imaginative	experiences	of	reading		

	 and	of	empirical	studies	of	shifts	in	readers’	feelings	while	encountering	literary		 	

	 texts.	(296)

A	book	like	The Sight,	which	follows	the	narrative	of	multiple	characters,	provides	an	

opportunity	for	a	wide	range	of	narrative	empathy.	Because	the	story	closely	follows	

characters	on	all	sides	of	the	conflict,	it	allows	readers	to	see	from	different	perspectives	

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and	creates	an	opportunity	through	which	they	can	understand	the	thoughts,	emotions,	and

motivations	of	each	character.	These	individual	representations	help	readers	to	understand	

each	character	on	a	more	rounded	level	than	many	narratives	provide,	encouraging	readers	

to	feel	empathy	for	the	pain	or	love	the	characters	feel	and	encouraging	an	understanding	of	

character	motives,	even	when	readers	don’t	agree	with	their	actions.

	 According	to	P.	Matthijs	Bal	and	Martijn	Veltkamp	in	“How	Does	Fiction	Reading	

Influence	Empathy,”	reading	fiction	that	inspires	an	empathic	response	(known	as	narrative	

empathy)	can	have	a	longer-lasting	impact	on	the	thoughts	and	views	of	readers	than	many	

other	kinds	of	writing,	including	non-fiction	accounts	of	real	events.	Often	the	impact	

doesn’t	manifest	immediately	after	the	reading	occurs,	but	emerges	later	in	a	phenomena	

known	as	the	“absolute	sleeper	effect”	(Bal	and	Veltkamp	3).	The	absolute	sleeper	effect	

occurs	when	the	mind	has	time	to	mull	something	over	in	its	subconscious,	and	it	is	the	

reason	why	walking	away	from	a	difficult	problem	for	a	time	helps	many	people	solve	it	with	

ease	once	they	return	(Bal	and	Veltkamp	3-4).

	 When	applying	the	theory	of	the	absolute	sleeper	effect	to	the	influences	of	reading	

fiction,	Bal	and	Veltkamp	believe	that	“the	effects	of	fiction	reading	on	empathy	will	

increase	over	time	rather	than	present	itself	directly	after	the	experience”	(3).	As	Bal	and	

Veltkamp	say,	“When	people	are	transported	into	fictional	narratives,	they	are	better	in	

remembering	the	story,	because	they	were	more	intensely	involved	in	reading	the	story,	

which	enables	mental	representations	afterwards.	Hence,	fictional	narratives	as	mental	

simulation	of	real	world	events	deepen	the	readers’	general	tendencies	to	feel	empathy	with	

other	people”	(3).	When	a	story	like	The Sight,	in	which	the	core	message	is	to	learn	and	

express	empathy	for	others,	succeeds	in	transporting	the	reader	into	the	narrative,	it	

provides	an	opportunity	to	create	a	message	in	readers’	minds	that	they	are	more	likely	to	

carry	into	their	daily	lives.

	 It	is	this	concern	that	causes	some	people	to	view	apocalyptic	literature	as	a	negative	

influence,	fearing	that	the	representation	of	world-ending	conflicts	represents	an	underlying	

desire	for	such	events	(Berger,	After the End xiii).	Suzanne	Keen	cautions	in	“Readers’	

Temperaments	and	Fictional	Character”	that	“failing	to	confront	the	potentially	negative	

effects	of	vicious	or	Machiavellian	applications	of	narrative	empathy”	could	potentially	

lead	to	readers	identifying	with	the	justifications	of	conflict	(297).	I	think	it	is	worth	

acknowledging	that	if	The Sight were	written	in	a	way	that	glorified	its	conflict	or	Morgra’s	

violent	and	manipulative	behavior,	it	very	well	could	create	an	opportunity	for	readers	to	

draw	a	harmful	message	from	their	reading.	However,	I	believe	there	is	immense	value	in

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showing	even	antagonists	as	victims	and	in	telling	the	story	from	their	perspective,	not	

to	justify	their	actions,	but	to	show	the	real	pain	and	suffering	they	experienced.	Through	

this	understanding,	I	believe	people	can	learn	from	the	mistakes	of	the	past	by	better	

understanding	the	impact	their	own	actions	have	on	others.

	 In	The Sight,	the	perspective	of	Morgra,	among	other	antagonistic	characters,	shows	

the	cultural	and	historical	hurts	that	have	been	passed	down	to	her,	and	it	highlights	the	

empathy	she	should	have	been	offered	in	order	to	prevent	her	sorrow	and	bitterness.	This	

representation	neither	glorifies	nor	condemns	her	for	what	she	suffers	but	instead	

demonstrates	that,	while	the	way	she	is	treated	is	wrong,	her	suffering	does	not	excuse	her	

actions	in	hurting	others.	Morgra	never	should	have	to	suffer	the	way	she	does,	but	like	real	

apocalyptic	events,	her	trauma	is	not	inevitable.	It	is	made	possible	because	of	other	

people’s	choices,	which	are	influenced	by	cultural	fear.

	 James	Berger	addresses	the	idea	that	no	historical	event	is	inevitable.	On	this	subject	

he	states	in	his	book	After the End	that	“no	event	can	be	understood	on	the	basis	of	prophetic	

signs	and	portents,	and	that	history	moves	on	the	basis	of	contingencies,	choices,	accidents,	

and	possibilities”	(21).	The	term	that	Berger	gives	to	this	phenomenon	is	“sideshadowing,”	

which	refers	to	“the	description	of	historical	alternatives,	the	other	things	that	could	have	

happened	but	did	not,	and	an	empirical—not	a	retrospectively	prophetic—analysis	of	why	

the	catastrophe	occurred”	(After the End	21).	The	stories	of	Larka	and	Morgra	demonstrate	

sideshadowing,	for	the	story	of	each	parallels	that	of	the	other	as	an	alternate	possibility	and	

shows	numerous	moments	when	the	story	could	have	changed	as	their	individual	choices—

and	the	choices	of	others—alter	the	course	of	history.	

	 When	it	comes	down	to	the	final	deciding	moment—when	it	is	certain	that	one	way	

or	another	the	prophecy	will	be	fulfilled—Larka	steps	in	to	claim	the	Sight’s	ultimate	power	

before	Morgra	can,	and	she	discovers	that	it	is	not	at	all	what	the	wolves	had	expected.	The	

truth	of	the	ultimate	power	was	knowledge	of	the	world	itself,	from	the	moment	the	planet	

was	formed	to	the	evolution	of	life,	and	the	knowledge	that	humans	are	animals	too.	The	

Vision	continues	to	show	how	one	day,	human	ingenuity	would	create	wondrous	creations	

but	how	it	would	also	make	weapons	of	mass	destruction.	The	Vision	shows	the	horrors	of	

future	conflicts	from	genocides	to	nuclear	warfare	and	the	ways	in	which	humans	have	

already	begun	to	destroy	the	world	around	them.	The	Vision	ends	with	a	total	destruction	of	

the	world’s	environments	as	the	planet	floods	and	freezes,	leaving	the	world	covered	in	ice.

	 In	this	moment,	Morgra	tempts	Larka	to	use	the	power	and	knowledge	she’s	acquired	

to	control	all	of	nature	so	that	she	might	wipe	out	the	human	race	before	it	can	destroy	the	

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world.	Her	aunt	challenges	her	to	use	the	powers	of	the	Sight	for	destruction	and	violence,	

claiming	that	it	is	the	only	choice	left	to	save	all	of	life.	For	a	despairing	moment,	Larka	

truly	considers	the	option	her	aunt	presents,	but	it	is	in	another	way	of	thinking	that	

Larka	finds	the	solution.	All	throughout	the	novel,	Larka	has	sought	an	answer	to	what	the	

purpose	of	the	Sight	really	is,	and	in	this	moment	she	knows.	The	Sight	is	the	ability	to	see	

the	truth	of	the	world	in	all	its	horrors	and	beauty.	When	Larka’s	closest	friend,	Kar,	despairs	

in	the	knowledge	that	everyone	dies	one	day,	she	consoles	him	by	saying,	“Perhaps	only	

when	we	know	that	can	we	truly	begin	to	live.	To	see	the	wonder	of	it	all,	not	the	darkness”	

(Clement-Davies	458-459).	Larka	shows	that	it	is	the	ability	to	empathize	that	has	the	true	

capacity	to	change	history.	By	seeing	through	the	eyes	of	others	and	learning	compassion	for	

them,	she	learns	that	all	life	is	worth	valuing.	The	Sight	is	the	power	to	use	knowledge	and	

compassion	to	change	the	future	for	the	better,	and	it	is	in	this	that	she	places	her	faith.

	 After	seeing	the	Vision	and	the	destructive	power	of	humans,	Larka	proclaims,	“If	

this	is	their	freedom,	I	do	not	want	it”	(Clement-Davies	442).	In	this	moment	she	realizes	

how	terrible	a	responsibility	it	is	to	have	the	power	to	alter	the	world	and	to	control	the	lives	

of	others,	and	so	she	accepts	the	knowledge	that	the	Vision	has	given	her	but	refuses	to	use	

the	final	power	to	control	other	living	creatures,	even	when	doing	so	would	have	saved	her	

own	life	in	a	final	tragedy	that	claims	both	her	and	Morgra.	

	 Though	the	story	of	The Sight	follows	the	concept	of	an	end-of-the-world	prophecy,	

even	this	prophecy	is	revealed	to	not	be	what	it	seems.	The	message	that	The Sight	presents	

is	that	there	is	no	predetermined	future.	Instead,	it	is	the	choices	made	by	each	person,	their	

actions,	and	how	they	choose	to	treat	others	that	shape	the	future.	The	future	can	be	

apocalyptic	or	peaceful,	but	no	matter	what	happens,	there	is	still	hope.	No	matter	how	bad	

things	get,	the	world	can	still	change	and	recover.	Life	can	go	on.	The Sight shows	that	it	is	

never	too	late	to	make	the	right	choice:	a	person	can	choose	to	change	their	path	if	they	let	

go	of	their	fear	and	anger	and	learn	to	accept	help	and	empathy	when	it	is	offered,	and	by	

doing	so,	people	can	learn	to	empathize	with	others,	to	forgive	instead	of	hate,	and	to	

overcome	their	fear	of	difference.

	 Some,	like	Morgra,	never	break	the	cycle,	their	fear	driving	them	to	reject	the	

empathy	that	is	shown	them,	as	they	have	forgotten	how	to	have	empathy	for	others.	

Morgra’s	path	is	not	a	set	or	predetermined	one,	but	it	is	one	that	she	walks	for	so	long	that	

she	no	longer	feels	that	she	has	the	power	to	change	her	view	of	the	world.	The Sight 

presents	our	worldview	as	the	place	where	our	actions	start,	determining	how	we	treat	

others,	ourselves,	and	the	world	around	us.	Additionally,	it	is	through	our	worldviews	that

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we	pass	on	values	to	the	next	generation.	Through	our	stories,	actions,	and	words,	we	leave	

an	impact	on	the	world	and	on	the	future	generations	who	inherit	it.	That	impact	in	turn	

influences	how	each	successive	generation	will	shape	the	next,	stretching	indefinitely	into	

the	future.

CHANGING THE NARRATIVE

	 Throughout	history	it	has	become	easy,	and	even	encouraged	politically	and	socially,	

to	retell	stories	of	violence,	anger,	and	fear	in	a	concept	known	as	“conflict-supporting	

narratives.”	According	to	Daniel	Bar-Tal	et	al.,	who	are	scholars	of	social	psychology,	

“conflict-supporting	narratives	play	a	major	role	not	only	in	the	eruption	of	conflicts,	but	

especially	in	their	persistence—as	well	as	in	the	use	of	violent	means	that	often	violate	

moral	codes	of	conduct,	and	in	the	difficulty	in	resolving	them	peacefully”	(662-663).	Bar-

Tal	et	al.	describe	these	narratives	as	a	means	to	justify	the	conflict	by	dehumanizing	

and	delegitimizing	the	rival	group,	glorifying	the	“image	of	the	in-group”	while	also	

presenting	the	in-group	as	the	sole	victims	of	the	situation	(665).	All	of	this	is	done	to	create	

a	justification	in	the	minds	of	the	in-group	for	the	conflict	that	“serves	as	a	psychological	

permit	to	harm	the	rival	group”	(665).	Reasonably,	if	narratives	for	supporting	a	conflict	

employ	methods	of	dehumanizing	and	therefore	reducing	empathy	and	understanding	for	

the	rival	group,	then	the	attempts	to	prevent	future	conflicts	must	include	a	desire	to	tell	

stories	that	facilitate	an	understanding	of	and	empathy	with	others,	even	when	their	goals,	

values,	or	way	of	life	may	seem	in	opposition	to	that	of	the	audience	and	storyteller.

	 In	the	author’s	note	that	David	Clement-Davies	wrote	for	The Sight,	he	states	that	the	

story’s	dark	progression	was	inspired	by	the	war-torn	history	of	Romania	and	surrounding	

lands,	particularly	the	war	that	erupted	in	Yugoslavia	at	the	end	of	the	twentieth	century.	

In	relation	to	this,	Clement-Davies	says,	“It	was	a	war	in	which	so	many	symbols	of	the	past	

were	used	to	manipulate	and	destroy,	so	a	major	theme	became	how	all	of	us	are	bound	up	in	

the	past,	not	only	in	terms	of	family	myths	but	the	stories	we	tell	to	interpret	the	world,	and	

how	that	can	keep	us	in	negative	cycles.	How,	too,	so	many	of	the	borders	of	fear	we	erect	

between	one	another	are	about	competing	narratives”	(555).	These	competing	narratives	

are	often	the	sources	of	the	uncertainty	that	generate	doubt	and	fear	in	conflicting	cultures;	

from	that	doubt	and	fear	stems	a	driving	need	to	reestablish	a	feeling	of	certainty	in	one’s	

own	beliefs,	culture,	and	way	of	life,	often	to	the	detriment	and	destruction	of	cultures	and	

peoples	whose	worldviews	contradict	or	even	slightly	deviate	from	their	own.

	 Much	like	Clement-Davies’	own	message	in	The Sight,	Berger	concludes	the	



35

introduction	to	After the End	with	the	following	message:	“I	hope	.	.	.	not	only	to	describe	the	

overwhelming,	often	denied	traumatic	presences	of	the	past	that	characterize	our	post-

apocalyptic/‘postmodern’	present	but	also	to	suggest	ways	for	‘coming	to	terms’	with	the	

past,	for	moving	toward	a	future	with	moderate	hopefulness,	yet	without	amnesia”	(xx).	The	

final	power	of	the	Sight	is	tied	to	the	idea	of	memory,	a	power	that	the	novel	often	

acknowledges	as	serving	humans	better	than	the	animals,	which	in	itself	is	an	ironic	

concept	given	the	final	revelation	that	humans	are	animals	too.	It	is	forgetfulness	that	is	

said	to	hamper	the	animals,	and	it	is	the	power	of	memory	that	gives	humans	the	greatest	

ability	to	alter	the	world	around	them.	The	need	to	remember	history	is	the	need	to	

remember	the	stories	of	pain,	injustice,	and	wrongdoing	so	that	future	generations	can	

learn	empathy	for	those	who	have	been	made	to	suffer	in	the	past.	The	hope	is	that,	through	

remembering	these	stories,	future	generations	will	be	able	to	move	forward	in	a	way	that	

teaches	people	to	be	conscious	to	not	hurt	others	in	the	way	those	of	the	past	were	hurt.

	 The	final	message	which	the	realization	of	the	prophecy	brings	is	this:	if	humans	

can’t	curb	their	destructive	ways	and	learn	to	empathize	with	and	understand	one	another,	

then	they	will	surely	bring	about	their	own	destruction	as	they	destroy	the	world	around	

them.	In	order	to	move	towards	a	different	future,	one	in	which	humans	can	avoid	

foreseeable	catastrophes,	people	will	have	to	learn	to	move	past	their	own	fear	and	the	

hatred	it	inspires	and	will	have	to	learn	to	find	ways	to	work	together	and	to	value	and	

preserve	all	life.	David	Clement-Davies	presents	a	hopeful	view	of	the	future	in	The Sight, 

one	that	shows	a	possibility	frozen	in	time,	like	algae	waiting	for	the	ice	to	thaw	after	an	

icy	apocalypse	so	that	life	could	begin	again	(443).	Even	when	the	path	ahead	seems	to	grow	

too	narrow,	leaving	no	other	way	out,	it	is	never	too	late	to	change	course.	The	choices	that	

people	make	every	single	day	about	how	they	treat	others	and	how	they	accept	the	kindness	

of	others	in	return	dictate	the	future.	

	 In	the	conclusion	of	the	story,	David	Clement-Davies	leaves	the	reader	with	two	final	

messages	in	an	attempt	to	provide	direction	from	which	to	break	the	cycle	of	violence	and	

avoid	an	apocalyptic	future.	The	first	is	when	Larka	speaks	to	one	of	her	family,	Kar,	in	a	

dream	after	her	death,	saying,	“I	did	not	escape	the	legend	.	.	.	for	it	was	its	own	kind	of	trap,	

as	Man’s	freedom	will	be	if	he	doesn’t	learn.	But	life	is	not	a	legend	or	a	story.	Reality	is	far	

more	precious	than	a	story.	And	to	love	one	another	we	must	begin	to	see	one	another	

properly”	(Clement-Davies	547).	In	this	passage,	Larka	seems	to	be	saying	that	by	pursuing	

the	prophecy,	whether	with	the	intent	to	fulfill	it	or	in	fearful	desperation	to	stop	it,	she	

became	entrapped	by	it.	This	moment	seems	to	convey	that,	by	the	wolves	allowing	

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themselves	to	get	trapped	within	these	stories	and	fearful	predictions	of	the	future,	they	had	

allowed	themselves	only	one	path	forward,	one	that	would	lead	to	the	death	and	destruction	

they	feared	and	yet	were	trying	so	desperately	to	avoid.	The	only	way	out	was	to	learn	

compassion	and	to	start	viewing	each	other	in	a	way	that	promotes	understanding	instead	of	

fear.	Only	then	could	they	escape	the	trap	of	these	apocalyptic	stories	repeating	themselves	

time	and	time	again,	and	all	of	it	began	with	the	final	message:	that	the	stories	people	tell	

now	will	influence	the	future.

	 After	Larka	appears	in	the	dream,	Kar	begins	to	view	the	world	in	a	different	way,	

and	through	that	new	worldview,	he	learns	to	heal	the	sorrow	and	pain	within	himself.	The	

final	pages	of	the	story	end	with	the	telling	of	stories	and	legends	to	a	new	generation	of	

young	wolves,	but	as	the	young	ones	ask	to	be	told	the	stories	that	had	contributed	to	the	

widespread	fear	and	ignorance	surrounding	the	prophecy,	Kar	pauses	and	thinks	better	of	

it.	These	were	the	stories	that	had	bred	hatred	among	the	wolves	and	that	had	spurred	on	

the	violent	conflicts	of	the	novel,	and	so	he	tells	them,	“No	.	.	.	But	I	will	tell	you	a	better	

story”	(Clement-Davies	464).	He	begins	a	story	about	the	world	at	its	very	beginning,	before	

there	was	life	or	conflict,	and	how	its	very	existence	was	important	and	should	be	valued.	He	

changes	the	stories	from	ones	that	spread	fear	to	ones	that	encourage	the	new	generation	

to	look	around	them	with	wonder	and	to	value	all	that	they	see	in	the	world,	both	living	and	

not.

	 I	hold	the	belief	that	writers	of	post-apocalyptic	fiction,	like	Kar,	also	have	a	

responsibility	to	change	the	narratives	they	tell.	Post-apocalyptic	authors	can	continue	to	

spread	tales	of	fear	and	hatred,	or	they	can	change	the	focus.	Like	The Sight,	they	can	still	tell	

tales	warning	about	dangers	in	our	future,	but	like	James	Berger	and	David	Clement-Davies	

both	suggest,	these	stories	need	to	be	told	without	forgetting	what	has	already	happened.	

Berger’s	conclusion	to	After the End	emphasizes	the	need	to	“[m]ake	the	perception	new,	but	

recognize	that	damage	is	long-standing,	symptomatic,	haunting,	and	historical”	(218)	and	

that	

	 [t]o	see	a	world	as	post-apocalyptic	is	to	recognize	its	formative	catastrophes	and			

	 their	symptoms,	and	to	identify	the	ideological	sutures	that	hide	the	damages	and		

	 repetitions.	It	is	also,	finally,	to	recognize	and	create	narratives	that	work	through		

	 these	symptoms	and	return	to	the	apocalyptic	moments	that	traumatize	and	reveal.		

	 At	that	point,	new—more	healthy	and	more	truthful—histories	and	futures	may	be		

	 possible.	(219)

The	message	of	The Sight	is	that	the	traumas	of	the	past	can’t	be	undone,	but	that	this	fact

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doesn’t	mean	it	is	ever	too	late	to	change	course,	to	choose	a	different	path	and	work	

towards	making	the	future	better.	There	is	no	changing	what	has	already	come	to	pass,	but	

that	doesn’t	mean	that	people	have	to	keep	making	the	same	disastrous	decisions.	

	 Learning	to	value	the	diversity	in	the	world,	and	teaching	future	generations	to	

value	it	too,	is	the	path	that	will	help	this	world	avoid	the	catastrophic	futures	so	many	fear.	

Individuals	and	cultures	alike	have	to	learn	to	show	empathy	towards	others	and	to	try	to	

understand	people	who	lead	different	lives	or	who	have	had	different	experiences	than	their	

own,	because	it	is	only	by	being	shown	empathy	that	others	learn	to	do	the	same.	Writers	

should	tell	apocalyptic	stories,	but	they	should	also	remember	they	aren’t	just	writing	about	

what	they	fear	the	future	could	become.	They	are	writing	a	history	that	has	already	been,	

and	with	that	in	mind,	they	should	remember	that	what	they	write	now,	the	stories	they	

pass	on,	will	live	on	long	beyond	the	memory	of	the	actual	writing.	The	ideas	and	themes	

presented	in	post-apocalyptic	stories	will	be	remembered	even	when	future	generations	

have	never	laid	eyes	on	the	pages	of	their	origin.	So	ask	yourself	this	as	you	build	the	stories	

of	the	future:	what	do	you	want	the	future	to	remember?

WORKS CITED

Bal,	P.	Matthijs,	and	Martijn	Veltkamp.	“How	Does	Fiction	Reading	Influence	Empathy?	An		

	 Experimental	Investigation	on	the	Role	of	Emotional	Transportation.”	Plos ONE,	vol.		

	 8,	no.	1,	Jan.	2013,	pp.	1-12.	EBSCOhost,	doi:10.1371/journal.pone.0055341.

Bar-Tal,	Daniel,	et	al.	“Sociopsychological	Analysis	of	Conflict-Supporting	Narratives:										

	 A	General	Framework.”	Journal of Peace Research,	vol.	51,	no.	5,	2014,	pp.	662–675.			

 JSTOR,	www.jstor.org/stable/24557448.	

Berger,	James.	After the End: Representations of Post-Apocalypse.	University	of	Minnesota		 	

	 Press,	1999.

---.	“Introduction:	Twentieth-Century	Apocalypse:	Forecasts	and	Aftermaths.”																 	

 Twentieth Century Literature,	vol.	46,	no.	4,	2000,	pp.	387–395.	JSTOR,	www.jstor.org/	

	 stable/827838	

Clement-Davies,	David.	The Sight.	Firebird,	2002.

DRAKE



38

Foster,	Dennis	A.	“Trauma	and	Memory.”	Review	of	After the End: Representations of   

 Post-Apocalypse,	by	James	Berger.	Contemporary Literature,	vol.	41,	no.	4,	2000,	pp.		 	

	 740–747.	JSTOR,	www.jstor.org/stable/1209010.	

Keen,	Suzanne.	“Readers’	Temperaments	and	Fictional	Character.” New Literary History,	vol.		

	 42,	no.	2,	2011,	pp.	295–314.	JSTOR,	www.jstor.org/stable/23012545.	

DRAKE


