TC: While there has been plenty of fiction written about pandemics, I think the biggest difference between those scenarios and our reality is how poorly our government has handled it. If your goal is to dramatize the threat posed by an unknown virus, there's no advantage in depicting the officials responding as incompetent, because that minimizes the threat; it leads the reader to conclude that the virus wouldn't be dangerous if competent people were on the job. A pandemic story like that would be similar to what's known as an "idiot plot," a plot that would be resolved very quickly if your protagonist weren't an idiot. What we're living through is only partly a disaster novel; it's also -- and perhaps mostly -- a grotesque political satire.
EL: This pandemic isn't science fiction, but it does feel like a dystopia. How can we understand the coronavirus as a cautionary tale? How can we combat our own personal inclinations toward the good/evil narrative, and the subsequent expectation that everything will return to normal?
TC: We need to be specific about what we mean when we talk about things returning to normal. We all want not to be quarantined, to be able to go to work and socialize and travel. But we don't want everything to go back to business as usual, because business as usual is what led us to this crisis. COVID-19 has demonstrated how much we need federally mandated paid sick leave and universal health care, so we don't want to return to a status quo that lacks those things. The current administration's response ought to serve as a cautionary tale about the dangers of electing demagogues instead of real leaders, although there's no guarantee that voters will heed it. We're at a point where things could go in some very different ways, depending on what we learn from this experience.
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