Dystopian novels are a difficult genre: They need to be imaginative, edging on the far-fetched, while being just plausible enough to terrify. Omar El Akkad’s American War, which interprets the American South by way of the Middle East, challenges Americans to imagine what it might be like to die for, but also kill, their fellow citizens.


The Second Civil War begins in 2074. Climate change has changed the continent, submerging the banks of Louisiana and the near entirety of Florida, save for an island enclave or two, one of which eventually houses the notorious Sugarloaf Detention Facility for Northern prisoners of war.


In the early 2070s, the federal government, by then based in Columbus, moved to outlaw fossil fuels. Southerners resented this and other impositions from the richer, prosperous Northern states. Fervor for secession began to build. The nature of Southern “culture” was rich, but also somewhat vague and constructed, like all cultural identities are. It was enough, though, to moor a movement that would lead to the deaths of millions. A Southern suicide bomber assassinated the president in 2073, plunging the country into violence.


There are little details that stand out: the stubbornness of symbols; how the simple revving of an engine still running on old fuel, while ultimately meaningless, becomes an act of rebellion, an expression of self-affirmation but a completely futile one in the face of so much killing.


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What is most striking about El Akkad’s story is that it is both distinctly American—he takes care to paint the Southern insurgents with compassion even as he seems to realize they are wrong and sometimes capable of evil—but also otherworldly. The American civil war isn’t mentioned, although the fact that this new conflict is referred to as “the second” suggests that there must have been a first.


The Founding Fathers do not exist, or at least no one seems interested in mentioning them or calling upon their memory. The Constitution isn’t so much a historical curiosity but an abstraction; there’s only reference, during peace negotiations, to a “Constitutional Defense Officer,” which suggests that there’s a constitution he is trying to defend. Interestingly, in a book that elevates Southern culture, or any cultural nationalism, to its logical conclusion, the racial composition of this new America isn’t made clear. The main character, Sarat, is a person of color. That this is never made entirely explicit adds to the book’s eerie haziness. In unmooring America from its own racial legacy, El Akkad seems to be saying that war could happen here, but it could also happen anywhere.   


American War, then, doubles as a mystery: What is the point of the killing? In El Akkad’s America, there are no technocrats, and there is no rationality. There is no consensus, but there isn’t really polarization either, at least not in the sense we’ve come to use the word. There is no politics, but only in the sense that there are no ideas. The idea of the United States—of what it means to be American—doesn’t exist in this alternative universe, because, perhaps by the time the narrator tries to remember, no one can quite recall what it must have felt like to be a nation undivided.


What fills the gap isn’t any distinctive ideology or religion but a kind of nothingness. The Bible is cited, but only as a plot device and a scene setter—in other words something incidental to the act of killing. on the radio, bible reciters are “disembodied” voices disconnected from the daily horrors of war.


The book’s most violent character—who is also the closest thing American War has to a heroine—is not a believer; there is no investigation of deeply held beliefs and what they might entail. But the fact that no one seems to believe in any set of ideas particularly strongly does not impede their willingness to kill. It’s hard to know if the author, here, is trying to make an argument about the pointlessness of war—that there will always be a justification, with or without the divine.


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In the actual Civil War, the one that happened, the question of the divine and, more specifically, of theodicy—why God permits evil—was at the forefront, but perhaps more so after the fact. only one of the two sides, both of which prayed to the same God, could win. At the start of the war, after the first bloodless Southern victory at the Battle of Fort Sumter, many, particularly on the Southern side, assumed it would last weeks or months. When it was finally over, 2 percent of the American population was dead, making it one of the most bloody conflicts in human history. At the same time, it was one of the last conventional wars where death wasn’t quite mechanized. In infantry engagements, you had little choice but to look right at the people you were trying to kill. They generally looked like you, spoke the same language, and were around the same age.  


During the war, dying, as Drew Gilpin Faust writes in her seminal history This Republic of Suffering, became an art, and Christianity was central to dying well. “It is work to die, to know how to approach and endure life’s last moments,” Faust writes. Christianity, already infused in daily life, became even more so as the death toll rose: “Redefined as eternal life, death was celebrated in mid-nineteenth-century America.” After the war, as the realities of defeat settled, there was inevitably the question of “why?” Was the fall of the Confederacy, suffering a significantly higher mortality rate than the north, a punishment from God?


Both sides, with presumably “fine” people on each, prayed to the same God and, therefore, believed they were right, and that God would grant them victory. Presumably, if their cause were indeed just, he would also spare them a long and grinding war. In a war’s early stages, ideas and ideals seem more pure, untainted by political calculation or the atrocities of one’s own side. But once you pick a side—or once you’re already on a side because you happen to be of the South or of the North—there isn’t much you can do. War becomes “tribal.” Sarat, a Southern rebel and American War’s protagonist, asks her mentor Albert Gaines, a Northerner by birth and a veteran of Iraq and Syria, why he chose to side with the South.