Plot Summary
Then We Came to the End
Joshua Ferris
Then We Came to the End
Fiction | Novel | Adult | Published in 2007
Plot Summary
Then We Came to the End (2007) is the debut novel of Joshua Ferris. The contemporary story follows the quirky employees of a failing advertising agency as they play pranks, have affairs, and spread gossip in an attempt to distract from the question on everyone's mind: who will be laid off next? In 2010, Ferris was named to the New Yorker's list of "20 Under 40" writers; his work has also won several awards, including the Barnes and Noble Discover Award, the PEN/Hemingway Award, and the International Dylan Thomas Prize.
The economic boom of the 1990s is fading, and thanks to the dot-com bubble burst, a recession is imminent. The story is set within an ailing Chicago ad agency staffed by "creatives" who are either terribly bored, incredibly stressed, or both. There is upbeat Karen Woo, reclusive Frank Brizzolera, quiet Hank Neary, bitter Tom Mota, and disaffected Don Blattner. Roland, the impoverished security guard, walks his rounds all day on aching feet. Pudgy-faced, devoutly Catholic Amber is pregnant as the result of an affair with a married co-worker who wants her to have an abortion. All are ruled over by the iron fist of their boss, Lynn Mason, and her right-hand man, the antisocial Joe Pope.
The story is narrated by "we"—the omniscient, first person plural of the staff collective, but this is far from a happy, cohesive community. Once upon a time, they used to have fun pushing each other around in the wheeled office chairs, but now the ad work is drying up, and if nothing else, the characters must at least have the appearance of being busy. From time to time, one of them is called in to see the office coordinator, where he or she is presented with any one of a number of pleasant euphemisms for "you're fired." The collective narrates, "We hated not knowing" who would be next to "walk Spanish down the hall." As the novel progresses and more workers are laid off, the characterization of the "we" narrator gradually changes.
Once the unlucky individual has gone, the remaining characters compete with each other for the left-behind office furniture. There are extended sequences involving plots to beg, borrow, or steal the best office chair. But the end result of each firing is the same: the collective goes back to business as usual as if the missing person were never there to begin with. When Frank suddenly dies, he is just as quickly forgotten as the rest, described by the narrator as "a Styrofoam coffee cup on the floor under the desk, a cigarette butt curled at the bottom like a dead tequila worm." However, after his firing, Tom breaks back into the office. Dressed in a clown suit and quoting Ralph Waldo Emerson, he opens fire on his former co-workers. Fortunately, the bullets turn out to be red paintball pellets.
To help pass the time, the characters play pranks, spread gossip, and work on pet projects inspired by their banal surroundings. Food is secretly placed behind one character's bookshelf to see how long it takes for him to find the source of the bad smell once the food has spoiled. Hank writes a "small, angry" book that is set in an office, while Don pens a screenplay about "a disaffected and cynical copywriter suffering ennui in the office setting while dreaming of becoming a famous screenwriter." Benny Shassburger spends an entire day speaking in nothing but quotes from the movie The Godfather.
One rumor spreading around the office is that Lynn has breast cancer. When the characters are given a mysterious new assignment from a pro-bono client to create an ad to make breast cancer patients laugh about their disease, the rumor takes on new weight. The characters mock the absurdity of their assignment while simultaneously putting their full effort into it. They secretly pray that their ad will be the one chosen, which might save them from being the next layoff. One staff member, Chris Yop, even sneaks back into the office to work on the breast cancer ad despite having already been fired.
As the layoffs continue, paranoia spreads. The remaining characters spin complicated theories about who will be fired next, and they adopt good luck charms to help keep their jobs safe. When everyone finds out that the office coordinator keeps track of what furniture belongs in which office, all their efforts to gain the best office chair crumble as they worry that being caught with the wrong chair will become grounds for firing. The once all-important office chair becomes a symbol for all they hate and yet desire in their careers.
As the novel closes, it switches to a third person chapter. It is the night before Lynn's mastectomy. She is alone and, contrary to the persona she's painstakingly built at work, she's afraid. To avoid thinking about the next day, she drives to the office in the middle of the night to absorb herself in the pro-bono breast cancer ad. “‘They have two weeks until presentation,’ she thinks. It’s insane to think she has even a moment to spare. She sits down at her desk. Here is a good place to be, right here, thinking.”
The economic boom of the 1990s is fading, and thanks to the dot-com bubble burst, a recession is imminent. The story is set within an ailing Chicago ad agency staffed by "creatives" who are either terribly bored, incredibly stressed, or both. There is upbeat Karen Woo, reclusive Frank Brizzolera, quiet Hank Neary, bitter Tom Mota, and disaffected Don Blattner. Roland, the impoverished security guard, walks his rounds all day on aching feet. Pudgy-faced, devoutly Catholic Amber is pregnant as the result of an affair with a married co-worker who wants her to have an abortion. All are ruled over by the iron fist of their boss, Lynn Mason, and her right-hand man, the antisocial Joe Pope.
The story is narrated by "we"—the omniscient, first person plural of the staff collective, but this is far from a happy, cohesive community. Once upon a time, they used to have fun pushing each other around in the wheeled office chairs, but now the ad work is drying up, and if nothing else, the characters must at least have the appearance of being busy. From time to time, one of them is called in to see the office coordinator, where he or she is presented with any one of a number of pleasant euphemisms for "you're fired." The collective narrates, "We hated not knowing" who would be next to "walk Spanish down the hall." As the novel progresses and more workers are laid off, the characterization of the "we" narrator gradually changes.
Once the unlucky individual has gone, the remaining characters compete with each other for the left-behind office furniture. There are extended sequences involving plots to beg, borrow, or steal the best office chair. But the end result of each firing is the same: the collective goes back to business as usual as if the missing person were never there to begin with. When Frank suddenly dies, he is just as quickly forgotten as the rest, described by the narrator as "a Styrofoam coffee cup on the floor under the desk, a cigarette butt curled at the bottom like a dead tequila worm." However, after his firing, Tom breaks back into the office. Dressed in a clown suit and quoting Ralph Waldo Emerson, he opens fire on his former co-workers. Fortunately, the bullets turn out to be red paintball pellets.
To help pass the time, the characters play pranks, spread gossip, and work on pet projects inspired by their banal surroundings. Food is secretly placed behind one character's bookshelf to see how long it takes for him to find the source of the bad smell once the food has spoiled. Hank writes a "small, angry" book that is set in an office, while Don pens a screenplay about "a disaffected and cynical copywriter suffering ennui in the office setting while dreaming of becoming a famous screenwriter." Benny Shassburger spends an entire day speaking in nothing but quotes from the movie The Godfather.
One rumor spreading around the office is that Lynn has breast cancer. When the characters are given a mysterious new assignment from a pro-bono client to create an ad to make breast cancer patients laugh about their disease, the rumor takes on new weight. The characters mock the absurdity of their assignment while simultaneously putting their full effort into it. They secretly pray that their ad will be the one chosen, which might save them from being the next layoff. One staff member, Chris Yop, even sneaks back into the office to work on the breast cancer ad despite having already been fired.
As the layoffs continue, paranoia spreads. The remaining characters spin complicated theories about who will be fired next, and they adopt good luck charms to help keep their jobs safe. When everyone finds out that the office coordinator keeps track of what furniture belongs in which office, all their efforts to gain the best office chair crumble as they worry that being caught with the wrong chair will become grounds for firing. The once all-important office chair becomes a symbol for all they hate and yet desire in their careers.
As the novel closes, it switches to a third person chapter. It is the night before Lynn's mastectomy. She is alone and, contrary to the persona she's painstakingly built at work, she's afraid. To avoid thinking about the next day, she drives to the office in the middle of the night to absorb herself in the pro-bono breast cancer ad. “‘They have two weeks until presentation,’ she thinks. It’s insane to think she has even a moment to spare. She sits down at her desk. Here is a good place to be, right here, thinking.”