Grief and Loss: A Central Theme in Here One Moment

The Thematic Claim

In Here One Moment, grief is not a linear, manageable process but a chaotic, unpredictable force that shapes how individuals respond to the threat of future loss. The novel challenges the human desire for control and certainty by showing that neither past experience nor foreknowledge prepares a person for the raw, often ugly reality of losing someone. Each character’s grief—whether sudden, anticipated, or remembered—forces them to confront the fragility of life, the limits of free will, and the painful truth that loss can neither be outrun nor outplanned.

Grief Across the Plot: Three Case Studies

Ethan Chang: The Axe of Loss

When Cherry Lockwood predicts that Ethan’s friend Harvey will die in a fight, Ethan experiences an immediate, visceral grief that is both anticipatory and, later, actual. On the plane, he images Harvey’s funeral and the “caved-in faces” of his family, feeling that death is “not right” and “unbelievably painful.” This moment shows how a predicted loss can trigger the same intensity as a real one. Months after Harvey’s death, Ethan accidentally calls Harvey’s phone and speaks to his sister Lila. He had “forgotten for a moment” and is hit by an “axe-like sensation of grief” all over again. For Ethan, grief is a recurring wound that time does not heal; it remains raw and easily reopened. His story illustrates the novel’s claim that grief cannot be scheduled or managed—it ambushes you when you least expect it, even during a routine pocket dial.

Cherry Lockwood: The Illusion of Expertise

Cherry, the very woman who makes the death predictions, suffers her own catastrophic loss when her husband Ned dies of a heart attack on the flight, along with their friends Jill and Bert in a car crash later the same day. Despite having experienced the loss of her father as a child, Cherry discovers that past grief does not grant immunity or skill. She admits she cannot “project-manage grief”; her sorrow is “big, slippery and mean.” She breaks things, swears, and laughs uncontrollably at inappropriate moments. The novel explicitly dismantles the “just world” fallacy—the belief that suffering must be deserved or meaningful. Cherry states that there is “no reason” for these terrible things; they simply happened. Her grief contradicts any comforting narrative. Even psychic ability does not soften the blow; if anything, it intensifies her sense of helplessness because she foresaw the losses yet could not prevent them. Cherry’s journey shows that grief is indifferent to expertise or preparation.

Sue O’Sullivan: Anticipatory Grief

Sue, another passenger, is predicted to be diagnosed with a brain tumour—a prophecy that triggers anticipatory grief for her entire family. In a family gathering, her sons and daughter-in-law argue about whether she would refuse treatment, while Sue herself must reassure them while grappling with her own mortality. She reflects that her grown-up sons “fear death” but still believe they are protected, unaware of the “fragility of life.” The prediction forces Sue to confront the possibility of her own death and to grieve the life she may leave behind, even as she tries to maintain normalcy. Her story emphasises that grief is not only for the dead but also for the future that may be stolen. The prophecy transforms an abstract fear into a concrete threat, reshaping how Sue and her family experience every ordinary moment.

Complexity and Contradiction: Grief as Unruly Force

The novel resists any neat resolution of grief. Ethan cannot “move on” in a conventional way; Cherry finds her grief ugly and vicious, not beautiful; Sue’s reassurance is laced with unspoken terror. These contradictions are intentional: grief in Here One Moment is neither redemptive nor instructional. Cherry’s rage at the insurance company and her pointless obsession with the river cruise itinerary show how grief can take petty, bewildering forms. At the same time, grief also connects people: Ethan feels better after talking to Lila, and Cherry finds solace in the memory of Ned’s students. The novel thus presents grief as a messy coexistence of bitterness and tenderness, rage and love. It defies the expectation that loss should make us wiser or kinder.

Symbolic Connections

Several recurring symbols reinforce the theme of grief:

• The brooch – Cherry repeatedly touches her brooch on the flight, a gesture that seems to ground her in moments of stress. The brooch can be read as a memento of a past relationship (possibly her mother) or as a talisman against the overwhelming weight of the predictions. It is a physical touchstone for grief she carries with her. (See the brooch symbol.)

• The seagull – After speaking to Harvey’s sister, Ethan sees a seagull that reminds him of a childhood kookaburra killing a goldfish. The image of death “in his own front yard” parallels the sudden brutality of Harvey’s death. The squawk of the seagull becomes a soundtrack to his fresh grief. (See the seagull symbol.)

• Counting / Monte Carlo biscuit – The narrative describes the deaths landing “like the roulette table in Monte Carlo,” where the ball keeps landing on black. This imagery of random, repeated loss underscores the unpredictability of grief. The Monte Carlo biscuit, a comfort food, contrasts with the cold randomness of the roulette wheel, suggesting the small, futile consolations we reach for in the face of loss. (See counting and Monte Carlo biscuit.)

Study Questions and Answers

1. How does Ethan Chang’s grief for Harvey illustrate the novel’s claim that grief is chaotic and not manageable?
   Answer: Ethan breaks down uncontrollably on the plane and later accidentally calls Harvey’s phone, showing that grief recurs unexpectedly. The “axe-like sensation” suggests it hits with sudden, violent force despite any attempt to prepare or move on.

2. Why does Cherry Lockwood’s experience of grief after losing Ned, Jill, and Bert contradict her earlier belief that she was “skilled” at coping?
   Answer: Cherry admits she cannot “project-manage grief”; her grief is “big, slippery and mean.” She breaks things, swears, and laughs hysterically, showing that past loss does not grant immunity or make grief any less messy.

3. In what way does the prophecy about Sue O’Sullivan’s death create anticipatory grief for her and her family?
   Answer: The prophecy forces Sue and her family to confront the possibility of her death. Sue must reassure her sons while internally acknowledging her own mortality. Her sons’ fear reflects anticipatory grief for a loss that has not yet happened but already shapes their interactions.

4. How does the symbol of the seagull (and the kookaburra memory) connect to the theme of grief in Ethan’s story?
   Answer: The memory of a kookaburra killing a goldfish represents death’s sudden, violent intrusion into ordinary life. Later, a seagull squawks as Ethan speaks to Harvey’s sister, linking the childhood image to his present grief and emphasising that loss is an ever-present reality.

5. The novel suggests that grief can be both “mean” and “profound.” How is this contradiction explored in Cherry’s narrative?
   Answer: Cherry describes her grief as petty, angry, and embarrassing (breaking things, yelling at the insurance company), yet she also feels profound pride in Ned’s legacy when his students speak. The coexistence of these responses shows that grief is not a single emotion but a contradictory, layered experience that defies simplification.

For a broader discussion of how predictions shape character reactions, see the main book page. For deeper dives into specific characters, visit Cherry Lockwood, Ethan Chang, and Sue O'Sullivan.