Today is a remarkable anniversary. Alex Garland’s The Beach was published 20 years ago (younger people might recognise Alex as the director of Ex Machina). What’s remarkable is that it’s only been 20 years. The world has changed almost beyond recognition since: ICQ (yes, that long ago), Google, the iPod, MySpace, Facebook, the smartphone, the Millennial, Tesla, the selfie, Instagram, #sorrynotsorry. It has been a period of enormous change, for better or for worse.
Looking at it now, The Beach evokes “end of an era” and end of innocence feelings, and not just because disillusioned Richard left the hidden paradise he called home. It really was the fin de siecle: the end of the 1990s, the end of the 20th century, and the end of simpler times as we knew them, when care-free hedonism and dial-up connections reigned.
Soon after reading the now cult classic and watching the Hollywood movie when they emerged, I travelled to Southeast Asia for the first time. I felt like a novice backpacker like Richard, armed with a knackered copy of the Rough Guide and a traditional camera with 3 rolls of film (no digital cameras then, let alone smartphones), staying at cheap Malaysian guesthouses, popping into “cyber cafes”, and staring wide-eyed at the sheer exoticism of the Far East, as the region was still called then in that quaint pre-globalisation way.
Seven years later, I unexpectedly returned to Kuala Lumpur – this time in a suit, my own “innocence” lost. And this time, I stayed.
Hopping about frequently in Southeast Asia, I never forgot The Beach and the hope that there was a mystical idyll out there somewhere, buried in the South China Sea or hidden in the Indonesian archipelago. I was fortunate enough to encounter extraordinary beaches and fascinating characters, but The Beach as described in the book, a tropical shangri-la, was forever elusive.
And yet, while the untainted paradise beach will likely stay a myth, the utopian spirit of The Beach lingers on. Its post-911, post-capitalism incarnation can be seen in the form of co-working spaces, filled with digital nomads who get about using apps such as Airbnb and Waze.
Like The Beach’s main character, digital nomads also flock to Thailand (although the book’s original location was The Philippines), to places like Bangkok, Chiang Mai and Krabi, making connections and living the dream. And with the passing of Richard’s generation into middle age gloop and suburbia, the baton has been passed to globetrotting Millennials, themselves looking for purpose.
Travel might no longer be romantic, as it surely was pre-internet, but the essence of what made The Beach special – the pursuit of a more spiritual, community-minded and more “authentic” alternative to everyday life – endures to this day.