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73 pages 2 hours read

Margaret Atwood

MaddAddam

Fiction | Novel | Adult | Published in 2013

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Themes

Hope in a Post-Apocalyptic World

Before the battle, Toby explains the concept of hope to the Crakers in response to their question about whether everyone would make it home safely. She says, “Hope is when you want something very much but you do not know if that thing you want will really happen” (292). Hope isn’t logical, so Crake wouldn’t have seen the value, and he underestimated its power. After the plague hit, most of humanity went out partying, consuming all available intoxicating and harmful substances, leaving barely a can of beer or pack of cigarettes to be found. There was no hope, and perhaps there was no desire to survive in a post-apocalyptic world. It was a society that left very little room for hope. In Oryx and Crake, Crake tells a disinterested Jimmy, “All it takes […] is the elimination of one generation. One generation of anything. […] Break the link in time between one generation and the next, and it’s game over forever” (Atwood, Margaret. Oryx and Crake. Knopf Doubleday, 2004, p. 223). But he underestimated the ability of hope to drive humans forward, no matter how many generations are eradicated. Adam led the Gardeners in what amounted to roleplaying post-disaster survival, hoping that some people could be saved when the time came and hoping that the planet could recover from the damage done by humanity. In the AnooYoo spa, waiting for the plague to finish raging, Toby lives on hope, especially the hope that Zeb will survive, and she will see him again.

The Crakers have an iron-clad faith, certain that Oryx and Crake will protect them. Although Crake undoubtedly wouldn’t have wanted them to develop religion, their logical and literal certainty is fallible. Hope is the ability to see the future as abstract and to prepare for multiple outcomes, but, when possible, to work toward making one’s hope a reality. Toby decides that acting as if a hoped-for future will happen can help to make it happen. So, she writes without knowing whether anyone will ever read it. Ren and Lotis Blue hope for Jimmy’s recovery, so they get him up and walking. Toby talks to the bees and goes on a hallucinatory vision quest, not because she has faith that it will help, but because she hopes it will. Hope creates purpose because it provides something to work and build toward. Toby notices that she, along with everyone else, is starting to drift. The drive of hope was strong while they were struggling to survive, but survival isn’t enough. They must constantly work and build, which requires hope as an anchor, but Toby warns Zeb that hope can be dangerous. Zeb holds out hope that he will find Adam, and then that Adam is with the Painballers. His hope turns out to be true, but it also means the finality of losing Adam as well as the hope of finding him.

In a world filled with decaying corpses, hope is also tied to death. Toby struggles with allowing herself to hope throughout the narrative because she is pragmatic and afraid to believe that good things might happen to her. She is afraid to hope for Zeb’s love, and then afraid to hope that it’s real. Her pragmatism makes her skeptical about Pilar’s claim that the bees carry messages to the dead, but she still feels the need to talk to them just in case, which shows a flicker of tempered hope. Pilar tells her that people find it comforting to believe that there is something more after death. It means that hope isn’t dashed when someone dies. It explains the entire industry of CryoJeenyus, the late-stage version of the cryogenic freezing of human bodies that was first attempted in 1967. It relies on keeping the distant hope that death could be cured. The Crakers seem to have a connection to something enormous and ethereal in the nature of being. They can connect to Jimmy while he’s comatose, see what he is experiencing, and know when he will wake up, which is something medical science couldn’t come close to achieving. They also communicate telepathically with animals. At the end of the novel, Blackbeard expresses hope that Toby has transformed into a bear and gone to be with Zeb, who is also a bear, demonstrating that the Crakers have the capacity to care about death and envision a hopeful afterlife.

Oral History and the Need for Posterity

Crake created the Crakers to have no sense of history, believing that the accruing of history leads to conflicts, which turn into wars, territoriality, and nationalism. They would create no art, make no great discoveries, experience no romance or unrequited love, and they would die predictably at age 30. Like every other animal in existence, collective memory is short and limited, but the Crakers are also intelligent and curious. They ask questions about everything they don’t understand, and they believe and absorb everything they’re told. The idea of storytime began with Oryx in the dome, and they persuaded Jimmy to continue. His off-the-cuff responses to their unanswerable questions turned Crake and Oryx into the gods who created them and the animals. They develop an oral tradition by compelling Jimmy to tell the same stories over and over. When Toby is drafted to step in for Jimmy, they demand to hear about the bad men around the campfire, and the part where they untied them. They interject and direct Toby, making her feel like she is giving a very specific performance. Hearing about themselves untying the two men makes them sad, but they insist on hearing it again and again. It's a part of their history and a lesson to be learned and repeated, so it must be told exactly right.

The Gardeners insisted on teaching through the oral tradition, often making up rhymes and songs to make things easier to remember. There were feast days for nearly every day, survival skills, lessons about animals and nature, and the kids would write on chalkboards and then erase them. There were no physical records or written accounts. While she was alone in the AnooYoo spa during the plague, Toby started to write journals, recording what she remembered about feast days, which turned out to be a useful way of keeping a calendar oriented by the moon. Internalizing the lessons without the crutch of writing made the information readily available, as demonstrated by the survival of so many Gardeners and their continued abilities to use what they learned to keep going. Having left her journals behind at the spa, she starts new journals. Zeb brings her notebooks without her asking because he knows that as a Gardener she’ll want to write, even though logic states that no one will ever read them. Then, Toby impulsively teaches the curious Blackbeard about writing. As he eagerly learns to write his name, moving on to write other names, Toby worries that she did something terrible that can’t be undone. She wonders what learning to read and write would set in motion for the Crakers.

The stories that Toby tells the Crakers, based largely on Zeb’s exploits, must be simplified and made appropriate for the Crakers, who can’t stomach violence and have no frame of reference to understand the majority of the pre-plague world. When Blackbeard takes over to tell the story of the battle, his version of events is much more specific and accurate. He remembers conversations verbatim, and he can relay what he saw through a Craker perspective. As they’ve demonstrated all along through their endless questions, the Crakers, like most humans, want to know where they came from. Their unrecorded lives and stories would disappear, as if they never existed as the founders of a new human settlement. Writing these stories down means that they can be more specific and remembered accurately. They exist outside the storyteller’s mind. In Oryx and Crake, Jimmy, alone on the beach with the Crakers, finds himself remembering random words and thinking that they’re lost now. He’s the last person who will say them, much like how the MaddAddamites took the names of extinct animals and thus became living stand-ins for animals that didn’t exist anymore. Posterity means leaving a mark on history and leaving behind something that survives.

Broken Parental Relationships

A common theme across all three novels is repetition of distant, unloving, and sometimes abusive relationships between parents and children. Jimmy’s mother was a Corp scientist who stopped working, supposedly to be home with Jimmy (although he was at school all day) but was agitated about what the Corps was doing. She left her husband and son to become an activist, passing briefly through God’s Gardeners and eventually being executed on a livestream. Neither parent could remember Jimmy’s birthday. Ren’s father was disinterested, and her mother remarried after he died suddenly, disowning Ren to the point that she pretended not to know her when she saw her at the spa. Zeb and Adam had an abusive father who murdered Adam’s mother and tried to kill them. Toby had a good relationship with her parents, but the Corps drained them financially treating her sick mother until she died, probably of a disease embedded in Corps vitamins, and her father killed himself, leaving her to bury his body. Glenn/Crake’s parents didn’t touch him. No one touched him, as observed by Zeb. His mother flirts vulgarly with one of her son’s only friends and marries the man she’s cheating with when his father is murdered by the Corps (ruled a suicide). Later, his mother dies horribly from an unknown bioform, and Jimmy wonders if she wasn’t his first test subject.

Lackluster and cruel parenting seems to have been a major problem in a collapsing society, and it was an issue regardless of financial status. Parents in the compounds are at best too preoccupied with work to pay attention to their kids and at worst cruel. The pleeblands are full of children who are on their own, like Amanda, who ran away from her abusive family. Those who joined the Gardeners found a surrogate family, where the community raised children who didn’t seem to have parents of their own. The Gardeners offered a multitude of parents, Adams and Eves named after the original parents of humanity. The novels suggest that either the decline in parenting contributes to a broken society, or a broken society is destroying parental relationships, but it’s certainly a significant issue. In designing the Crakers, Crake reorganizes the family structure. First, he takes away paternal lineage. The three women impregnated by Crakers demonstrate that four men are not necessary to achieve one pregnant woman, but he is disposing of the idea of fatherhood. Parenting becomes a group responsibility, and no one has corporate jobs or spa treatments to distract them. Children also grow up much more quickly than non-Craker babies, shortening the period in which they require attentive parenting.

Within the community of plague survivors, the question of reproduction takes time to arise openly. Toby feels the weight of her age and infertility as making her less feminine and less worthy of love, especially from Zeb, who she sees as a prime reproductive partner. Swift Fox shows the others the pregnancy tests she found, and she asserts that they have a duty to repopulate the human race. When Amanda discovers her pregnancy, she wants an abortion, but with no safe options, she must carry to term, waiting to find out if she was impregnated by one of her rapists. Practically speaking, pregnancy is dangerous for the women, and when men are brought into the conversation, they start to speak about the women as if they are incubators. Ivory Bill’s suggestion that they save Painballer sperm to preserve genetic diversity is entirely disregarding the women as humans who are understandably repulsed by the idea. The Crakers make the pregnant women, especially Amanda, feel empowered by their ability to gestate life. They are not just empty “bone caves” to fill. Toby, who has the encounter with the pigoon mother, is naturally maternal to Ren and Amanda. She risks her life to save theirs, and she’s the one they go to with their pregnancies. For Blackbeard, she becomes an honorary community mother, as his mother trusts her entirely, and she teaches him things that his mother can’t. Toby can’t give birth, but she is maternal, helping to create a new generation with extended family support. This focus on maternal behavior also highlights the theme of Hope in a Post-Apocalyptic World in that it mends the wounds of parental neglect that the previous generations endured. The narrative suggests that the ills of the human race can be traced to the failures of parents to truly nurture their children, so starting anew with humans who care for their children and each other in a kind and nurturing manner suggests that there is hope that this new world will avoid the tragedies that led to the dystopia and destruction of the previous world.

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