50 pages • 1 hour read
Andy WeirA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Content Warning: This section references sexual assault/sex with a minor.
The people of Artemis operate outside of any country’s jurisdiction. There are limited regulations that, if broken, will lead to extradition or deportation, but Artemisians and visitors to Artemis are mainly free to do as they wish. The absence of codified rules facilitates moral relativism: the idea that morality is situational, or that there are no absolute rules to determine whether something is right or wrong. Pragmatism and self-interest permeate all levels of Artemisian society, particularly in economic matters. Jazz is unconcerned with the ethics of corporate sabotage, agreeing to undermine Sanchez Aluminum not because of or despite moral considerations, but simply for the money. The colony’s administrator, Ngugi, embraced a similar philosophy to create and support KSC: “Favoring a single company with special laws isn’t fair? Tell that to the East India Tea Company. This is global economics, not kindergarten” (37). Similar pragmatism underpins Ngugi’s ultimate embrace of Jazz’s smuggling operation; as Jazz herself notes, smuggling will likely always exist, and other smugglers might not stop drugs and guns from flowing into the colony as Jazz does.
As Jazz’s commitment to keeping harmful materials out of Artemis demonstrates, most Artemisians stop short of moral nihilism: the belief that right and wrong simply do not exist. Even at the beginning of the novel, Jazz adheres to a personal moral code, noting that she “always keep[s] [her] bargains” (42). The community at large also embraces certain moral standards, leading to a good deal of vigilante justice. Jazz describes Artemis’s justice system as follows: “[W]e don’t have jails or fines. If you commit a serious crime, we exile you to Earth. For everything else, there’s Rudy” (27). Early in the novel, Rudy metes out physical punishment to a man who has been beating his wife. There is no trial, and no one tries to intervene. Rudy gives the man the exact injuries his wife last sustained. The population also regulates itself. When Jazz’s ex-boyfriend, Sean, has sex with a 14-year-old girl, he receives justice at the hands of his victim’s family, who beat him up. There is no defined age of consent on Artemis, so Sean did nothing illegal, but a “morals brigade” keeps people from harming other citizens with their behavior.
The novel leaves the question of whether this model of justice is desirable or sustainable, being somewhat ambiguous. When Jazz finds herself on the run from an assassin, there are few systems she can turn to for support. However, Jazz also prizes her independence, which the relaxed regulation facilitates: Though she chooses to follow certain moral rules, she would bristle at anyone enforcing those rules or telling her what they should be, as her exasperation with the woman who criticizes her sex life demonstrates. By the end of the novel, Jazz’s personal morality has evolved—she is ready to sacrifice her own life to save the rest of Artemis—but it is unclear whether she or the novel has embraced selflessness as a universal behavioral standard.
Economic disparity is a central theme of Artemis. Artemis comprises five settlement domes, referred to as bubbles. The original settlement and center bubble is Armstrong, which houses the laboratories and life support. Aldrin Bubble hosts the visitors who vacation on Artemis. The other three bubbles, Conrad, Bean, and Shepard, house the residents of Artemis, with each bubble representing a different income bracket: the working class, the middle class, and the rich. Jazz describes the disparity between Aldrin and Conrad Bubbles: Conrad is “full of plumbers, glass blowers, metalworkers, welding shops, repair shops…the list goes on. But Aldrin is truly a resort. It has casinos, whorehouses, theaters” where “wealthy tourists from all over Earth come for two-week stays” (8).
The stark contrast between the two communities highlights the wealth disparity between those who visit Artemis and most of those who live there. The latter primarily work in service-sector jobs, facilitating the luxury vacations of the elite; Artemis’s tourist economy relies on and replicates the class divisions present on Earth. As Jazz puts it, “You don’t expect J. Worthalot Richbastard III to clean his own toilet, do you?” (5). Jazz’s resentment of the upper classes—particularly those who have inherited their wealth—is not simply a matter of envy. As the novel’s opening sequence demonstrates, poverty can have even more immediately life-threatening consequences on the Moon than it does on Earth. Jazz’s damaged EVA suit, which she bought secondhand because she could not afford a new one, almost kills her. Similarly, Jazz tells her father that she is making a clandestine air shelter for a friend who cannot pay for an official one: “The city requires all sorts of extra inspections if you weld to the inner hull and she can’t afford them” (66). The story is a lie, but the later inadvertent chloroforming of Artemis’s population reveals what is at stake in the situation.
Jazz’s goal is not to change Artemisian society, however; she simply wants to become rich herself. The novel thus stops short of fully critiquing Artemis’s economic inequality. In fact, Jazz’s conversations with Ngugi suggest that that inequality may be an inevitable part of the economic “life cycle”:
‘An economy is a living thing. It’s born full of vitality and dies once it’s rigid and worn out. Then, through necessity, people break into smaller economic groups and the cycle begins anew […] Baby economies, like Artemis is right now.’
‘Huh,’ I said. ‘And if you want to make babies, somebody’s got to get fucked’ (300-01).
Though Jazz later calls Ngugi’s reasoning “dark and disturbing” (301), she seems to accept class inequality and its attendant suffering as a law of nature.
In his book The Hero with a Thousand Faces (1949), literary scholar Joseph Campbell defines the hero’s journey as “A hero ventures forth from the world of common day into a region of supernatural wonder: fabulous forces are there encountered and a decisive victory is won” (Campbell, Joseph. The Hero's Journey: Joseph Campbell on His Life and Work. New York, Harper and Row, 1990). Jazz follows the steps of the hero’s journey, which Weir uses to showcase her maturation: She grows from a reckless, self-interested, and closed-off girl to a selfless young woman capable of greater trust and thoughtfulness.
The first phase of the hero’s journey is Departure. Trond calls Jazz to adventure, and to reach her goal of financial independence, she enters into a contract with a trickster figure. The agreement underscores Jazz’s short-sightedness as well as her self-interest: She knows the deal is risky but can’t see beyond her immediate financial goals. Though she receives help from the HIB, a near-supernatural device, during her caper, the sabotage fails and Jazz finds herself in a much larger plot than she anticipated—another sign of her immaturity.
The next phase of the journey is Initiation, a stage entered with trials. Jazz confronts Lefty and Jin, escaping with her life after trapping herself in her father’s air shelter. Jazz then meets with the administrator and Rudy, the latter of whom tempts Jazz with security at the cost of her freedom. The final step in this stage is Atonement. Jazz unites all the people she jeopardized, including her father, in her plot to save the city. In the end, she sacrifices herself to save them all. Her final words before she punctures her ball are of love for her estranged father, demonstrating how much she has grown since the novel’s beginning.
The final stage of the hero’s journey is Return. Jazz is reborn in the doctor’s office a changed woman, not least because she owes her life to the help of her friends and family. Although Jazz feels indebted to her father throughout the novel, in purchasing a new shop for him she does more than merely discharge an obligation; she symbolically indicates her willingness to repair the damaged relationship. Though Jazz still struggles to balance the person she was with the lessons she has learned, she leans into the new, accepting a lunch invitation from Dale, kissing Svoboda, and telling Kelvin about the ZAFO stock option. She lets go of her fear of failure and allows herself to live fully with trust, friendship, and love.
By Andy Weir