49 pages • 1 hour read
Margaret AtwoodA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Stan wakes up in a bin full of knitted blue teddy bears in a massive warehouse. While he waits for Jocelyn, he contemplates what has just happened and whether he wants to get back with Charmaine after everything that has transpired. He reasons that he could hold all of it over her, giving him the upper hand in the relationship. Jocelyn eventually shows up and gives him sparse details on what comes next. She tells him he is currently underneath the prison, and he is going to join the possibilibots production team and to tell everyone his name is Waldo. Stan feels he has no choice but to comply.
When Charmaine wakes up, she is back in her home, wearing her civilian clothes. Downstairs, Aurora is waiting for her. She apologizes for an administrative error that led to her having to do the procedure on Stan and tells her that the higher-ups have taken notice of her loyalty. Ed even wants to thank her in person. Charmaine asks her to leave, and Aurora obliges, but reminds Charmaine she will be back that evening to take her for a CAT scan to ensure she does not have a concussion from the fall. Later, while waiting for Aurora to return, she starts to clean the house. She notices the DVD player has been used, and curious what Max might have been watching, she turns it on. A video of her and Max in one of the abandoned houses starts playing. She panics, hiding the disc behind the refrigerator.
Jocelyn arrives to take Charmaine to the CAT scan. Charmaine recognizes her from reception at Medical Administration and confronts her about Stan’s death. Jocelyn acts confused and suggests that Charmaine is in shock and needs to see a doctor. She also offers consolation about Stan’s death, which she claims was a tragic accident at the chicken facility. Charmaine realizes the danger and futility of fighting for the truth and begins to play along. When she gets in the car, she is shocked to discover Max is the driver. She asks him for help, but he says his name is Phil and pretends he does not know her.
Stan is introduced to the team and given a tour of the facilities by the team leader, Budge. Possibilibots are sex robots that can be custom ordered to look like a specific person: a celebrity, an unattainable crush, or someone that would be deemed socially impermissible, like a family member. They come in a variety of models and their attitudes and personalities can be programmed.
Throughout the tour, the team debates how lifelike they are and if they are good enough to replace the real thing. Much of the production is done by robots on an assembly line, but the finer details are done by human hands in Customization. Here, Stan notices that one of the possibilibots has a photo of Charmaine next to it. He asks who ordered it, and the guys tell him it is for one of the higher-ups and they have to make sure they do not screw it up. Budge says they have to “tiptoe through the tulips” with it (432), which is the signal phrase Stan has been waiting to hear, revealing Budge as his contact.
Aurora accompanies Charmaine home after the CAT scan and stays overnight to provide “support.” The next morning, Aurora informs her they are going shopping, as she needs something black to wear to Stan’s funeral. Later, before they leave for the funeral, Aurora informs Charmaine that a special guest is on the way. Charmaine instinctively hopes it is Max, but then fights her urges because he is not trustworthy anymore. She is surprised when she sees Ed get out of the car, and wonders what he wants from her.
In the car ride to the funeral, Ed offers his condolences and support for Charmaine. He leaves his hand resting on her arm and she can tell by the way he looks at her that he is interested. She wonders how she can use it to her advantage.
The funeral is overflowing with guests, and Charmaine is escorted to a seat that is front and center. Ed gives an impassioned speech about Stan’s sacrifice. Aurora accompanies her home and intends to stay for the foreseeable future to offer Charmaine grief therapy. When they arrive, Jocelyn is there and formally introduces herself as Max/Phil’s wife and Charmaine’s Alternate. She also reveals that Stan is still alive and instructs Charmaine that she has a role to play in helping them out. They want her to get close to Ed, who already has his sights set on her, and monitor what he is doing.
Stan’s tour ends in Wardrobe and Accessories. There are a lot of Elvis and Marilyn Monroe costumes, among a host of other celebrities. There is also a bin full of knitted blue teddy bears, which he is told are for the line of kiddybots. Stan is disgusted by this revelation, but the team suggests they might actually prevent harm. They are also one of the most popular lines of possibilbots, meaning they create jobs and earn a lot of profit.
Budge ends the tour and takes Stan aside to give him the mission details: He is going to be disguised as an Elvis possibilibot and shipped to Las Vegas. Budge refuses to tell him who they are working for but does reveal that he is working with Conor on the outside and will have a guide sent with him to provide support along the way.
The guide turns out to be Veronica, who has undergone an experimental neurosurgical operation that has been developed as a solution to the limitations of robots. The procedure aims to make it possible to “customize” people—in other words, it wipes any attachments they might have and makes them “imprint” on the first person they see post-operation. Since the subject will fall head-over-heals in love with the person they see, the idea is that they will not feel exploited, even if they did not consent to the procedure in the first place. However, Veronica’s procedure went awry because the man that ordered it was not there when she woke up. Instead, she locked eyes with one of the blue knitted bears—placed beside her bed by a nurse as a comfort item—and she imprinted on that. As a result, she is incapable of feeling anything toward men.
That night, Stan and Veronica put on their costumes and are loaded into shipping crates heading for Las Vegas. The documents he is supposed to smuggle out are on a flash drive hidden in his costume’s belt buckle.
Charmaine goes to dinner with Ed at the same restaurant she and Stan ate at the night before they signed up for the Positron Project. She has practiced ways to come across as vulnerable but inaccessible with Jocelyn so that she can keep him interested but at a distance. To establish power, Ed intimates that he knows Stan did not really die in an accident, but that he will make sure no one else finds out. He also offers her a job working for him as his personal assistant.
Charmaine’s first few weeks of working for Ed are largely uneventful. He does not make any moves and mostly ignores her, and there is very little work for her to do. She does some reconnaissance for Jocelyn but does not find anything incriminating. Ed is happy that the project is expanding even more and is now being turned into a franchise. He goes to Washington to meet with some senators. Jocelyn and Aurora meet with Charmaine every evening to check in.
One night, Jocelyn shows Charmaine footage of Ed going to see the possibilibot he is having made in her image. It is essentially complete, and he asks for it to be delivered the next day. Jocelyn has one of the techs sabotage the bot, which causes Ed to have an accident and get his penis stuck inside it the next day. He is sent to the hospital infirmary but survives the ordeal.
After an uncomfortable ride in a small crate, Stan arrives in Las Vegas. He is unboxed by a group of gay Elvis impersonators and soon realizes Veronica is not there with him. The Elvis impersonators all work for an agency called UR-ELF (Elvis Lives Forever) and have been hired by Budge to take care of him and provide cover.
Stan has no idea what he is supposed to do next, so he eases his way into working for the agency. They assign him to the Ruby Slippers Retirement Home and his job mainly consists of delivering flowers to the elderly in palliative care. Stan wears his Elvis costume at all times so that he is less likely to be recognized by anyone.
A motif of fakes, imitations, and replicas emerges during these middle chapters of the novel. Stan and Veronica disguise themselves as possibilibot versions of Elvis and Marilyn Monroe—an imitation of an imitation. The setting shifts to Las Vegas, where tourists “[make] the most of their absences from reality” by spending their money on the hundreds of imitators and at replica tourist attractions such as a miniature Eiffel Tower or fake Roman Forum (535). Stan is taken in by a team of Elvis impersonators; Charmaine is forced to navigate a fake death and funeral; Ed has a replica possibilibot made of Charmaine; and Stan pretends to be a member in the Green Man group—a clear knock-off of the popular Blue Man group.
This bombardment of fakes and replicas underpins a plot that gets increasingly surreal and disorienting. Stan and Charmaine get lost in a revolutionary plot they are reluctantly forced to participate in and neither of them knows what is real anymore, once more speaking to The Illusion of Free Will: They are unsure who they can trust, what is going to happen next, or how they ended up in these bizarre circumstances.
On top of this, they are both forced to adopt new identities. Stan becomes Waldo and must navigate a plan he does not know the details of, and Charmaine has to pretend she is in mourning and gets lessons from Jocelyn on how to affect a version of femininity that will entice Ed while keeping him at a distance. For Charmaine, she feels like she is being erased as everyone around her collectively gaslights her about what has happened. The forced erasure of memories feels like an erasure of her identity and its own form of death, and foreshadows the impending neurosurgical procedures she and several other characters will undergo at the end of the novel. Stan has his own version of an existential crisis after putting on his Elvis costume for the first time and realizing how passable it is: “Is that all we are? he thinks. Unmistakable clothing, a hairstyle, a few exaggerated features, a gesture?” (479). As everything becomes an increasingly empty signifier of something else, meaning becomes detached from reality. When everything is an imitation of an imitation, there is no original to ground things.
For Stan and Charmaine, all this uncertainty and instability inspire feelings of regret and a longing for their simpler past, adding a new dimension to The Tension Between Love and Passion. They begin to miss one another and frequently find themselves reminiscing. For Charmaine, their home in Consilience no longer feels like the safe, comfortable place it used to be without Stan, and simple household items become a reminder of his absence as they evoke the memories attached with them. For Stan, “[t]he mere thought of her, and of the house he once found so boring, makes him feel weepy” (370). This ostensible turn-around for both of them is not surprising, given the circumstances. They know this past is real and concrete. They had defined, predictable roles and identities with one another, which makes it feel stable, comfortable, and safe.
However, these were also the things that led them astray in the first place, and the novel suggests that they are not completely changed by their experiences, despite their regrets. Charmaine still fantasizes about Max, even after she wants her life with Stan back and knows that Max manipulated her. Likewise, Stan cannot help himself thinking like a “sex-crazed baboon” around Veronica, despite vowing to treat Charmaine better if given a second chance (503). This ultimately introduces a tension that will be explored further at the end of the novel: namely, that the two things Stan and Charmaine want—the safety, comfort, and predictability of a long-term relationship, but also the freedom and passionate sexual attraction that comes from something new or forbidden—are fundamentally incompatible.
By Margaret Atwood
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