Published in Canada in 2015; published by Nan A. Talese on September 29, 2015
The Heart Goes Last is both playful and subversive. It is satirical and allegorical. The story it tells can’t be taken seriously, but its targeting of people who behave like sheep, sacrificing freedom for comfort, of men who find new ways to oppress women, and of corporations that place profits ahead of … well, everything … is well taken. Margaret Atwood doesn’t beat the reader over the head with lectures about morality, but the background themes are never far from the reader’s thoughts.
The economy has tanked. Stan and Charmaine are living in a car. The rich are living offshore on tax-free floating platforms. Stan’s life is tied down by “tiny threads of petty cares and small concerns.” Joining his brother Conner in the criminal underclass may be Stan’s only hope. Charmaine, who works for tips in a bar, is tempted to turn tricks until she sees an even more tempting ad for the Positron Project.
Against Conner’s advice, Stan and Charmaine join the corporate/social experiment called Consilience/Positron. The experiment involves voluntary imprisonment in exchange for full employment. In alternating months, residents of the prison (Positron) swap places with residents of the village (Consilience), but even in the village they have no freedom, in that they are cut off from the outside world. They see only the news, television shows, and movies that are chosen for them. They work at the jobs the project gives them. They own what the project allows them to own. The project demands meek obedience to its rules; disruption has harsh consequences.
Against this background, the story begins to explore the relationship between Stan and Charmaine, their inability to connect with each other and their consequent misunderstanding about who the other person is and what the other person wants. As the plot moves forward, the characters must decide whether they are loyal to each other, to themselves, or to Consilience. Another plot thread compares complex relationships between humans to simpler interactions between humans and robots (or, more precisely, sexbots). Of course, some human relationships seem robotic, which is one of the points that Atwood’s novel makes.
The Heart Goes Last combines a serious story about the breakdown of society with satirical commentaries on the cozy relationship between government and big business, the not-so-cozy relationship that is often defined by marriage, and the exploitation of the powerless by the powerful (particularly, but not exclusively, the exploitation of women by men). It also makes the point that there will always be people who are willing to give up freedom, independence, and any ability they might possess to think for themselves in exchange for comfort and security. After all, life is just easier when other people make decisions for you. Of course, for every bit of freedom you choose to relinquish, the people in control will want you to give up just a bit more. Utopia comes at a price.
The Heart Goes Last stitches together a number of novellas that Atwood previously published in what science fiction writers of the 1940s and 1950s called a “fix-up” novel. It reads well, but the fixed-up nature of the work is apparent in some of the sharp turns the novel takes. Atwood takes the story a bit over the top with all the varieties of evil she concocts, but that’s the nature of satire, and when greed is being satirized, going over the top is forgivable. Some of the humor might be a little too easy (although making fun of Elvis impersonators never gets old) and the story provokes more smiles than outright laughter. Still, this is a fun book.
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