88 pages • 2 hours read
Adam SilveraThey Both Die at the End
Fiction | Novel | YA | Published in 2017A modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more. For select classroom titles, we also provide Teaching Guides with discussion and quiz questions to prompt student engagement.
Symbols & Motifs
Dystopia
The novel is set in an alternate dystopian version of New York City in 2017, and the features of this dystopia—all revolving around death and Death-Cast—are a recurring motif throughout the novel. The advent of Death-Cast had such a profound effect on American culture that it affects every aspect of this society. For example, as Rufus notes when he receives his call from a Death-Cast herald named Victor, the Death-Cast “company line” is now essentially a trope in film and TV: “At the end of the call Victor gives me that company line I’ve grown used to hearing from all the new TV shows and movies incorporating Death-Cast into the characters’ day-to-days: ‘On behalf of Death-Cast, we are sorry to lose you. Live this day to the fullest’” (20). Death-Cast is woven so deeply into the fabric of this new society, a new language emerges to talk about the phenomenon and its byproducts (i.e. Deckers, End Day, herald, etc.).
There is also the commercial culture, which commodifies the Decker experience: There are various products, services, and discounts that all cater to Deckers. There is Make-A-Moment in Chapter 33 and the World Travel Arena in Chapter 59, two virtual reality services that seek to provide a variety of experiences for Deckers who will not otherwise have the chance on their End Day. Rufus discusses the Metro Transit Authority’s subway discount in Chapter 18: “Deckers get some perks, like free unlimited passes for the subway, you just gotta bother the teller with some form. But the ‘unlimited’ part is bullshit because they expire at the end of your End Day” (101). Technology, like Last Friend and the blog CountDowners, is also tailored to the Decker population. In this dystopia, death and dying are brought to the forefront of the culture, rather than suppressed. The dystopia motif underscores the book’s themes surrounding mortality, death, and the quest for the meaning of life.
Outer Space
Outer space and other planetary references appear throughout the novel, serving the dual purpose of underscoring the interconnectedness of the characters (like constellations and/or bodies in the same solar system), while also emphasizing the loneliness of these individuals. Rufus’ group from foster care—himself, Tagoe, and Malcolm—call themselves “the Plutos” and their foster home “Pluto.” Pluto is the furthest object from the sun and on the fringes of the solar system. When the International Astronomical Union decided to recategorize Pluto from a “planet” to a “dwarf planet” in 2006, the American Dialect Society chose the colloquialism “plutoed” as their Word of the Year. The American Dialect Society defines “to pluto” something as “to demote or devalue someone or something, as happened to the former planet Pluto when the General Assembly of the International Astronomical Union decided Pluto no longer met its definition of a planet.” That Rufus’ group is named after this “demoted” and “devalued” planet speaks to the ostracized, isolated nature of Rufus and his friends’ place in society.
Time
The novel is structured so that the reader is aware of time, and the passing of time, throughout the novel. The novel occurs during a 24-hour period, and each chapter is given a precise time stamp. This motif supports the idea that our time is important and precious; so much of Mateo’s regret over his End Day goes back to the idea of wasted time. As Mateo says in Chapter 20, “Too bad life doesn’t allow us to turn its gears, like a clock, when we need more time” (117). Simultaneously, every moment represents an opportunity for redemption, and Mateo manages to live his life to the fullest over the course of one single day, with the help of Rufus. In Chapter 33, Mateo makes a note of how every moment is a “miracle”: “There are so many freak accidents that can happen at any point. Every new minute we’re alive is a miracle” (183).
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By Adam Silvera
