Intercepts

T. J. Payne

57 pages 1-hour read

T. J. Payne

Intercepts

Fiction | Novel | Adult | Published in 2019

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Symbols & Motifs

Content Warning: This section of the guide includes discussion of death, child death, death by suicide, graphic violence, mental illness, physical abuse, and self-harm.

Propaganda Posters

When the posters hanging in the Facility first appear, the narrator describes them as “designed in the style of classic World War II posters, the ‘Loose Lips Sink Ships’ and ‘We Can Do It!’ variety” (25). This connection implies their use as tools of propaganda. Like some real-world propaganda, their slogans serve as justifications for human rights violations, symbolizing the mechanisms by which humans willingly engage in actions they normally condemn. This also reinforces the parallels between the human experimentation in the novel and examples of similar experimentation in history, like the MKUltra program, creating greater stakes and imbuing the text with a message of warning. 


Ambiguity exists regarding the poster figures that resemble Kate and Riley. It is unclear to Joe whether or not the Company designed this poster specifically to manipulate him. This ambiguity mirrors the ambiguity surrounding the amount of power and influence the Company wields, which evokes fear and a sense of powerlessness. Either way, the Company intends for the posters to reinforce their agenda by playing on employees’ sense of duty and familial protective instincts. They come to symbolize the rationalization of unethical work, demonstrating, in Joe’s case, The Tension Between Parental Instincts and Professional Obligations.

The Facility

The Facility is the main setting of the novel, operating exclusively under the purview of the Company, but its meaning in the novel goes beyond setting; it comes to symbolize institutional hubris. Its location completely underground also underscores the secretive nature of the project and allows complete control, with windowless rooms and airlocks as barriers to entrance and exit. The Facility ostensibly allows complete control of its inhabitants and workers, and the Quiet Zone extends this control to emphasize the degree to which the Company desires to keep its secrets, control its inhabitants, and manage the dissemination of information about the project.


However, as the novel continues, the flaws at the root of the Facility’s design become clear. It focuses on physical containment, imprisoning the bodies of its subjects while failing to recognize that the work that is being executed there revolves around extending the power of the mind beyond the body. This disconnect between purpose and execution highlights the flaws and fragility of the Company itself, which go beyond the Facility itself to its purpose and how it executes its work. Although the Facility is meant to be a statement of ultimate control, as the novel continues, it comes to represent the flawed approach to the project, flaws that are exploited by Bishop and the other Antenna as they escape the confines of the Facility using their minds, fulfilling the purpose of the project while simultaneously breaching the Company’s control.

Smiles

Smiles appear as a motif in the final chapters of the book, illustrating the ironic distance between the tragic outcomes of the novel and its characters and highlighting The Blurred Lines Between Perception and Reality. The smile on Bishop’s face after her death is triumphant, as she takes control of her fate from the Company’s hands into her own, even if the result is her own annihilation. Riley’s smile, in contrast, is an expression of the control exerted over her by the Antenna, underscoring her loss of control over her body and mind. The final smile in the narrative is worn by Joe himself, as Antenna-301. His smile expresses layers of meaning, acting as both an expression of “pure bliss” as he psychically watches Riley and as a signifier of the collapse of his agency and passive acceptance of his fate. Joe’s smile offers a final commentary on the Company’s control and relinquishment of agency, and it also reflects his new status as Riley’s observer. He becomes a mirror of the Company, effecting an unsettling conclusion in which his paternal observation takes on shades of the Company’s own surveillance and control.

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