Some Desperate Glory

Emily Tesh

69 pages 2-hour read

Emily Tesh

Some Desperate Glory

Fiction | Short Story Collection | YA | Published in 2023

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Symbols & Motifs

Content Warning: This section of the guide includes discussion of emotional abuse.

Water

Water has several different symbolic meanings. As an artificially scarce resource, it serves as a way of controlling people on Gaea Station. In Part 1, Kyr punishes a younger girl for spilling water and playing in it, a scene that symbolizes Kyr’s indoctrination and her inability to value pleasure or play.


On Chrysothemis, there is an excess of water. Kyr is shocked at the sight of “[s]o much water […] The mist br[eaks] over the sea, and the sunlight sh[ines] boldly down on the water, glittering in the foam caps where small waves toss[]” (120). It represents the freedom and abundance that exist outside Gaea’s tightly controlled, authoritarian world.


On Hymmer Station, water is less strictly controlled, and Val is able to get an apartment with a “waterfall shower (so much water, and on a space station)” (270). As a successful lieutenant in the Terran Expeditionary forces, she can indulge in the luxury of water, showing how luxuries can be used to elicit complicity with authoritarian regimes.

Luxury

Water is one example of luxuries in the novel. Gaea teaches people that a reasonable amount of water is a luxury to control them. Another luxury is fabrics. When Gaea takes over Yiso’s ship, the Gaeans use Yiso’s “luxury fabrics” to mend uniforms (28). Clothes are purely functional on Gaea and are identical except for the insignia that signify rank. Having different outfits in a variety of colors is excessive, in Gaea’s fascist teachings.


Kyr takes the ideology of excess and waste to an extreme in the first universe. She thinks about “the wastefulness of” music because the resources used to play it are limited (61). She condemns Avi’s agoge simulation with orcs as a “waste of station resources” because orcs aren’t real (66); the simulation isn’t training for any real scenario.


When she gets to Chrysothemis, Kyr sees a wealthier society than she’s ever seen. She notices the “paper, of all the luxuries” (150), in Ursa’s apartment. She has been taught that “[a]ll the riches and beauty of Chrysothemis [a]re a distraction, a seductive and treacherous lie” (157). However, the concept of excess and waste are just distractions used by the fascists to keep their people docile and obedient.

Flowers

Any flowers that aren’t part of edible plants are treated on Gaea as another wasteful luxury. Kyr mentally complains about the flowers in Avi’s garden simulation for Mags: “nothing useful, nothing edible. Just color” (70). The colors of the flowers are connected to the colors of Yiso’s fabric. They represent beauty and aesthetics. Jole’s version of fascism wants a colorless world and people unconcerned with beauty. However, Kyr eventually feels a sense of calm in the clifftop-garden simulation.


This sense of calm returns later, and the garden becomes purely symbolic. Kyr “still fe[els] the calm of the clifftop garden. It [i]s as if the pocket universe [i]s inside her” (432). She internalizes the peace of the garden when Yiso can no longer sustain the pocket universe. The flowers represent how she is willing to die to save her loved ones, but finally for the right reasons: getting her loved ones out of Gaea Station.

Animals

Animals are purely symbolic on Gaea, where there are no living, non-human animals; animals are only seen in pictures and videos. Gaean leaders named the messes, or groups of children in training, after animals, including Cat, Coyote, Robin, Blackbird, and Sparrow. Animals are an organizing principle used in setting up children to compete with one another. The regime emphasizes animal iconography as a reminder of the destruction of Earth. Since all non-human animals were wiped out in this cataclysm, their names and images now stand as symbols of devastation.


When Avi takes control of the Wisdom, he creates an animal that isn’t a representation: a tiger that can attack and wound. He “work[s] hard on that tiger” (175), especially considering that he has never seen one in person. His tiger represents his brilliance in the form of his ability to use technology to create objects that cross the boundary separating the symbolic from the real.

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