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The Hitchhiker’s Guide to the Galaxy is the name of the series and the first book, but within the novel, it’s also the travel guide that characters frequently consult for more information about the strange things they encounter. The aim of the book is to provide information on how to experience “the marvels of the known Universe for less than thirty Altairian dollars a day” (32). This promise, however, is not necessarily kept. Many of the entries for the Guide are incorrect or incomplete, often leading to tragic consequences for those who trust it. When readers complain about the Guide, the publisher claims that reality itself is incorrect and that the Guide is to be trusted. In this way, the Guide creates a documented conflict between what is and what is presumed to be. It symbolizes the extent to which nothing in the world is ever entirely reliable.
In The Restaurant at the End of the Universe, Zaphod visits the headquarters of Megadodo Publications, the corporation responsible for The Hitchhiker’s Guide to the Galaxy. Outside, he encounters people accusing Megadodo of being an “absolute sell out” (33). What began as a guide for hitchhikers has become another example of corporate greed, to the point where the headquarters themselves are located on a planet that the hitchhikers can’t visit for anything close to 30 Altairian dollars a day. What began with good intentions has become another means of making money. Any who do make it to the headquarters are repelled by the insect receptionist who revels in telling hitchhikers to go away. Corporate responsibility and accountability are ignored in favor of profits, turning the Guide into a symbolic critique of capitalistic greed.
Arthur eventually decides that his copy of The Hitchhiker’s Guide to the Galaxy is no longer useful to him. By throwing away the Guide and turning his attention to his date, Arthur accepts his place in the Universe. In this sense, the second novel in the series ends with the symbolic rejection of the Guide as a useful part of life.
The titular Restaurant at the End of the Universe, also known as Milliways, turns the spectacle of the end of everything into light entertainment. Everything, the novel suggests, can become a commodity to be bought and sold, including a front row seat for an apocalypse. The symbolism of the Restaurant at the End of the Universe plays on the theme of The Absurd Nature of the Search for Cosmic Meaning, as the significance of the moment in universal terms is turned into a backdrop for drunken conversations with rock stars and a chance for Zaphod to satiate his hunger. For characters like Zaphod, himself a rich and famous figure, the spectacle of the Restaurant has become dull. He barely pays attention to the end of the Universe, even leaving the Restaurant before the spectacle begins.
One of the major problems in putting a Restaurant at the end of time, the novel suggests, is “quite simply one of grammar” (98). Given that characters travel through time to visit the Restaurant at the End of the Universe, they endure a grammatical sense of dislocation that’s difficult to rectify. The novel suggests that an entire grammatical framework has been developed specifically to conjugate verbs pertaining to the dining experience, allowing diners to accurately express themselves while attending the Restaurant. The Restaurant at the End of the Universe breaks people’s sense of reality, yet the desire to dine there—and to be seen dining there—is so great that people are willing to bend and break existing systems to accommodate the Restaurant.
The Total Perspective Vortex is a torture device used to annihilate the brains of its victims by showing them “just one momentary glimpse of the entire unimaginable infinity of creation” (70), which draws their attention to Human Insignificance Within the Universe. The torture device uses the scale of the universe as a means of crushing people’s minds so thoroughly that they can no longer function. The implication is that the truth is so distressing that people are no longer able to function after learning it; they would prefer to live inside a false understanding of the Universe, in which their lives are significant and meaningful, rather than live in reality.
The novel describes the origins of the Total Perspective Vortex as being developed by Trin Tragula as a means of proving his wife wrong in a domestic argument. The machine was made out of spite and used to destroy people’s minds, reflecting the quiet maliciousness that’s the foundation for many harmful interpersonal interactions.
At first, Zaphod emerges from the Total Perspective Vortex with the belief that he’s “a really terrific and great guy” (78). This shocks Gargravarr, the custodian of the machine, as no other person has been able to withstand the process. The implication is that Zaphod is either too important or too egotistical to be affected by such a machine. As revealed in the ensuing chapters, however, he did not receive the typical Total Perspective Vortex experience: Zarniwoop reveals to Zaphod that he was actually inside a virtual reality created with the intent of protecting Zaphod from the torture device. In this virtual reality, Zaphod actually was the most significant person in the Universe. What was initially a huge boost to Zaphod’s already-inflated ego becomes a symbolic reminder of his own normality. He is not different to everyone else, and he has unwittingly relied on the help of others (including his past self) to escape. The process is humbling for Zaphod, but not necessarily in a debilitating way.



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