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40 pages 1 hour read

Margaret Atwood

Time Capsule Found on the Dead Planet

Fiction | Poem | Adult | Published in 2009

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Symbols & Motifs

Money

The second and third ages of this world are all about money, which transforms from a medium of exchange into a deity. Atwood creates an interesting connection between the gods of old and the god of money. Just as in human history Christianity assimilated other religious traditions when conquering, in Atwood’s world money subsumes the old gods. People make money from the same thing they used to make sculpture of their past gods—shining metals—and money gains credibility by featuring animal imagery in imitation of the gods. Soon, people forget the old gods as money gains god-like powers. It can create and destroy, it benefits and hurts humanity, and some people are able to interact with it while others are not. The rich, then, become the priests of this society. Their interaction with money gives them power over other people and over land.

Deserts

Atwood’s deserts are stylized wastelands where all life has been eliminated rather than the complex ecosystems of deserts on Earth. Rather than just traditional sandy deserts like the Sahara, she identifies other kinds of deserts, including cities and toxic spills. In the story, deserts represent death, emptiness, and the nihilistic orderliness of absolute zero. Although their creation means the destruction of life on the planet—no food can grow when all the land is desert—the story’s wise men rationalize the desert as an aesthetic experience to avoid taking responsibility for past actions. Atwood mocks the idea that this kind of sterile barrenness is beautiful, contrasting the spare minimalism advocated by pro-desert philosophers (“A stone in the sand in the setting sun” (Paragraph 6)) with the visceral imagery of chaotic pleasure that preceded it (“We smelled the earth and rolled in it; its juices ran down our chins.” (Paragraph 1)). The rigid alliteration of “s” sounds in the desert—the hiss of wind blowing through nothingness—contrasts with the sonic and sensory richness of the fertile ground, which offers the sensations of smell, taste, and touch.

The Time Capsule

The story ends with a chronicler, the last person left on the about to be dead planet, leaving a gravestone-like marker for any passing aliens: “You who have come here from some distant world, to this dry lakeshore and this cairn, and to this cylinder of brass, in which on the last day of all our recorded days I place our final words” (Paragraph 7). After all the “towers of glass,” and “armies, ships and cities” that people created during their history (Paragraph 4), all that remains is a dead lake, a small burial mound, and a metal receptacle with a final message. This time capsule, buried in the hope that someone might at some point find it, is a sad emblem of a people that destroyed itself in the pursuit of greed.

Interestingly, the time capsule is the last way people use metal in the story. In the first age, they craft gods from “shining metals” (Paragraph 1) using paints (often also made of metallic compounds) to depict their mythologies on temple walls. The next use of metals is the creation of money, which is also minted from the same glistening material that people used for their sacred sculptures. Now the long-lasting quality that made metal so attractive for sacred and economic purposes makes it the ideal material for a grave marker—a brass record of extinction that will survive in a desert.

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