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43 pages 1 hour read

Lissa Price

Starters

Fiction | Novel | YA | Published in 2012

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Themes

Dissatisfaction

The notion that no matter how much someone has, they are never satisfied fuels much of the conflict in this novel. Even though Enders have jobs and stability, they aren’t happy being old, so they rent the bodies of the young. Sometimes, they hurt the bodies during the risky activities they do, and sometimes they tire of the bodies and want to try something new. Eventually, when they find bodies that they really like, the renters aren’t satisfied with just borrowing another living person’s body for a few days or weeks; they want to own it. Prime Destinations anticipates this desire and capitalizes on it, pitching permanency in their ad by stating, “‘You can enjoy the best years of life as this new body ages beautifully through its twenties and thirties and beyond,” the Old Man said. ‘At Prime Destinations, our visions for you are endless’” (208).

Because the Old Man knows his subscribers will never stop wanting more, he offers to feed that endless hunger, also evidenced by the fact that Prime has started investigating using preteens' bodies for rentals and tried to push their agenda nationally through the White House rather than continuing to operate quietly in the shadows in California.

Prime Destinations also hones on another demographic who will never be satisfied: the rich Starters like Emma sell their bodies for the chance to perfect their flaws, to buy the one thing their money can’t afford them: unimaginable beauty. By tapping into this weak point, Prime lures teens into their clutches who wouldn’t otherwise be in the dire circumstances to come. Prime preys on the idea that if someone just fixes that one thing about them, they will be perfect. In truth, they won’t be at all, as someone else will be busy being them while they are in a coma or a dream.

The Old Man even tries to appeal to Callie’s appetite for security by offering her a promise of power and a vision that a safe home with her family isn’t enough because it’s not permanent. Though Callie doesn’t give into the Old Man’s vision here, there is another novel, and it’s not unreasonable to think that if there isn’t an appetite for more, the Old Man might create one. This theme of dissatisfaction is emblematic of consumerism and how far it will eat into humanity, like the elite penthouses among decaying wastelands and even the commodification of the human experience.

Nothing Is What It Seems

Prime Destinations promises Enders a life beyond the confines of their bodies, a concept which glorifies illusions as immortality. The ability for Enders to take over Starters’ bodies, the roles characters must play to hide their true identities and motives, and the way Prime Destinations comes to an end, demonstrates how nothing and no one in this novel is exactly what they seem.

The Enders parading around as Starters represent the surface level smoke and mirrors present throughout the novel. Real teenagers and old people in teenage bodies are almost indiscernible to the untrained eye. Helena, an Ender, uses Callie’s body, the first level of deception. However, it goes deeper than that. Rather than simply being an Ender posing as a teen, Helena has plans to use Callie’s body to kill the senator who she believes is responsible for killing many teenagers. Helena’s motive is contrary to the motive of other Enders, who mostly just want to relive their youths, have dangerous adventures, and escape their decaying bodies. She, quite literally both physically and mentally, is not what she seems, and when Callie regains control of her body and poses as Helena controlling her, the layers of identity become further obscured.

Notably, this is also true of Blake’s character, who turns out to be the Old Man, ruler of Prime Destinations, in a kidnapped boy’s body. He, too, is an Ender posing as a Starter, but he has further masked his deception by permitting a small scar on his cheek to pass the test of being a real teen, rather than being a renter. He fools everyone, including Callie, and even once his identity is revealed to be the Old Man, his face remains concealed. Just like before, it “continued to morph and shimmer, as if he wore a 3-D mask” (207). He also links minds with Callie by the end, playing with how intimate a person can be without ever truly revealing themselves.

Another noteworthy instance of this deceptiveness is the promise of Prime Destinations to young teens at institutions. Sara, for example, thinks the Old Man coming to visit will be her chance to escape the awful Institution 37 and give her the opportunity to have a better life. When telling Callie of Prime, Sara says, “We’ll be able to earn money. They’ve gotta pick me. I really, really want to get out” (198). However, the false promise of Prime Destinations, beyond the overlooked rule-breaking to the possibility of unwitting permanency, reveals that even one’s deepest wish can really be a worst fear.

While the characters mostly reveal themselves for who they are by the end, except for the Old Man, the idea of pretense is still apparent. Lauren acts as a guardian in name only to protect Callie and Tyler from the law. The method with which Enders and Starters are returned to their proper bodies is based on a false video that leads them there. Pretenses are fought with pretenses toward the goal of exposing the truth.

Impossible Sacrifices

While good and evil seem clear forces to Callie between the Starters struggling to survive and the Enders benefitting from the youth’s suffering, the reality becomes murkier the more Callie gets to know about the people and world around her. Every person she encounters, including herself, becomes more complex and rounded as she gets to know them, and the common denominator between the way these characters grow is the notion of an impossible sacrifice.

The most obvious sacrifice begins with Callie selling her body to Prime Destinations to secure enough money to build a stable life with her younger brother, Tyler, and her friend, Michael. Despite her fear of needles and headstrong nature, Callie goes against her better judgment and gives up her autonomy for the chance at freedom from their circumstances. This sacrifice is a decision that will shape the rest of the narrative and Callie’s life. It also makes her a sympathetic protagonist because even though she’s discerning and cautious, she chooses to do something incredibly risky, putting her body and life at stake for the possibility of something better.

Likewise, Sara, the young girl at Institution 37, is more than willing to give up her body to Prime Destinations to escape her circumstances. When Callie meets Sara, she feels badly for Sara and thinks she’s naive because Callie knows better now, having made the same mistake. Sara is also very young, and Callie thinks she can’t understand the situation fully. However, Sara’s sacrifices allow Callie to ultimately have hope and survive long enough to see the end of Prime Destinations. Sara’s first sacrifice is small: half of the Supertruffle Callie gave her a few days ago. They don’t get quality food to eat, but because Sara knows Callie has it worse in the incarceration ward, she gives her the remaining piece, forgoing the nutrients for herself. This small sacrifice is symbolic of her ultimate impossible sacrifice. When Callie sneaks away from the Old Man at Institution 37 and hides in the truck, Sara creates a diversion to let Callie get away, which it seems gets her killed. Sara’s sacrifice of her life for Callie’s escape shows the stakes of freedom. Callie realizes that Sara isn’t a naive child but a brave girl who had an impossible choice.

Lastly, one of the most surprising sacrifices comes from Senator Harrison, who throughout the novel appears to be a cold and cruel politician. He outright lies about what the new law he has pushed means for the youth, asserting that, “‘By doing this, we will give meaning to the aimless lives of countless minors’” (204). However, by the end, Callie learns that Senator Harrison too faced an impossible choice and made an impossible sacrifice: For his grandson's life, whose body was kidnapped by the Old Man, the senator bartered away the unclaimed minors to Prime Destinations. He doesn’t want Blake to know about what happened during those weeks. Senator Harrison simply told him that “he was ill for those weeks,” which shows the good intention beyond his deed (324). It wasn’t a choice he wanted to make, but he had to do it to save his grandson’s life.

Over the course of the story, many sacrifices, some of life, possessions, and body, occur that ultimately shape Callie’s understanding of herself, others, and the world around her. Rhiannon’s willingness to give up Madison’s perfect body for her morals, Helena’s openness to dying to save Emma, and the middle-aged people who died during the Spore Wars for the good of the vulnerable demonstrate these sacrifices further. Good and evil aren’t always obvious, despite how it may seem at first, as most main characters experience intense pressures that are hidden from view and cause them to make these impossible sacrifices.

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