57 pages • 1 hour read
Nancy KressA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
The year is 2075, and as Susan predicted, the bodies of Sleepless have not aged. Leisha, aged 67, still has not left her self-imposed exile in New Mexico where she lives with Jordan and Stella, who are now married with two Sleepless sons, Eric and Seth. Also there at the compound is Alice, who is recovering from a stroke.
American society is now stratified into three economic tiers. The lowest are the Livers who make up 80% of the population. They survive entirely on government assistance known as the Dole. They do not work, and most of them adhere to a so-called Philosophy of Genuine Living, filling their days and nights with sex, drugs, and television, transmitted via holographs referred to as “newsgrids.” Much of what the reader learns about Livers comes Cavanaugh, an illiterate Liver boy who interviews Leisha at her compound: “Such a polite boy,” Leisha thinks to herself, “so devoid of envy or hatred, so satisfied. So stupid” (222).
Meanwhile, robots complete most of the actual labor, organized and maintained by a middle class known as Donkeys, who also serve as public officials. Donkeys are Sleepers who possess the ambition, work ethic, and education to participate in society beyond the level of Livers. One of the few ways Leisha still engages with the outside world is through the Susan Melling Foundation, which recruits and educates ambitious Livers to become Donkeys, although new applicants have steadily declined over the past 10 years. Finally, the richest class is the Sleepless, most of whom live in Jennifer's Sanctuary space station orbiting Earth. They conduct business through conduits on Earth, continue to invent new technologies, and pay taxes to the U.S. government but are otherwise largely cut off from the rest of the world.
On Sanctuary, the Sleepless council—led by Jennifer and her now-husband Will Sandaleros—convenes to celebrate its latest technological marvel: The birth of baby Miranda Serena Sharifi. The granddaughter of Jennifer and the daughter of Ricky and his wife Hermione, Miranda or “Miri” is a genetically modified Sleepless whose brain operates at three to four times the speed of a typical Sleepless. As a result, the baby has an oversized head and twitches uncontrollably as if suffering some neurological disorder or a stimulant overdose. This disturbs several council members, particularly the baby's mother, Hermione.
Back on Earth, a filthy 10-year-old Liver boy named Drew Arlen hitchhikes from his home in Louisiana to Leisha's New Mexico compound. He tells Leisha that he'd like to join her Foundation so that he might someday “own Sanctuary” (241), explaining that his grandfather died in an accident during construction of the Sanctuary orbital. Impressed by his ambition, Leisha agrees to take Drew in and educate him to become a Donkey. Almost immediately, there is enormous tension between Drew and Eric who, like many second-generation Sleepless, is very arrogant. A physical altercation between the two ends with Drew falling off a cliff into a creek. When he wakes up, Drew learns that he suffered a grievous spine injury and will never walk again and will need to use an electronic powerchair.
Sanctuary continues to breed more children like Miri—known as “Supersleepers” or “Supers”—including Tony, Miri's younger brother and closest friend. As the Supers grow into toddlers and adolescents, the uncontrollable twitching persists, as does stuttering and drooling. Like other Sleepless children, the Supers are a joyous bunch: “They all liked everything, because everything was so interesting” (246). Rather than think in strictly linear terms, the Supers' thought processes are made up of complex, interconnected “strings” that they visualize in their minds. Meanwhile, Miri begins to experiment on neurotransmitters in the hope that she can cure the Supers' uncontrollable twitching and stuttering.
Against all odds, a mother on sanctuary gives birth to a Sleeper baby, the result of “RNA regression to the mean” (257). Fearful that such an irregular birth record will attract greater scrutiny from the U.S. government, the council decides to euthanize the baby by a vote of eight to six. Jennifer in particular is driven by a desire to protect their community, not just from bureaucratic intervention but from the baby itself, calling him “a person who could never produce on the level of the rest of them, who would forever take more than he gave. A beggar” (257).
Over time, Jennifer becomes more paranoid about a potential attack from the U.S. military. Without the knowledge of most of the rest of the council, she begins to test sophisticated germ warfare weapons on mice.
On April 15, Tax Day, Sanctuary celebrates Remembrance Day. In a speech, Jennifer rails against what she considers to be the unfair taxation of Sanctuary, stating that a large percentage of their production goes to Livers.
During the speech, Miri sees her friend Joan—a Sleepless non-Super or
“Norm”—sobbing. Joan tells her that the Sanctuary council voted to abort her unborn baby brother after pre-natal genetic analysis showed the boy would be born a Sleeper. Confused and devastated by the council's decision, Miri hides in her lab for two days. When Jennifer finds her, she explains that a Sleeper child would always feel like an outsider in their community. Miri nods, and Jennifer says she is finally mature enough to watch newsgrids from Earth.
In the years since Drew's accident, he has flunked out of one school after another. By the time he is a young adult, Drew has returned to a Liver lifestyle. One night, he and four friends throw a Molotov cocktail at a Y-energy fence. They are arrested, and Eric comes to bail him out. Rather than deliver him home to Leisha, Eric blindfolds Drew and drives him across the border to Mexico, where Drew is forced to undergo an experimental and illegal neurological procedure designed to curb impulses and increase tranquility. Eric assures Drew, “This is not an electronic lobotomy” (284). In fact, Eric sincerely believes he's doing Drew a favor. He says, “I owed him...a last chance to be human” (288).
By the time Leisha tracks Eric and Drew down to Mexico, the procedure is underway, and interrupting it could cause permanent brain damage. When Drew wakes up from the procedure, he sees and thinks of the world in “shapes” rather than words. When Leisha asks him if he feels ok, “he smiled, because the question was so impossible to answer” (291). He tells Leisha she is beautiful before cryptically adding that he needs “a Staunton-Carey programmable hologram projector” (293) immediately.
Now 13 years old, Miri regularly watches newsgrids from Earth to figure out why Livers and Donkeys find them so interesting. Meanwhile, her neurotransmitter experiments have yielded little of value. Feeling dejected, she goes to see Tony but finds him having sex with Christina Demetrios, another Super. Mortified and jealous, Miri propositions two other Sanctuary teens for sex, both of whom reject her. From that point forward, she begins watching pornography newsgrids, masturbating twice a day.
Back on Earth, Drew invites Leisha to bear witness to the half-a-million dollar project he's been working on over the past seven months since the procedure in Mexico. He calls it, “A new art form” (302). It consists of him reading poetry while random shapes produced by holograms swirl around him. At first, Leisha finds it unbearably pretentious, but before long, Leisha sees an image of her father in the shapes. Suddenly, Leisha is a child again, “running through a forest filled with sunshine, green and golden slanting bars of light pouring through the trees” (304). Drew's invention is a form of hypnotism that induces lucid dream states, even in Sleepless like Leisha. For Leisha, it is a profound experience but also a disturbing one, “something that could swallow the tiny careful light of her reason” (305).
In his triumph, Drew kisses Leisha, but Leisha draws away quickly. She tells him, “I'm seventy-eight years old and you're twenty. I know it doesn't look that way to you, but to my mind—my mind, Drew—you're a child. And you always will be to me” (306). Leisha retires to her room. When she tries to find Drew later in the evening, she learns that he packed his things and left the compound.
At the age of 16, Miri joins the Sanctuary council, as is her birthright as a Sharifi. The first debate she participates in is over whether to euthanize Tabitha Selenski, who now has limited brain function after suffering an electrocution accident. “She will need constant care,” Jennifer says, “including such basic tasks as diaper changes, feeding, restraint. Moreover, she will never again be a productive member of the community” (309). After a five-hour argument, the council votes nine to six to have Tabitha euthanized. Miri, along with her father Ricky, vote with the minority. According to rumors, Tabitha administered the lethal injection herself, which would have meant she was far more able than Jennifer made her out to be.
The Lincoln quote that adorns the top of Book 3 comes from the same 1862 message to Congress as the Book 2 quote. It reads:
The dogmas of the quiet past are inadequate to the stormy present. The occasion is piled with difficulty, and we must rise with the occasion. As our case is new, so we must think anew, and act anew. We must disenthrall ourselves (216).
That word “disenthrall” goes a long way in describing Leisha's state of mind throughout Book 3. While Leisha once passionately railed against present social and economic realities—relying on “dogmas of the quiet past” (216) like Yagaiism or the Enlightenment—now she is merely faintly bemused by the arrangement of Livers, Donkeys, and Sleepless: “The whole thing […] was peculiarly American, managing to combine democracy with materialism, mediocrity with enthusiasm, power with the illusion of control from below” (220). While the old Yagaiist in her would be disgusted by a United States in which the state controls the distribution of income for 80% of the country, she seems to prefer the new status quo to the politics of resentment that drove the We-Sleep movement.
There is still resentment in American society, it just comes not from the underclass but from the upper class. On Sanctuary, Jennifer leads the Sleepless in a Tax Day ceremony, in which she decries what she perceives to be a tyrannical American tax policy toward Sleepless meant to rob them and give the money to Livers.
This shift in resentment from the lower classes to the upper classes in some ways resembles real-life movements like the Tea Party, which, like Sanctuary, appropriates the language and iconography of the American Revolution in support of anti-tax policy initiatives supported by the wealthiest Americans. The analogy isn't perfect; after all, the Tea Party effectively organized resentment from the working and lower classes as well, but like Sanctuary, the group's anti-tax, anti-government, Revolutionary War-themed messaging was shaped and funded by some of wealthiest and most powerful interests in America. In his book Poison Tea, Jeff Nesbit writes that Big Tobacco and Big Oil allied to create a vocal, anti-tax group” Any tax, for any purpose, was bad—and these front groups would tackle them all, with Philip Morris and the Kochs behind them” (Nesbit, Jeff. Poison Tea: How Big Oil and Big Tobacco Invented the Tea Party and Captured the GOP. London: Macmillan. 2016.).
Along with brewing resentment among the wealthy, Jennifer begins to participate in a far more troubling scheme: eugenics. In her effort to build a society that celebrates both equality and individual excellence, she argues for the abortion or even outright murder of any individual on Sanctuary who is either born a Sleeper or suffers a debilitating accident. To do so, she appeals to high-minded ideals like “community” that have the result of stomping out dissent. This is described in a scene following the contentious debate over whether to murder the first infant born on Sanctuary to be a Sleeper. Many of the voters look upset, “[b]ut none of them protested aloud after the vote was taken. They were a community” (258). Jennifer's authoritarian hold on her community and the increasingly atrocious acts she sanctions are reminiscent of Nazi Germany's eugenics program. Years before Adolf Hitler ordered the extermination of millions of Jews and other groups deemed undesirable in death camps, he embarked on a eugenics program to purify the Aryan Race, sterilizing up to 400,000 people and killing another 300,000 because they were mentally ill, physically disabled, or homosexual.
It is also in Book 3 that Kress finally raises questions about the ethics of human genetic modification, albeit implicitly. The scene in which the “Supersleepless” infant Miri is introduced causes a measure of discomfort for both the Sanctuary Council members and the reader: “The baby [Miri] radiated a manic vitality […] it seemed her gaze would bore a zigzag hole in the dome wall. Young Councilor Ames put her fist to her mouth” (225). Regardless of whether the twitching is unpleasant for Miri herself, the imagery in this scene suggests that interfering with natural human genetics can have upsetting consequences.
Finally, these chapters revisit the role dreaming—or a lack thereof—plays in the lives of the Sleepless through the introduction of Drew's holographic dream inducer. The theme will build in Book 4, but for now it serves primarily in the context of Leisha's philosophical character development. For example, even though the dream Leisha experiences because of Drew's performance is a joyous one, the feeling of being unmoored from rationality is deeply distressing. She even likens what she's feeling to the panic attack she suffers in her hotel room near the end of Book 2, after having lost all hope in the law. In Book 1, Leisha loses her faith in Yagaiism. In Book 2, she loses her faith in the law. Now she stands to lose her faith in reason, a terrifying thought given it's all she has left, and it's the only part of her identity that's been consistent throughout the narrative. At this point, it is her identity.