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The monkey motif emphasizes the evolutionary arc for both humans and spiders. Kern refers to the humans on the Gilgamesh as monkeys, saying, “You are not my humanity. You are monkeys, nothing but monkeys” (97). Kern also becomes obsessed with the concept of her creation on the planet as monkeys—so much so that she struggles to properly communicate with her creation. Her private contemplations reveal this bias, as when she muses, “The monkeys had their own ideas, and such strange ideas […] Monkeys were supposed to be the easy first step to a universe of uplift” (452). Notably, when Holsten reflects on the progress of humanity throughout time, he also equates humans to monkeys. While the spiders are always spiders, they evolve well beyond their mindless hunter-based origins and approach everything with a willingness to engage in creative forms of problem-solving. By contrast, the humans are still, in many ways, no more than monkeys who are simply trying to survive and to either dominate or destroy all that they fail to understand.
Architecture is a symbol for the physical and abstract structures of society, and for the internal structures of the individuals that make up the spider and human species. A recurring image in the novel is the structure of the spider cities, which reflects their culture and their psychology. As the narrative states, “The technology of Portia’s kind is built on silk and wood, potential energy stored in tensioned lines and primitive springs. What little metal they use is stolen from the ants. They have no use for fire” (139). Likewise, Fabian’s power over the ants comes from his discovery of a new architecture in the scent-based orders for the ants. By referring to what amounts to communication between the ants and spiders as a form of architecture, Tchaikovsky reinforces the idea of social structures that are shared between species, thereby foreshadowing the resolution of the novel.
The act of planning becomes a symbol for the ability of the mind to reach beyond the current time and extend into the future. The ability to plan is the reason why Guyen was chosen to lead the ship that was supposed to save humanity. Similarly, although the first Portia has almost no brain, she can plan an attack and foresee future moves to ensure success. Elsewhere in the narrative, Kern’s plan to accelerate the evolution of monkeys, the “exaltation of the beasts” (79), leads to a genuine exaltation of the spiders, allowing them to transcend the cultural evolution of the humans that they were designed to emulate. Finally, the spiders’ plan to infect humanity with the nanovirus demonstrates their ability to see well beyond the present and to understand the superiority of problem-solving over simple acts of conquest.
The spiders’ primary family unit is the peer group, which is established by genetic Understanding that is largely shared among siblings from the same clutch of eggs. This motif highlights the novel’s thematic focus on Promoting Coexistence through Mutual Understanding because the peer group is formed by their shared knowledge rather than tribal sensibilities. Spiders have no instinctual reason to bond and connect emotionally as humans do, but their success as an evolved species relies on their ongoing ability to coexist harmoniously. As a result, they organize by peer groups—first for protection, but eventually to gain a deeper sense of understanding and comfort as well. When Fabian advocates for gender equality in the society, he asks for two main things: “I want the right to live […] I want the right to build my own peer house, and to speak for it” (394). The connection offered by the peer house is the primary means of building status in the spider society.
The human technology of cold sleep is the plot device that Tchaikovsky uses to convey a sense of the immense passage of time while maintaining the continuity of the characters. Cold sleep is a symbol of death, and the descriptions of the cold sleep pods are always associated with death imagery, as one character’s emotion-laden exclamation: “There was so little space inside, just the cold-sleep coffin—don’t think of it as a coffin!” (15). The connection between cold sleep and death also supplies a metaphor of rebirth as a primary element of the humans’ experience. While the spiders live and die, creating hundreds of generations to accomplish the long, slow process of evolution, the same humans keep returning to cold sleep and waking to find that new civilizations have developed during their periods of stasis. This death-and-rebirth cycle also imbues key members of the human crew with a form of immortality. For example, the only reason that Lain can die on solid ground is because she used cold sleep to preserve herself for that express purpose.
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