Genesis
The very genesis of the composition of this novel is founded upon irony. The author has stated in multiple interviews that the motivation guiding her decision to write the novel is rooted deeply in a fundamental irony about the science fiction genre. Most of the stories that fall within this genre are in some way or another centered upon the experiences of alienation, whether literally as a result of being an alien creature or more metaphorically. The irony of this construct of science fiction is that, by an overwhelming majority, the bulk of those writing these stories of alienation represented the least alienated segment of western society: white males. The irony of a genre so heavily focused on issues of alienation from mainstream culture and society being almost entirely controlled by those with the least general experience in being isolated from mainstream culture stimulated the author to produce a science fiction story about alienation experienced by actual representatives of human alienation written by someone representing two of the most alienated social groups on the planet: women and people of color.
People, Not Pigs
The entire plot of the story told in the novel originates from irony. All the events are initiated by the necessity of a heart transplant for a major political figure. It is her demand for a human heart that sets things in motion ultimately leading to tragedy and death. The irony lies in her mandate that a human heart be found which requires an act of murder when an abundance of pig hearts specifically raised for the purpose of transplantation into human bodies already exist.
A Change of Heart
The literal exchange of her own heart for a human heart directly results from cynically political motivation. Ironically, this demand results in that specific human heart transplanted into her bringing about a metaphorical change of heart as well. As a result of the magic at work in the story, the new heart causes the political leader to undergo a transformation of empathy and understanding which causes her to reverse the very policy which originated her cynically political decision to pursue a human heart rather than a pig heart.
Magic and Realism
The foundation of the storyline pursued by the plot is immediately situated within the grittily realistic portrayal of a dystopic near-future. It is easy enough to imagine a storyline for this novel which retains all its elements of realism that would not be considerably different in the ultimate resolution of its plot. Ironically, however, this set-up for a realistic novel takes a wild left turn into something not quite as realistic with the introduction of the capacity to use a magical ritualistic practice to create zombie-like creatures without a will capable of doing the bidding of those who control them. Despite this introduction of magic into the story, however, it still manages to retain its grounding in realism.
The CN Tower
The story is set in a dystopic vision of Toronto in which white flight to the suburbs has left the urban area under the control of a criminal acting as the unofficial political boss from his headquarters in the city’s signature skyline structure. The CN Tower was at the time of publication the tallest freestanding building on the planet. It was specifically constructed to deal with major technological advancements in broadcast communication and thus became a twofold symbol of 20th century progress. It also becomes the centerpiece of the ironic connection between realism and magic as it becomes a means of broadcasting signals from the living to the dead in a game-changing moment allowing the forces of good to overcome the forces of evil.
