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54 pages 1 hour read

Rebecca Serle

Expiration Dates

Fiction | Novel | Adult | Published in 2022

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Symbols & Motifs

Notes

Content Warning: This section discusses failure, chronic illness, and medical trauma.

The notes Daphne receives that tell her how long she will stay with each man she dates are both the explicit premise of the plot and a symbol of Daphne’s perceptions of her own life. The notes form the magical realism element of the narrative while also representing Daphne’s reluctance to invest in her relationships and her attempts to measure her life in concrete, knowable spans of time. Daphne believes that by telling her how long she has in each relationship, the notes promise that she will not die in that span of time. Because of this, she believes that she has “a different set of rules to live by” than the average person and that her relationships and their ends are dictated by fate rather than her own choice (9).

However, it becomes clear that Daphne uses the notes as an excuse to not invest in her relationships. She believes that the notes tell her “when to invest, and for how long” (28). She holds herself back, does not share her life or her heart, and makes no effort to maintain her relationships beyond the end she believes to be predestined. Thus, though she claims that the notes are a promise for her future, representing her hopes for a long-term “epic love,” they are functionally the opposite, ultimately representing her fears. She is afraid of being fully seen by those she loves and vice versa, she is afraid of wanting too much from her relationships, and she is afraid of not knowing how long she will live. Therefore, she uses the notes as an excuse to hold herself back. Ultimately, she allows the note at the end of the novel to blow past her, revealing her decision to let go of certainty and submit to vulnerability and love.

Boxes

Boxes are a symbol that appears several times in the novel. Daphne keeps all her notes saved in a box under her bed. The box is filled with “postcards and fortunes from inside cookies, and the corner of a rolled-up newspaper” containing the measures of time that she believes the notes represent (145). Rather than containing her love life, the second box contains her physical life in the form of medical files, prescriptions, and records of hospital stays. These boxes symbolize the way Daphne compartmentalizes her life into pieces that she feels she can control and hide from those she loves.

Boxes also appear in other places. When Jake proposes to her, Daphne describes the box containing the engagement ring and imagines Jake opening a door to a perfect life within. Moreover, she describes the way she keeps certain thoughts and dreams contained in boxes, as when she tells Jake that after her illness, she placed her thoughts about having children inside a box and now fears that she will never “want to open that box” (215).

Daphne uses these literal and metaphorical boxes to compartmentalize her life to control or hide the fears represented by the mysterious notes. Not only does she fear her own mortality and the unknown time she has left to live, but she also fears being truly seen by those around her. To deal with these fears, she keeps pieces locked away in boxes so that she does not have to think about them or allow them to be seen.

Movie Love

A motif that recurs throughout the narrative is repeated references to love in movies. Daphne compares her relationships to the idealized romances portrayed in movies several times. Likewise, Irina references love in movies, particularly the way they misrepresent the realities of love. These references contribute to both Daphne’s and Irina’s characterizations as members of the film industry and the novel’s exploration of its central themes.

For instance, Daphne states several times that she wishes for the kind of love that is “reserved for the movies” but simultaneously fears that desire because it opens her to the possibility of disappointment and pain (210). Irina, meanwhile, compares real love to the kind depicted in film within a “three-act structure” (196); she argues that films do not tell the truth, which is that “love is not enough” by itself but rather requires compatibility, work, and the willingness to “move together” (196-97). Irina’s argument that real love requires effort and conscious choice is in direct contrast to Daphne’s early belief that her love life relies on fate. Additionally, Irina’s argument supports the theme of The Dichotomy Between Truth and Story, in which one’s story about love does not adequately represent reality.

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