The Way We Live Now

Fiction | Short Story | Adult | Published in 1986

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Summary

Background

Story Analysis

Character Analysis

Themes

Symbols & Motifs

Literary Devices

Important Quotes

Essay Topics

Literary Devices

Satire

The subtlety of Sontag’s satire makes the device particularly effective. As a genre and a literary device, satire often relies on exaggeration to render its subject ridiculous and, thus, deserving of censure. The satire of “The Way We Live Now” utilizes irony and ridicule to make its point. The protagonist remains unnamed and rarely speaks for himself, yet dozens of his friends are identified by name and given voices. This diverse cast of characters also fails to ask what the protagonist wants or needs, even while they are visiting him and professing to care for and support him. As their conversations become increasingly petty and they revert to bickering and shallow comments, the characters are shown to be ridiculous, and the insincerity and selfishness of these purported caregivers is exposed as the true subject of criticism.

Juxtaposition

In literature, juxtaposition is used to offer a narrative contrast between two or more objects, events, ideas, or people. In “The Way We Live Now,” the character Max serves as a juxtaposed subject to the unnamed protagonist. Like the protagonist, Max is a gay or bisexual man, and he acknowledges his increased risk for contracting AIDS. When the story begins, the protagonist is clearly unwell, and Max appears to be healthy. His anxiety over his friend’s condition and the degree of success of his treatments emphasizes the fragile state of Max’s own health. The progress of his own disease provides an important narrative contrast, demonstrating the uncertainty tied to the progression of AIDS in the 1980s. At the story’s conclusion, Max’s rapidly declining health and imminent death are juxtaposed with the protagonist’s stasis; although Max became ill later than his friend, his disease advances more rapidly. This thwarts the development of a clear narrative with a predictable beginning (diagnosis), middle (treatment/hospital stay) and end (recovered health or death).

Euphemism

Euphemisms are words or phrases that substitute for other, more direct or potentially upsetting terms. They are commonly used in expressions of sympathy; for example, one might say the more empathetic phrase “passed away” than the direct word “dead,” which may cause offense or emotional harm. In American culture, euphemisms are viewed as polite language used to demonstrate understanding and empathy. But at times euphemisms may have the negative effect of suggesting that a topic is shameful or inappropriate. In “The Way We Lived Now,” this is true of the use of the word “disease”—an oblique reference to AIDS, which is never named explicitly. The exclusive use of the euphemism in this context suggests that the specific disease is shameful, and calling it by its name would be impolite. The characters at times recognize the importance of naming the affliction, arguing that “to utter the name is a sign of health” (Paragraph 8), but they fail to do so. This omission reflects the broader stigmatization of AIDS and AIDS patients.

Stream of Consciousness

Stream of consciousness is a narrative device that attempts to replicate the continuous thought process without regulating it through the grammatical restrictions of formal writing. Recognizing that human thought does not occur in complete sentences or even in a linear fashion, stream of consciousness is a means through which an author can introduce realism in a narrative context. In “The Way We Live Now,” Sontag effectively uses stream of consciousness to establish tone and character. The story is a series of open conversations involving many people, and as they spread gossip and observations, the lines between speakers become blurred. Their fragmented, clustered statements generate a sense of anxiety that reflects the fear of living through the early days of the AIDS epidemic, while the gossipy nature of their exchanges teases out the relationships between characters and allows Sontag to introduce a wide range of perspectives.