54 pages • 1 hour read
Kenneth OppelA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Class forms the primary division separating strata of society in Airborn. Through the contrast between Matt’s and Kate’s lives and mindsets, the novel demonstrates the way that access to wealth shapes how one sees and interacts with the world. Matt, from a poor family, begins working full time at age 12, after the death of his father leaves him the primary provider for his mother and sisters. Kate, by contrast, is financially privileged and occupies the finest stateroom on the Aurora during her travels. They share an interest in airships and a desire for adventure, and those shared interests, along with Kate’s lack of snobbery, allow them to transcend enough of their differences to forge a friendship.
Still, the difference in their classes creates significant external and internal boundaries between them. Wanting to solidify their friendship, Kate asks Matt to refer to her by her given name, Kate, instead of calling her Miss de Vries. When Matt refuses, pointing out that he would get in trouble if he were overheard, Kate scoffs: “‘Silly rules.’ ‘People like you invented them. Not me.’ ‘Good point,’ she said appreciatively, a thoughtful crease in her brow. ‘Really good point’” (98). Kate’s desire to set aside rules meant to enforce class boundaries shows her open-mindedness, and her response to Matt pointing out who makes and enforces those rules shows her to be willing to consider those with less class privilege than her as authorities on matters of classism. Though she recognizes Matt’s point of view as valid, however, she does not necessarily change her behavior as a result. After crash-landing on the island, she routinely manipulates Matt into accompanying her on her adventures, despite his continual reminders of the trouble he will face if he is late for his duty shift. The novel does not present her behavior as malicious, but rather as naïve: she simply cannot comprehend that there could be serious consequences for Matt for breaking the rules. That naïveté, however, is an inherent consequence of class privilege. When Bruce learns about the cloud cats, he, too, dismisses his responsibilities to the Aurora readily and without concern. The reason Kate and Bruce can flout rules and responsibilities is that there are fewer consequences for the rich than there are for working-class people like Matt. As much as Kate likes and respects Matt, she never recognizes the full extent of her privilege.
Though Matt is typically disdainful of the rich passengers’ willful ignorance of the realities of working-class life, he too falls victim to the pernicious logic of classism that suggests the poor are poor due to their personal failings. What Matt normally sees with pragmatism becomes a source of shame when he thinks of explaining to Kate why he cannot attend the Air Academy. Even if he had a scholarship to cover his tuition, he could not afford to lose two years of income when his mother and sisters still rely on him for financial support. Yet he cannot bring himself to explain this to Kate: “I felt ashamed. Around her and all her wealth, the very idea of being poor seemed ridiculous. Impossible. She meant well, but I doubted she had any notion of what the world was like outside her moneyed bubble” (186). Though he logically understands that Kate is the one with the limited view, this does not protect him from the embarrassment that arises at explaining he cannot have everything he wishes for in the world. The end of the novel suggests that Matt will have some upward social mobility because of the monetary reward he received for defeating the pirates, though whether or not this movement into greater privilege will cause him to adopt Kate’s mental limitations remains to be seen.
Airborn comments on the pitfalls of adventure stories—such as romanticizing danger and treating exploration as a game—while simultaneously deploying the tropes of a classic adventure story. The narrative calls attention to its own genre as the characters examine events in the context of how they would play out if they were in a storybook. The novel also signals the centrality of stories and storytelling by making books precious objects to the main characters. Books, being heavy, are a coveted item for an airship’s cabin boy; in his small berth aboard the Aurora, Matt possesses several tomes, which he cherishes and frequently revisits. When he sees Kate constantly carrying a book, it sparks jealousy more than any other sign of her wealth. He longs to have easy access to stories the way she does. Storytelling is, moreover, tied into both characters’ histories: Matt heard adventure stories from his father, Kate from her grandfather.
Though each of the main characters lives out an adventure story, their relationship to adventure differs, as does the extent to which they picture themselves as living in an adventure story. Insofar as an adventure story is characterized by a character’s experiences in abnormal circumstances, the better part of the first third of the book is not, Matt, who has lived on an airship for years is not on an adventure at all. Though Kate’s trip on the Aurora is exciting and new, for Matt it is merely another day at work, albeit one with an interesting passenger. Kate’s desire to frame her experiences as an adventure story can be correlated to the fact that she has chosen to embark on this adventure and anticipates a good outcome. For Matt, entry into the exciting and dramatic world of adventure begins when the pirates board the Aurora for the first time—or, put differently, when disaster strikes. This leads him to be cynical about Kate’s excitement in the face of danger: “Probably she wasn’t at all frightened. What could be more exhilarating than a pirate capture? It was something right out of one of her books” (289). He sees Kate’s exuberance as childish and unhelpful.
Even so, Matt is not immune to the lure of transforming his experiences into stories. When the Aurora first crashes on the island, he thinks, “If I’d seen this view in a book, I would have said it was beautiful, an image of tropical paradise. But I felt like a convict who’d just been dumped on a prison island. All my thoughts were of escape” (140). Though he frames this perspective counterfactually (he “would have said” he admired the view), his statement still implies that on some level, he does admire the view of the island. Even while trying to resist the pull of storytelling, Matt inadvertently participates in it. Moreover, his thoughts of imprisonment and escape unknowingly foreshadow the adventure he will embark on when he makes a daring escape from a pirate village and rescues the Aurora and its passengers. Matt’s skeptical, pragmatic reactions to the adventure tropes he encounters function as a metacommentary on the adventure genre in general: what appears exhilarating to an observer is often a terrifying, unpleasant experience for the one living through it.
When Kate writes to the Zoological Society about cloud cats in Chapter 5, she receives a dismissive reply from an esteemed gentleman scientist: “We feel strongly that should such a creature exist it would surely have been sighted and documented long ago” (95). Though the rejection is based primarily on her age and gender, Kate also comments on the absurdity of imagining that the vastness of the world has been fully documented, asking Matt to account for the small percentage of the world he has seen, even in his three years of constant travel aboard the Aurora. Her comment articulates the novel’s critique of the way academic institutions stymie the discovery of new knowledge through arrogance and complacency.
In asserting that all that is discoverable has already been discovered, letter writer Sir Hugh Snuffler also offers a perspective of his own place in history. From Snuffler’s position, he speaks from the authority of modernity. He lives, after all, in an era of air travel, a time more advanced than any that came before it. To him, the world is as small as he can ever hope it to be. The crux of steampunk as a genre, however, occurs at the intersection of modern technology with history. Put differently, because Snuffler lives in a historical novel, readers already know that his assumption that progress has reached its apotheosis is a perspective based not on reality, but on a failure of imagination. Kate’s logical consideration of how hard it would be to see the entirety of the world pales in comparison to what readers know without question: technology and discovery have much, much further to go than Sir Hugh Snuffler can ever imagine.
The novel’s critique of the Zoological Society implies a critique of similar gatekeepers of knowledge in the contemporary world. If Sir Hugh Snuffler, a late Victorian, is ridiculous for assuming that human discovery can go no further, so is the assumption that human discovery has reached its limits now. Oppel invites readers to consider assumptions they hold about the modern age that will be considered absurd to future generations. Furthermore, the novel suggests that one of the primary barriers to the expansion of knowledge and technology is the refusal to accept that there are truths about the world that we cannot anticipate or imagine. The deepest arrogance is believing that the world holds no more mysteries to uncover.
The discovery of the cloud cat bones does little to convince the Hugh Snufflers of the world; in the novel’s final chapter, the esteemed gentlemen of the Zoological Society sneer at Kate’s presence among them even after her discoveries have been verified. But though doubt remains, so do the grounds to reject Snuffler’s assertions. Readers know that more will be discovered, even if the historical timeline of Airborn does not fully parallel that of the real world. Thus, Airborn presents a world in which the possibility of discovery—of adventure, of novelty, of exploration—remains perennially present. The only true impossibility, it suggests, is determining that something is impossible.
By Kenneth Oppel