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54 pages 1 hour read

Rebecca Serle

Expiration Dates

Fiction | Novel | Adult | Published in 2022

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Themes

Fate Versus Choice

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

Expiration Dates explores the contrast between fate and choice, symbolized by the notes that Daphne receives. She believes that these notes represent a promise from the universe, not only telling her how long each relationship will last, thus protecting her from heartbreak, but also promising that she will live for that span of time, thus protecting her from her own mortality. Daphne claims that the notes allow her to “hack the system” because she knows when to invest in a relationship and is never “blindsided” when it ends (28). However, the notes ultimately leave her feeling resigned to her fate rather than excited for the future.

Daphne allows the notes to structure her relationships with both Jake and Hugo rather than trusting her own emotions. For instance, though Daphne is attracted to Jake and has feelings for him, she often feels the need to reassure herself that the notes have dictated that this is the man she is meant to be with. Rather than feeling joyful and excited about this prospect, she resigns herself to the choice the universe has made for her. Similarly, each time a relationship ends, she makes no effort to fight it and often actively causes the end merely because the notes have told her that it is time. For example, she explicitly states that she is in love with Hugo and wants more time with him. However, when she hits the three-month mark, she ends the relationship despite Hugo’s own objections, relying on the nebulous fate dictated by the notes rather than on her own feelings and choices.

For Daphne, fate and love are inseparable from her concerns about mortality. Crucially, part of her reason for breaking up with Hugo stems from her heart condition and her fear of hurting her loved ones with her death. However, rather than face these fears and her own choices, she uses the notes as an excuse. She claims that “it’s not up to [her]” because “something else has always called the shots in [her] life” (9). She places the choice—and therefore the blame—on the fate handed to her by the notes. In reality, she has abdicated from choosing her own path because it is easier than facing uncertainty and the potential for loss and disappointment it comes with.

Daphne’s character arc culminates in her acceptance of the unknown, in terms of both love and her health. Ironically, Daphne learns that Jake’s note is not even real but rather was written by Hugo, underscoring that for Daphne, acquiescing to “fate” often simply means letting others make decisions for her. She has resigned herself to a lifetime with Jake out of a misplaced sense of destiny, and yet it is not even the fate originally intended. Hugo wants her to experience the unknown like every other human being must: the commingled feelings of anticipation and anxiety that come with not knowing how long a relationship will last. Similarly, Daphne’s father reminds her that no one really knows when they will die or how long their loved ones will remain in their lives. In both cases, the unknown is a basic element of human existence. It is only at this point that Daphne can face her own choices, or lack thereof, and accept that choice and uncertainty are intrinsic parts of life. Importantly, Daphne knew deep down the man she wanted to be with the entire time, but she allowed her nebulous concept of fate to dictate otherwise. In the end, she makes the choice for herself, understanding at last that if she wants the excitement, anticipation, and hope of the future, she must also choose to accept the anxiety of the unknown.

Connection and Vulnerability

Throughout the novel, Daphne uses fate as an excuse to avoid vulnerability, simultaneously limiting her ability to connect with others. She longs for deep connections, not only with lovers but also with friends. She wants a deep, epic relationship built on trust as well as passion. She wants to be comfortable being seen by the people she loves, and yet she also fears it. Her fear is a common one, both in romance novels and as part of the human condition. It is often called “the mortifying ordeal of being known,” a popular trope originally coined by author Tim Kreider. Kreider argues,

We believe that unconditional love means not seeing anything negative about someone, when it really means pretty much the opposite: loving someone despite their infuriating flaws and essential absurdity […] if we want the rewards of being loved we have to submit to the mortifying ordeal of being known (Kreider, Tim. “I Know What You Think of Me.The New York Times,15 June 2013).

Unlike most people, Daphne has a trick for avoiding this kind of vulnerability in the form of her notes. Despite her desire for true connection, she fears revealing the true extent of her illness, her weakness, and her messiness and therefore uses fate as an excuse to avoid showing herself to her loved ones. She blames her breakups, especially her breakup with Hugo, on the fate dictated by the notes rather than admitting that she has chosen this path to cover up her own insecurities. She is good, too, at keeping her distance, evident in the boxes that symbolize her ability to compartmentalize parts of her life and keep them hidden—literally hidden away under her bed.

While Daphne is originally characterized by her reluctance to be vulnerable, the extent of her growth is illustrated by her newfound willingness to embrace her own weaknesses and limitations. It is only after her conversations with Hugo and her father, when she realizes how thoroughly she has relinquished choice in favor of safety, that she also realizes that her need for connection requires that she accept not only her own vulnerability but others’ as well. While speaking with her father, she admits that she has hidden herself away for fear of revealing her weaknesses but also refused to see the weaknesses of others, not wishing to see “their tender and heartbroken humanity” (237). Just as with the uncertainty of choice, however, Daphne at last comes to understand that if she wishes for love and connection, she will have to accept the “mortifying ordeal” of revealing her own brokenness and accept the vulnerability of others as well.

The Dichotomy Between Truth and Story

In Expiration Dates, the truth and the narratives that individuals construct about the truth are not always aligned. Sometimes, they are directly opposed. By nature, people construct stories out of the events of their lives but are not always aware of where the line between truth and story lies. The conflict between truth and story is first apparent in the fact that Daphne is narrating her own story, which means that it is distorted by her own biases and perceptions. Therefore, the story the reader receives may not be an entirely accurate portrayal of events—particularly of other characters’ motives. In this way, the novel examines the differences between truth or reality and one’s personal story, even at its structural foundation.

Additionally, Daphne is highly focused on the truth throughout the novel. Many times, she insists on accepting the truth. For instance, just before revealing her heart condition, Daphne explains that “the truth is hard. It’s complicated. […] But eventually, it catches up to us” (150). Later, she becomes frustrated with Jake when he insists that the question of having children is one of desire rather than one of physical ability. She does not believe that he is facing the truth of her illness, and she would rather accept the reality of the situation. It is therefore ironic that Daphne herself is incapable of facing the truth throughout the novel. The question of truth versus story also appears in the motif of movies, particularly the unrealistic portrayal of love and romance in movies, which both Irina and Daphne discuss at several points. 

Despite her insistence on truth, Daphne has a conflicted relationship with her own role as a storyteller within the narrative. She does explicitly acknowledge her storytelling role when describing sex with Martin in Paris, stating, “I liked the narrative, the story I was going to tell—was already telling—about what was happening” (49). However, in most cases, she is not consciously aware that she is constructing her own narrative until Hugo bluntly confronts her. He demands that she tell the truth, not only to him but also to herself. He argues that the truth she insists on telling is not reality but merely her “story about it” (222). In this way, Hugo foregrounds the contrast between reality and Daphne’s perception of it.

Daphne has constructed a particular story about both her illness (viewing it as a death sentence and doom she places on her loved ones) and the fate dictated by the notes. However, as Hugo reveals, Daphne’s supposed truth about Jake’s note proves to be false, implying that the rest of her story could be false as well. For instance, she believes herself broken, damaged beyond repair or saving, and yet is forced to confront the truth that she is a “discombobulated whole.” She finally realizes that the truth is more complex than the story she tells herself—just as love is more complex than it is portrayed in film. At the same time, the truth is simpler than it initially appears: Neither her brokenness nor her need for connection makes her different or special, but rather they are universal parts of the human condition.

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