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55 pages 1 hour read

Christopher Buckley

Thank You for Smoking

Fiction | Novel | Adult | Published in 1994

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Symbols & Motifs

Manipulative Techniques

Thank You for Smoking features a wide array of manipulative behavior. Because he has no logical, truthful foundation on which to build, Nick resorts to a variety of manipulative tools. Sitting beside a cancer-stricken teenager on Oprah, Nick uses distraction and brash humor, asking if he, as the “condemned,” can have a cigarette. Then, swiftly turning to deflection, he accuses a civil servant of hoping the teen will die so his agency’s funding will increase. On another talk show, he uses insinuation, implying that former Surgeon General Koop was bribed to criticize tobacco use. Nick is also adept at reverse psychology: convincing someone to do exactly the opposite of what he asks them to do. When he warns the former prime minister of England not to mention tobacco, that is, in fact, exactly what he intends for her to do.

Though this motif most often supports the theme of The Manipulation of the Truth for Corporate Gain, Nick is not the only manipulator in the book. For instance, Buckley also reveals how institutional settings can dictate the mood and behavior expected of visitors. Jeff’s palatial setting implies that he should be treated like a royal. The Tobacco Club insinuates that visitors have returned to the antebellum South. Even the Senate Hearing Room imputes solemnity meant to instill awe in visitors.

Taglines

Taglines are a motif that develop the author’s editorial commentary. Perhaps the clearest example of this is the Captain’s often-spoken affirmation, “Tobacco takes care of its own” (240). When the Captain expresses this to Nick initially, it sounds—as the Captain meant it—like a fraternal promise of care: Since Nick faithfully does the bidding of the tobacco industry, the industry will care for him. By the end of the narrative, however, when industry leaders try to kill him and the Captain encourages him to plead guilty to false charges, the saying acquires a different, ironic meaning.

Another frequently used term is “Neo-Puritan.” Nick and others in the tobacco industry use this tagline to describe those who wish to stop the use of tobacco, saying that what the Neo-Puritans really want is to set social standards for others, robbing people of their right to choose to smoke. Buckley provides fodder for this idea when Nick points out the dangers of cholesterol, yet Nick’s remarks are obviously self-serving. Buckley’s underlying point seems to involve the way in which politicians and lobbyists alike coopt causes and leverage moralizing language for their own personal gain.

When asked why he willingly represents tobacco so fervently, Nick always gives some variety of a similar tagline: “It pays the mortgage” (12). At one point, he comments that the vast majority of American citizens, when asked why they do what they do, will honestly respond that they are simply paying their mortgage. Buckley implies through this tagline that Nick does not have a deeper answer. If Nick were to solemnly reflect on the question, the author implies, he might no longer be able to work for the Academy. The implication is that this is his way of avoiding a Personal Reckoning With Unethical Behavior. Nick enjoys being the brilliant underdog who faces off against the majority and the truth. In his final statement, he says he has seen the error of his ways and now represents the other side. However, he has a new mortgage and another child, implying that he may simply be working to support his new life.

Wordplay With Names

Buckley engages in symbolic wordplay with many of his fictional characters’ names. Often, he uses the character’s name to make an editorial comment about the individual. Bobby Jay Bliss, whose hand is a J-shaped hook, has found bliss as a born-again Christian. The last name of Vermont Senator Finisterre, which sounds like “sinister finister,” in French means “the end of the earth”—a name the Mod Squad feels is appropriate for someone whose “Neo-Puritanical” positions threaten their industries and livelihoods. Jack Bein, the eager, youthful servant who ushers visitors upward via private elevators to meet the Hollywood agent, is a play on “Jack and the Beanstalk.” The king of Hollywood is Jeff Megall: mega-gall. Nick is the burr under the saddle who nixes the intentions of anti-smoking leaders; Naylor is the man who nails down every assignment given to him.

The titles attributed to other characters and institutions imply something about their role or character arc. When the Captain dies, his team falters. Lady Bent, the straightlaced, unyielding former British prime minister, is manipulated—successfully bent—by Nick. Nick’s son attends the absurdly named private school St. Euthanasius, implying the parentally desired impact of the school on the behavior of its students. For Buckley, the names of characters and institutions provide an opportunity for satirical comment.

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Related Titles

By Christopher Buckley