44 pages • 1 hour read
Kat LeyhA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
In the 21st century, many cultural conversations revolve around the distinction between sex and gender. The author delineates the two, adhering to the narrative that, as Zuleyka Zevallos states in The Other Sociologist, sex consists of “biological traits that societies use to assign people into the category of either male or female, whether it be through a focus on chromosomes, genitalia or some other physical ascription” while gender is “an understanding of how society shapes our understanding of those biological categories” (Zevallos, Zuleyka. “Sociology of Gender.” The Other Sociologist). Leyh’s message is that the categorization of people into the binary of “male” and “female” is too simplistic. Many characters in Snapdragon think Jacks is male based on “physical ascription,” when neither her sex nor gender align with this.
Gender, according to Zevallos, is a distinct category concerning “how society influences our understandings and perception of differences between masculinity (what society deems appropriate behavior for a ‘man’) and femininity (what society deems appropriate behavior for a ‘woman’)” (Zevallos). Social norms differ based on the histories, cultures, and ideologies of people across place and time. Both gender and the norms, behaviors, and roles associated with it can vary accordingly.
Gender norms are different than gender; a norm is something considered typical or standard. Gender norms can become toxic if they are forced on people or if they perpetuate violent or hateful behaviors. The novel suggests that society sends stereotypical messages about what is considered normative. This messaging can affect people’s mental and physical wellness regardless of their gender or identity. Snap tells Violet that she feels like a girl but doesn’t act like it. The expected gender norms in Snap’s society make her question whether she is a girl or not. Even though she feels like a girl, she wonders if she is a boy because she likes things like scary movies and skeletons and doesn’t like skirts and nail polish. When she decides she actually is a girl, she thinks she is somehow subpar because she doesn’t act how society has told her a girl should act. She wants to find a reason why she feels different than other girls. There is nothing inherent to Snap that alienates her from others; it is the restrictive traditional gender roles placed on people and the way the roles position people who don’t adhere to these forms as outsiders.
Throughout the main themes in the text, there is the subtext of transformation or mutability of identity. Characters deal with The Social Effect of Being Perceived As Different and find The Strength of Found Families as they negotiate their identities while moving through the mutable boundary at The Intersection of Magic and Reality. This attention toward transformation and mutability of identity is also seen in how Jacks treats the roadkill she saves. What Jacks teaches Snap about the animals’ post-death existences illustrates how some view death more widely and how death works biologically.
First, Jacks explains, “Critters die all the time, but it ought to be for a reason. That’s what even the least of us deserve. But roadkill’s a lousy way to end up. Lotsa folks don’t even notice when they hit somethin’” (61). Jacks knows that death is inevitable, but she thinks it should contribute to the cycle of life. When an animal dies as roadkill, she facilitates this process. Through Jacks’s magic and the process of decomposition, the decay of the animal’s flesh contributes to its ecosystem, and its spirit is remembered and honored.
After Jacks fetches the bodies from the roadside, she buries them in the dirt, “where the buggies can safely eat ‘em up. Then, they become something new. And they’re remembered” (62). The bugs Jacks mentions are the detritivore community: the range of organisms responsible for breaking down dead tissue and converting it into simple organic forms that provide “the food source for many of the species at the base of ecosystems” (“Decomposition and Decay.” Trees for Life). They are known under the acronym “FBI,” meaning fungi, bacterial, and invertebrates (like worms, flies, and beetles). FBI use natural processes to recycle dead matter for new uses. In this way, the animals Jacks rescues serve a purpose even after they die. Because she helps their spirits, only their physical lives end, but Jacks makes sure even that doesn’t go to waste. The animals continue in both body and spirit, becoming new in the form of their contribution to the ecosystem, their skeleton going to educational facilities where they were be remembered, and their spirits being honored.
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