logo

112 pages 3 hours read

Jesmyn Ward

The Fire This Time

Nonfiction | Book | Adult | Published in 2016

A modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more. For select classroom titles, we also provide Teaching Guides with discussion and quiz questions to prompt student engagement.

Symbols & Motifs

American Slavery

From the colonial era to the end of the Civil War, European-Americans systematically enslaved Africans and African Americans. Honorée Fanonne Jeffers’s essay excerpts the poetry of Phillis Wheatley, who wrote of her enslavement: “I, young in life, by seeming cruel fate / Was snatch’d from Afric’s fancy’d happy seat: / What pangs excruciating must molest, / What sorrows labour in my parent’s breast?” (67). Many, many Africans experienced the same traumatic capture and were denied essential human rights—including working without proper compensation and being separated from their families—once they reached America. While researching slavery in New England, Wendy S. Walters attended a talk about an African Burial Ground, during which a man named Keith Stokes said, “Slavery is violent, grotesque, vulgar, and we are all implicated in how it denigrates humanity” (47). 

Although the Thirteenth Amendment outlawed slavery in 1865, state legislatures and other authorities sought to suppress black Americans through other means over the ensuing decades. As Carol Anderson describes, “emancipation brought white resentment that the good ol’ days of black subjugation were over” (84). This suppression of African Americans continues to the present, as indicated in events like the shootings of unarmed black people during the 2010s. Isabel Wilkerson connects the present with the past realities of slavery in her essay as well: “The past few months have forced us to confront our place in a country where we were enslaved for far longer than we have been free” (60). She indicates that African Americans still do not experience equal protection and freedom under law in the United States. 

Racial Profiling

Racial profiling occurs when people perceive members of certain racial, ethnic, or religious groups as threatening, based only on appearance. This term particularly describes the behavior of law enforcement against people of color, as evidenced in practices like the stop-and-frisk searches that Emily Raboteau mentions. The neighborhood watchman George Zimmerman considered 17-year-old Trayvon Martin dangerous for his appearance; Jesmyn Ward describes how people used racial stereotypes against Martin even in death: “Zimmerman and the jury and the media outlets who questioned his character with declarations like He abused marijuana and He was disciplined at school for graffiti and possessing drug paraphernalia saw Trayvon as nothing more than a wayward thug” (4). Garnette Cadogan experienced racial profiling firsthand when a man struck him while he ran through New York City: “I assumed he was drunk or had mistaken me for an old enemy, but found out soon enough that he’d merely assumed I was a criminal because of my race” (138-39).

“The Talk”

“The Talk” describes a parent’s warning to their children, particularly those of African and Latino descent, about what to do when police detain them. Emily Raboteau describes her questions about raising children of color in the wake of the Charleston shooting and the protests in Ferguson: “In the back of our minds that summer of 2015, as an uprising and its violent suppression raged in Missouri, was the problem of when and how to talk to our children about protecting themselves from the police” (157). The many deaths of unarmed black Americans by police, in addition to the Charleston massacre, exacerbated parents’ fears of losing their children in random acts of violence. Emigrants of color like Garnette Cadogan and Edwidge Danticat did not receive “The Talk,” but Danticat considers how to present the realities of racial profiling in America with her daughters. Danticat looks to James Baldwin for inspiration: “In his own version of ‘The Talk,’ James Baldwin wrote to his nephew James in ‘My Dungeon Shook,’ ‘You were born in a society which spelled out with brutal clarity, and in as many ways as possible that you were a worthless human being’” (212-13). The end of Danticat’s essay presents a “Talk” of her own, in which she warns her daughters about discrimination but urges them to fight injustice and maintain hope.

Black Lives Matter

The Black Lives Matter movement arose in the 2010s, after a spate of deaths involving white shooters and unarmed African Americans. This activist movement gained force after the death of Michael Brown in Ferguson, Missouri, and remained a means of resistance against racial discrimination in the United States. Claudia Rankine’s essay describes the formation of Black Lives Matter, saying, “a more internalized change is being asked for: recognition” (151). Black Lives Matter memorializes those who have been lost in acts of racially motivated violence and the pervasive threats against black life. Although only a few of the anthology’s writers mention the movement by name, many of them discuss the value of black life and describe their grief over those like Trayvon Martin and Michael Brown.

The American South

The writers of The Fire This Time often feature the South as a backdrop. This American region, encompassing states like Louisiana, Alabama, Mississippi, Georgia, and South Carolina, possesses a particular black cultural imprint and bears clear marks of continued racial oppression. Jesmyn Ward witnessed Mississippi Senator Trent Lott brandishing a whip similar to that of a slave owner, while Kevin Young noted the increased sales of Confederate flags after the massacre in Charleston, South Carolina.

Kima Jones’s “Homegoing, AD,” on the other hand, recreates the sensory details of swampy Charleston as a symbol of home: “The pot of greens we brought out with us and the mosquitoes keeping company like we wasn’t down in the swamps to bury our dead” (16). Wendy S. Walters discusses the impact of Hurricane Katrina on her family. Kiese Laymon describes his Mississippi upbringing and his artistic role models OutKast, who relished their Southern background. Laymon writes that “André said, ‘The South got something to say and that’s all I got to say,’” (122), signifying that OutKast would make a particularly Southern music to express their cultural pride. Natasha Trethewey also describes Mississippi, noting how the historic coastline maintains “buried / terrain of the past” (195). 

blurred text
blurred text
blurred text
blurred text