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61 pages 2 hours read

Lamar Giles

Fresh Ink: An Anthology

Fiction | Short Story Collection | Middle Grade | Published in 2018

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Symbols & Motifs

Art

A central motif throughout Fresh Ink is different forms of art and their importance to various characters. Art often helps marginalized young people survive and thrive despite the prejudices they face. Whether it’s cosplay, music, graffiti, or drawing, art plays a central role for the characters in these stories because through art, they can find joy in life and, more importantly, can be themselves.

In “Meet Cute,” Nic and Tamia meet at a convention for fantasy and science fiction fans. The two bond over the characters they play and their efforts to change those characters to better relate to and fit with minorities like themselves. They express displeasure over the fact that famous franchises like Star Trek and The X-Files vastly underrepresent queer characters, Asian characters and other people of color, and minorities in general. Nic makes it clear that she wants to do something about it: She “want[s] to help make sure that someday movies do include people like gender-flipped Sulu and race-bent Scully” (29). In other words, art is important to her, but she wishes she could see herself and her struggles reflected more frequently than in these characters; she wants to ensure that future generations can experience this by creating art herself.

Just as Nic and Tamia find joy in science fiction films and use the convention to express themselves and meet others like them, Shirin in “Be Cool for Once” finds herself through the music of her favorite band, Thousand Day Queens. A self-described introvert, she struggles with venturing outside her own mind to enjoy life and “adventure” except at Thousand Day Queens concerts, where she forgets about her insecurities and enjoys the music, losing herself in the sound and dancing. Music gives Shirin the freedom and the courage to emerge from her shell and defeat her view of herself as an introvert.

In “A Boy’s Duty,” Zakary’s form of expression is drawing, particularly depicting the universe. Although he’s an unhoused runaway and a former thief, he strives to make an impact on the world through his art. After his friends rob Mr. Jackson’s café, he paints a mural of stars on the outside wall of the café, which Mrs. Jackson notes “are good advertisement. You see them from the bridge, three blocks over” (115). In addition to being a painter, Zakary has a strong desire to continually learn about the universe and plans to use his knowledge to become a quartermaster in the Navy and eventually help astronauts reach the moon. The “stars” he spends so much time learning about metaphorically represent his dreams and aspirations. By the story’s end, he realizes that the “duty” he struggles to understand is ultimately a duty to himself: to follow his dreams. His artistic ability is just one tool with which he strives to make that happen.

The supernatural play “Tags” explores both the real-world and supernatural power of art through the graffiti tagging of four deceased boys of color. The story portrays the perspective of each boy through their conversations after death, as they try to keep their memory alive and stay in the thoughts of the living, which will sustain the boys in the afterlife. As Willie explains it, “[W]e got our tags on the wall and people can see we were real, and they’re thinking about us” (76). Often, after young boys of color die, especially because of violence and drugs (as these boys did), their humanity is erased, and they become political talking points. However, their titular tags allow them to leave a physical mark on the world while also giving them the power to remain on Earth in the supernatural sense.

Lack of School Support

In “Don’t Pass Me By,” “One Voice,” and “Catch, Pull, Drive,” the protagonists receive little or no support from school figures in fighting prejudice. In “Don’t Pass Me By,” as Doobie endures being bullied for his Indigenous American heritage, his teacher, Mr. Corker, stands by and doesn’t intervene. Additionally, when Doobie elects to make a stand and intentionally color his sex education diagram incorrectly, Mr. Corker reacts with annoyance, his “irritation visible,” and responds simply that the “instructions were clear” (51-52). Instead of trying to understand Doobie’s point of view and the hate and cultural erasure that he experiences in the almost all-white school, his teacher simply dismisses him.

Similarly, as acts of racism and hatred pile up at Stanford University in “One Voice,” Jasmine grapples with her school’s lack of support and understanding. The school simply erases the racist graffiti; Jasmine notes that “power washing the graffiti so quickly seem[s] to add to the injustice. It’s like the administration wanted to erase the fact that the racist message ever appeared” (135). Instead of appropriately addressing or condemning the message, they immediately erase it so that it won’t garner more attention. Then, when another incident occurs and school authorities are forced to respond, they simply send out an email. The lack of proactive response from the school and its president does nothing to assuage Jasmine’s fears and feelings of unbelonging.

In “Catch, Pull, Drive,” Tommy struggles with coming out as transgender and attempts to discuss the issue with his swimming coach. Although the coach doesn’t overtly express his gender bias, he offers little support or empathy. He tells Tommy that he “can’t have distractions on his team” and that he won’t have “any of that rainbow bullshit” or else Tommy will be off the team (159). Although this response isn’t directly hateful, it in no way provides the support or understanding that Tommy needs in this important moment in his life; for instance, the coach doesn’t stop Tommy’s teammates from harassing him.

In each of these stories, the protagonist seeks support from the school system but instead is left wanting in its response to what’s happening. This lack of support reflects the typical systemic racism that minorities commonly experience. Instead of providing empathy, guidance, and help to students addressing prejudice, the adults in their lives react dismissively or disinterestedly.

Negative Self-Images

Throughout the stories in Fresh Ink, protagonists hold a negative view of themselves, particularly of the characteristics that make them “different” from what is typical in the society around them. In “Don’t Pass Me By,” Doobie consciously decides to separate himself from the kids he’s friends with outside of school to allow them to better fit in. This endangers his own development, as he begins to reflect the idea that being Indigenous American is somehow bad, just because it doesn’t fit the image of the most students at his school. The bullying, abuse, and disinterest he experiences from the students and teachers there uphold and encourage the negativity that he has built around himself and his culture.

Similarly, in “Be Cool for Once,” Shirin regularly compares herself to Francesca, who is outgoing and adventurous, which creates an image of herself as introverted, shy, and therefore unworthy of Jeffrey’s love. Given that her parents were immigrants, these introverted characteristics likely relate to her differences from the people around her, and her focus on schooling and science reflect her desire to work hard and make a name for herself and her family in a new country. In both Doobie and Shirin, a negative self-image is important to connecting with young, diverse readers. Young adults who read this anthology may harbor similar views of themselves, views that prejudice and systemic racism build up and reaffirm. However, what’s important is that Shirin and Doobie both overcome their struggles, ultimately standing up for who they are and rejecting society’s negative perspective. This, in turn, helps give young readers the power and courage to venture out to improve their own self-image.

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