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76 pages 2 hours read

Ibi Zoboi

Pride: A Pride and Prejudice Remix

Fiction | Novel | YA | Published in 2018

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Themes

The Dangers of Gentrification

Gentrification is one of the work’s most significant themes, introduced in the first words: “It’s a truth universally acknowledged that when rich people move into the hood, where it’s a little bit broken and a little bit forgotten, the first they want to do is clean it up. But it’s not just the junky stuff they’ll get rid of. People can be thrown away too, like last night’s trash left out on sidewalks…” (1). The book immediately introduces Zuri’s critical point of view of gentrification of her Bushwick, Brooklyn, neighborhood. By comparing the people who are “thrown away” to trash, these words demonstrate the way gentrification solidifies class disparities. The book sees Zuri’s fear that her family will be one of those “throw aways” realized, when the Benitez family is forced to leave Bushwick because their building is sold to a real estate developer.

Pride further highlights the ways in which gentrification aligns with race. In Bushwick, white people come in and people of color are pushed out. Zuri calls this out when she notices the many white people in the park, telling Darius: “Maria Hernandez Park should probably be called Mary Hernan Park now instead” (64). The narrative also makes it clear that this issue is not exclusive to Bushwick. On Zuri’s bus ride down to Howard University, the woman next to her tells her: “D.C. used to be called Chocolate City,” to which Zuri replies, “Well, I see a whole lotta vanilla” (140). The woman shares her own experience with gentrification, replying, “Yep. I’m from Bed-Stuy. We’re starting to see a whole lotta vanilla there too” (140). The Darcys, being a rich Black family driving gentrification, are an anomaly. Nonetheless, although they may not be white, the effect of their arrival in Bushwick is the same: “Those boys don’t belong here. And they change everything about this block by renovating that house. Papi says the property values will go up, and the taxes too” (58).

Although Zuri struggles with the ramifications of gentrification, she also recognizes that it’s not all bad. She realizes the need to infuse her community with money, explaining: “My neighborhood is made of love, but it’s money and buildings and food and jobs that keep it alive—and even I have to admit that the new people moving in, with their extra money and dreams, can sometimes make things better. We’ll have to figure out a way to make both sides of Bushwick work” (33). Although Zuri presents the hypothesis that there’s a way to make “both sides of Bushwick work,” the book itself doesn’t deliver an answer. Rather, the “worst case scenario” of the Benitez family having to move is realized. This puts the onus on the reader to consider how “both sides” might work in gentrifying communities—if at all.

Systemic Racism in American Society

In Pride, race issues are closely intertwined with class issues. This is introduced early in the book as well, when the Benitez girls are making bets on whether the new rich neighbors will be Black or white. The girls are surprised to learn that the Darcys are Black—and even more surprised that they’re average businesspeople, not a “rapper or a basketball player and his supermodel wife,” as Layla and Kayla predict (4). Their assumption that a Black man with the kind of riches to afford such a large house would be a basketball player or a rapper attests to the deeply ingrained nature of racism in American society. Layla and Kayla don’t have any ill intent in this assumption, but the thought that Mr. Darcy would be in real estate, his actual means of employment, never crosses their minds.

Throughout the book, the Darcys continue to challenge common concepts of what it is to be Black in Zuri’s corner of Bushwick. Warren explicates the issue when he tells Zuri about Darius: “He’s black, but he ain’t that black, feel me? The way we do it out here, if our boys get into a fight, ain’t you supposed to have his back? But instead, his pops tries to get me kicked out of Easton” (132). Because Darius doesn’t act in line with Warren’s expectations of Blackness, Warren questions Darius’s entire identity as a Black man. The way that Darius’s “Blackness” is undermined makes it more uncomfortable when he uses a racial slur in front of Zuri.

Like Warren, Zuri also questions Darius’s identity. Zuri reminds Darius that—although Darius may be rich—his skin color is still his dominant identity when he’s out in the world. She even hints at the potential danger this poses to him: “Just so you know, in this hood, you’re just like everybody else. The cops and all these white people will take one good look at you and think you’re from Hope Gardens Projects no matter how many tight khaki shorts or grandpa shoes you wear” (67). Zuri’s implication that Darius’s race could get him in trouble with the police is again reiterated when she forces him to hide in the bathroom when the police arrive at Carrie’s house party.

The Manmade Nature of Class Structures

Class distinctions are another central theme in the book and frequently intertwined with the themes of race and gentrification. The Darcy and Benitez families are posited as opposites, with the Darcys living in a huge house with plenty of space for baby grand pianos and large flat-screen TVs, while the Benitez sisters sleep five to a room in a small apartment. There are many other markers of class that appear throughout the book to distinguish the two families. The Darcys have cocktail parties and the Benitez family has block parties; the Darcy boys go to private school and the Benitez girls go to public school; the Darcys travel to Martha’s Vineyard and Colorado, while the Benitez girls have barely left Bushwick. Even food is a marker of class distinctions—Zuri has never eaten lobster and doesn’t know what to do with it when she has dinner at Mrs. Catherine Darcy’s house.

Mrs. Catherine Darcy exemplifies the class distinction between the Benitez and Darcy families. She shows how class distinctions can be weaponized and used to oppress others in the demeaning way she treats Zuri. However, Zuri is quick to call this out. She recognizes that, fancy as Mrs. Catherine Darcy may appear, she ultimately lacks manners—and, thus, class. By flagging this lack of class, Zuri questions the manmade class structure that automatically posits a “high class” person over a “low class” person. She highlights the superficial nature of class distinctions, noting that fancy clothes or a big house can’t create a classy person.

The fact that Darius and Zuri end up finding love is a final testament to the artificial nature of classicism. In the beginning, Zuri believes that the class disparity between herself and Darius is too great for a romance to overcome. However, she ultimately overcomes her own belief when she finds a genuine connection with Darius. Their relationship is proof that a person’s class does not define them. The same is true for Janae and Ainsley, who also defy the same class disparity and find love. The book’s romantic narratives thus highlight its ultimate argument against the significance of class structures.

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