The City We Became

Some critics have argued that Jemisin’s handling of White supremacy is unnecessarily heavy-handed. Would the themes of oppression and racism have been too watered down if her White characters had been more nuanced and less one-dimensional?

Jemisin acknowledges the legacy of H. P. Lovecraft on the science-fiction genre while also opposing his well-known racism. In what ways does she both pay homage to Lovecraft and also subvert his White supremacy?

Jemisin claims that The City We Became is an “homage” to New York City. How does she honor it and, by default, all great cities? What are its unique benefits? What are some of its singular faults?

Jemisin is unequivocal in her view of gentrification. What are some of its ill-effects as portrayed in the novel? Does gentrification have an upside? Is there a way to maximize its benefits while minimizing its harm?

Bronca argues that good art requires empathy. How might empathy inform the artistic process? Can one create good art without it?

Jemisin has argued that one cannot separate H. P. Lovecraft’s work from his racism. Some moviegoers refuse to watch Woody Allen’s films because of charges of pedophilia. Is it possible to appreciate the art of a morally objectionable person? Can the art and the artist be separated?

Bronca is both an indigenous American and the oldest of the six avatars. How do these qualities capture the historical essence of the Bronx? How does Bronca’s Lenape heritage inform her character as both a human and a city avatar?

Jemisin plays with the notion of generational divides: old/wise versus young/arrogant. How does this divide play out both in the real world of the novel and in “cityspace?”