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82 pages 2 hours read

Elizabeth Acevedo

With the Fire on High

Fiction | Novel | YA | Published in 2019

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Symbols & Motifs

Smell and Scent

Scent plays a big role in Emoni’s life. It is also a recurring motif in the novel. Emoni recognizes and identifies characters by it. She notices the “lemon verbena” perfume of Ms. Fuentes, the vanilla scent of her grandmother, and “the island scent” of Julio (377). Then there is the distinctive “baby smell” of Emma, which, she says, “I know better than my own name” (348). Smell signifies familiarity. Like someone’s cooking, it offers an immediate and intuitive connection to and understanding of another person. It appears to undercut and proceed both rational thought and linguistic expression. For that very reason, it can also be dangerous. As Emoni says, when Tyrone comes to pick up Emma, “Tyrone’s cologne drifts around me and I have to stop myself from inhaling too deeply” (47). Smell is linked to intuitive sexual attraction. For Emoni to “inhale too deeply” of Tyrone’s scent thus means to let sexual desire override the rational awareness that Tyrone is not a good partner for her. Indeed, this would be to repeat precisely the mistake that led her to have sex with him in the first place. Instead, maturity means reconciling these two aspects. It does not mean suppressing or ignoring a relation to smell. Rather, it involves learning to manage that relationship with the help of rationality and reflection.

Slang, Swearing, and Informal Use of Language

Emoni inhabits a world with its own distinct slang, or non-standard use of English. For example, her peers talk about “the hood,” meaning neighborhood, “players,” meaning men who try to have multiple sexual relationships with women, and “swag,” meaning confidence. It is also present in non-standard construction of sentences. On top of these examples, there is Spanish-influenced slang—so for instance, Emoni uses ’Buela, short for abuela, meaning grandmother, and the “Papi store,” slang for the locally run convenience store; and she uses peppers her speech with Spanish words such as “viejos” for old men and “niña” as an affectionate term for a young woman.

This non-standard or non-formal use of English has an ambiguous status in the text. On the one hand, like all colloquial language use, it expresses and cements a group identity. Using Black Philadelphia and Spanish slang, Emoni affirms her sense of connection with those groups. On the other hand, it is a means of exclusion when those who do not know, or cannot use, the slang are marked as different and excluded. Additionally, those insider groups face exclusion themselves in certain ways, hampered from participating in aspects of society that expect standardized uses of English. This is why Emoni chooses to give her daughter a name, Emma, that is not associated with any specific culture or sub-culture. It is also why Emoni is trying to cut out swearing in front of Emma. She believes this effort will give her the best chance of success in broader society.

Spices, Taste, and Forgetting

To “spice up” means to bring a new or unexpected element to something, making it different or exciting. This is precisely the role spices serve in Emoni’s cooking. She adds “Oregano, garlic powder, cayenne” (33) to a chicken dish for ’Buela. She adds paprika to her chocolate pudding in class, thereby creating an exceptional desert. This spicing up is also what gets her into trouble when she puts cumin, basil, and oregano into one of Chef Ayden’s recipes. An understanding of spices lies at the core of Emoni’s culinary talent, and she demonstrates this when she is able to identity all the herbs and spices that Chef Amadi presents to her by smell alone. Her talent is also evident when she recommends that Amadi use harissa and saffron with the rabbit she is cooking.

Spices are to linked to remembering in the book. An awareness of different spices and how they work is connected to an intuitive and subtle memory for ingredients, tastes, and smells. In contrast, the absence of taste signifies a dulled and forgetful relation to the world. Witness Richard in the bar in Sevilla. As he says, after multiple drinks, “I can’t even taste things anymore” (325). Alcohol has literally destroyed his ability to remember where or who he is. Likewise, there is the “cardboard-flavored” cheese served at the Burger Joint. Such soulless, mass-produced food is food without any “memory” or connection to place, and it is what Emoni’s food strives to rebel against.

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