47 pages • 1 hour read
Jonathan EscofferyA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
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This story also adopts the use of second person, addressing the reader as “you.” In it, the author code-switches, shifting from a vernacular more familiar to native English speakers who grew up in the United States to a Jamaican vernacular. The story takes the point of view of Trelawny’s father, Topper, tracing his life to the present day.
The narrator, from Topper’s perspective, ushers the reader through the life a young man born to uptown Kingston parents. He writes about dating three different women: Reyha, Sanya, and Cherie. The narrator tells his father, who owns a construction business, that he wants to go to a foreign art school to study fashion. His father strongly objects, so he instead goes to work on his father’s construction site. The young man dislikes the work, but his father is dismissive: “since when man suppose to like job” (48). Of the three women, the narrator loves Sanya and hopes to marry her. With the money saved from his job, he is able to buy a home in Mandeville, and he writes about marriage to Sanya, who accepts. They name their first son Delano. The narrator describes Jamaica’s violence, and although he attributes the social unrest to the “socialist fuckery” of the prime minister, his father blames it on independence. Rumors are that, because of Prime Minister Norman Manley’s close relationship with Fidel Castro, the United States has flooded Jamaica with cheap cocaine. The violence increases, and the narrator and his wife decide to immigrate to the United States. After considering New York, they settle in Miami.
There, life is difficult. The narrator initially works as a used car salesman, but eventually he is able to break into the construction industry. Sanya works as a secretary, but their combined income is less than it was in Jamaica. He tries unsuccessfully to sell his art. Sanya gives birth to a second son, Trelawny, but the narrator is soon chagrined to see how American his second child is. Delaney makes him happier and prouder as a father. The boy is strong, athletic, and has retained more of his Jamaican identity. After Hurricane Gilbert hits Jamaica, the narrator sends supplies back to his family. He tries to teach his children about Jamaican culture by cooking ackee fruit for them, the national dish of Jamaica. Although Delano enjoys its flavor, Trelawny spits it out, saying “eew!” and telling his father that the cooked fruit (it must be cooked to be eaten) tastes like scrambled eggs.
The narrator’s parents die in a car accident, and when he returns to Jamaica, he cheats on Sanya with an ex-girlfriend. He returns to Miami shortly before Hurricane Andrew destroys their house. Sanya soon finds out about the infidelity because it has produced a child, and the two argue. Sanya throws her phone at the narrator, leaving him with a head wound that, although superficial, will scar. Sanya tells him that he must take one of their children and live with him. She does not want to remain married, but she also does not want him to entirely shirk his parental duty. She decides that Delano will go with him, and he is relieved. He is sure that Delano will make something of himself, and indeed, Delano starts a landscaping business immediately after graduation. The narrator is worried about Trelawney, who is anxious and withdrawn. He is upset when Trelawney shows interest in what he describes as “ghetto” culture from both Jamaica and the United States and angrily tells his younger son that their family is not low class. Although he tries to get back together with Sanya, she serves him with divorce papers.
When Delano gifts the narrator a full-grown ackee tree, the narrator is moved to tears. Delano has transplanted it from a house in Coconut Grove whose owner wanted to chop it down; he had his work crew bring it to the site of their new house in Palmetto Bay and plant it. Trelawny goes away to college, and the narrator hopes that his younger son will find his place among people who, like him, are sensitive and enjoy books. The narrator is frustrated when, after college, Trelawny returns to Miami and struggles to find a job. The narrator feels at odds with this son, who is more interested in abstract ideas than practicality. The narrator has a party when the new house is finished, and Trelawny brings his Jamaican girlfriend, Zoë. Although the narrator thinks that his son looks more polished and put together, Trelawny tells him that he wants to move to Jamaica, claiming that his father never should have left. Angry and aghast, the narrator scolds his son. He asks Trelawny to go and cut him a ripe ackee fruit, and the story ends with the image of Trelawny under the tree holding an axe.
In this story, Escoffery’s code switching grounds the story within the experiences and linguistic patterns of the Jamaican diaspora, incorporating into the collection in an immediate fashion the very duality that Trelawny described wrestling with in the previous short story. The Jamaican vernacular intensifies the immersive effect of the second-person narration. Writing how Topper’s character would actually speak also emphasizes Escoffery’s shifting focus: although Trelawny remains an important part of the narrative, this story aims to build Topper’s characterization. Through Topper’s recollections of his life in Jamaica and early years in Miami, Escoffery continues to explore the themes of Immigration and Cultural Identity and Immigration and Fraught Family Dynamics. Additionally, the ackee tree emerges as an important symbol of Jamaica and Jamaican cultural identification.
This story serves as both a comparative case study and a sort of origin story for Trelawny, offering an in-depth look—from another angle—at how immigration affects identity and family relationships. Topper and Sanya are initially happy in Jamaica. Although Topper’s father forced him to give up his artistic ambitions, Topper does find a place within his father’s construction business, and he will ultimately come to value this real-world industry over the humanities and the arts. Because his father’s business is successful, he and Sanya enjoy economic stability; they only leave because of Jamaica’s political instability and violence. Here, Escoffery grounds his story within the real-life history of Jamaica: Jamaica was indeed destabilized during this period, as the island nation became a proxy in the broader conflict between the United States, which promoted capitalism, and Cuba, which adopted communism. Forced next to flee to Miami, Topper and Sanya begin to struggle, and it becomes apparent that immigration, far from being a pathway to access the American dream, is more a source of cultural dislocation and economic struggle. Both these issues, in turn, tend to test and undermine family dynamics, emphasizing the compounding nature of different challenges per the theme of Intersectionality, Socioeconomic Status, and Race. Sure enough, Topper slips into alcoholism and philandering as he attempts to self-medicate against the ache of being a foreigner who does not fit in culturally and the pain of now struggling to maintain even a fraction of the standard of living he’d enjoyed in Jamaica. His unhappiness in the United States adversely affects his family and ultimately weakens his marriage to Sanya.
Cultural identity is another key focal point for Topper, with his struggle providing a complex comparison to that of his younger son. Topper senses that he is out-of-step with the African American population in Miami, but maintaining a connection to his Jamaican roots is difficult in this new country. His own sense that he does not belong is exacerbated by the young Trelawny, in whom he sees very little evidence of the Jamaican identity that is so important to him. In his older son, Delano, who had been born in Jamaica, that identity remains evident, though, which provides great comfort.
The ackee tree is a powerful symbol in terms of cultural identity. Broadly speaking, it symbolizes Jamaican cultural identity. Through sharing its cooked fruit with his children, Topper hopes to foster in them a sense of appreciation for their Jamaican heritage, thereby reaffirming his own hold on that heritage. That Trelawny finds the fruit unappetizing and Delano enjoys it is emblematic of each boy’s self-identity: Trelawny is more American than Jamaican, but Delano still feels connected to his homeland. Later on, that Delano gifts Topper a mature ackee tree is further symbolic evidence of the identitarian gulf between the brothers. Delano’s literal gift represents the older son’s figurative gift, that is, the older son’s connection with his heritage, which assuages Topper’s fear of his own sense of self deteriorating. Trelawny’s attempt to chop down the tree, in contrast, represents how the younger son’s lack of connection to a Jamaican cultural identity undermines his father’s sense of self.
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