Pride: A Pride and Prejudice Remix

“Something about the Darcys moving in makes me want to hold Bushwick a little bit tighter and for a little bit longer, as if it’s slowly slipping away—like Janae, and high school…”

This quote foreshadows the changes that are to come in the book. Zuri is reluctant to change—herself, her sister, her home, her neighborhood—but will have change foisted upon her. Her fear that the world she knows is “slipping away” will ultimately be realized by the book’s end.

“I’ve seen him do little things like this all my life. And I know in my heart of hearts that their kind of love is very rare.”

Zuri describes her dad, Papi, doing small acts of kindness for her mom, Mama, like bringing her a glass of water. Her recognition of these deeds as true love shows that she recognizes the value and rarity of love—and that true love isn’t about grand displays of affection, but about small, intentional acts. Mama and Papi’s relationship also demonstrates a tight-knit family unit and the example Zuri upholds when considering her own relationships.

“…the roof is where wind chimes, dreams, and possibilities float with the stars, where Janae and I share our secrets and plan to travel all over the world, Haiti and the Dominican Republic being our first stop.”

This line reflects the pride that Zuri has in her heritage and her commitment to upholding it with visits to the Dominican Republic and Haiti. It also speaks to Zuri’s conflicting desire to retain the comfort of her home in Bushwick while exploring the world beyond.

“If anyone wants to get to the Benitez sisters, they’ll have to crack open my heart first.”

With these words, Zuri reveals how fiercely protective she is of her family, especially her sisters. Her protective attitude informs her behavior towards the Darcy boys, as she seeks to safeguard Janae from Ainsley.

“Touché, Ms. Benitez.”

Darius says this to Zuri after she points out how ludicrous the size of the Darcy house is, holding “necessities” like a pool table and grad piano. It’s the first moment where he openly expresses respect for her, recognizing the validity of her argument. Darius’s respect for Zuri’s viewpoint is a key element of their relationship, first illuminated here.

“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.”

Zuri highlights the practical implications of the Darcys moving in and gentrification in general. The book’s argument that gentrification harms lower class people is ultimately realized when the Benitez family is forced to move. Zuri’s recognition of these real-world damages supports the theme regarding the dangers of gentrification.

“Maria Hernandez Park should probably be called Mary Hernan Park now instead.”

One of the central arguments of the book is the complicated interconnection between class disparity and race in America. Zuri demonstrates her understanding of the systemic racism and whitewashing that comes with gentrification as upper class white people move into neighborhoods established by people of color.

“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.”

Zuri expresses her opinion that—rich as Darius may be—he’s still Black and that his skin color will always be the first thing people see. Her words also hint towards topics of police brutality and racial profiling, further driving home the fact that race is considered above all else in American society.

“I want him to see how it’s done. This is swag. This is how you step to a girl from Bushwick—a Bushwick native.”

Zuri has this thought when flirting with Warren in front of Darius. Her flirtatious display with Warren points, ironically, to her interest in Darius as she attempts to make him jealous. Her use of the word “native” also cements her view of Darius as an outsider, someone who may be Black, but who doesn’t share her lived experience.

“Old and new are mixing together like oil and water, and I’m stuck here in the middle of it all.”

These words encapsulate Zuri’s feelings about her gentrifying Bushwick neighborhood. She feels helpless as she can’t control the situation and is stuck in the middle. This makes her even more adverse and stubborn to change, encouraging her to cling to what’s familiar—an internal hurdle her character will gradually overcome.

“Why can’t you just rap like everybody else?”

Charlise says this to Zuri. It’s a rare moment in which Zuri is flagged as an outsider, placed into the same league as Darius. The fact that she writes poetry—a stereotypically “classy” pursuit—instead of rapping further hints at an alignment with Darius.

“Are you slingin’ dope, Warren?”

Zuri asks Warren this on their first date because he pays for a fancy taxi ride. The fact that Zuri assumes a boy like Warren, from the “projects,” must be selling drugs to afford this kind of luxury shows how deeply ingrained societal prejudices are. Even Zuri, keenly aware of class and race issues, has her own preconceived notions.

“‘…why can’t I just mess around with him? He does it to a bunch of other girls.’ ‘Cause you’re not a dude, Charlise. You’ll get a bad reputation,’ I say. ‘See? That’s the problem. If we treat guys the way they treat us, then we’ll get a bad reputation? That’s messed up.’ ‘Well, do you care about your reputation?’ […] ‘My reputation for playing ball? Yep. My reputation for playing guys? Nope.’”

In a conversation between Zuri and Charlise, gender stereotypes are explored as Zuri questions Charlise’s actions of flirting with the undesirable Colin. It’s one of the book’s feminist moments, as Charlise to call out a double standard—if a boy sleeps around, he’s cool, but if a girl sleeps around, her reputation is ruined.

“I’m so glad Janae finally learned how to get a rich boyfriend. She better stay in his pockets so we can keep living this good life!”

Layla says this at the Darcy’s cocktail party, where shortly after, Ainsley dumps Janae. Layla’s words highlight a common stereotype, that a poor woman dating a rich man is a “gold digger.” The break-up that Layla’s comment contributes to is a pivotal plot development in the book.

“I recognize that look. […] It’s the look that assumes that Mama is a single mother, that she’s on government assistance, that she beats us when she’s tired, that we all have different fathers, that we live in the projects, and that we’re ghetto. Everybody used to look at us like that—white, black, other mothers with kids who thought they were being responsible by only having two or three.”

Zuri expresses this thought at the Darcy’s cocktail party. This insight reveals where Zuri’s fierce pride comes from—she’s used to having people look down on her and her family and judge them without knowing them. The fact that she notes that both Black and white people judge them speaks to the universal nature of judgement and class differences.

“I know exactly what happened. He met your family.”

Zuri says this to Janae when Janae is wondering why Ainsley broke up with her. In this moment, Zuri calls out the class disparity between the Benitez and Darcy families—one she believes is too great for love to overcome. Her comment reveals her own internalized class judgments and how she believes the world views her family.

“That’s street code numero uno: Have your friend’s back. […] He’s black, but he ain’t that black, feel me? The way we do it out here, if your boy gets into a fight, ain’t you supposed to have his back? But instead, his pops tries to get me kicked out of Easton.”

Warren says this to Zuri about Darius. Darius’s lack of street code adherence—not having Warren’s back—is seen as a marker of his otherness. Warren’s comment that Darius isn’t “that black” also highlights the book’s treatment of the complicated intertwined nature of class and race in American society. In Warren’s view, a young Black man like Darius is only Black if he’s also adhering to street code.

“That’s when I know this place can be an extension of my block too, like home.”

Zuri has this thought after she reads a poem at Busboys and Poets in Washington D.C. and gets a round of applause. It’s a pivotal turning point for her character. Zuri always thought only Bushwick could feel like home and now she’s finally realizing that isn’t necessary the case.

“‘You’re cool, Georgia, but your family is bougie as hell,’ I say. ‘Please don’t judge my family like that,’ another voice says. I turn toward the doorway to see Darius holding a small leather suitcase. ‘You wouldn’t want me to call your whole family ghetto, now would you?’ Georgia’s mouth falls open.”

This exchange occurs after Darius’s grandmother is rude to Zuri, and Zuri leaves dinner early as a result. Darius acknowledges the class differences between his family and Zuri’s and reflects her prejudices back to her, demonstrating how she operates within her own biases.

“I can’t believe this is happening. This kiss, this hold, never crossed my mind as something that would be real. I hated him. I hated everything about him. But this, this isn’t hate.”

This is the moment when Darius and Zuri first kiss, marking a major plot twist in the book. In this moment, Zuri overcomes class differences and gives herself up to the possibility of a real relationship with Darius.

“‘Wow. That’s it?’ I say as Carrie walks back into the living room. ‘What do you mean, that’s it?’ Darius says. I sigh and shake my head at Darius. ‘You don’t get it,’ I whisper. ‘Yes, I do,’ he says. ‘That’s it. And that’s all that should happen.’”

This exchange takes place at Carrie’s house after the cops are called to her house party. Zuri is shocked by how easily Carrie dismisses the police, not letting them into the house. Her surprise points to the fact that her lived reality has been different. In her eyes, the interaction with law enforcement would inevitably escalate, explaining why she made Darius hide in the bathroom. The implication of potential police violence or racial profiling is clear, and Darius’s comment reminds Zuri—and the reader—that these scenarios should not escalate.

“I have always thought of Bushwick as home, but in that moment, I realize that home is where the people I love are, wherever that is.”

These words mark Zuri’s conclusive transformation. She thinks them after Papi tells her they will have to move because the house they live in is being sold to a developer due to gentrification. At the book’s beginning, Zuri would have raged against this development. However, she’s grown and changed, and now accepts that it isn’t the house but the people that make her home.

“Rivers flow. A body of water that remains stagnant is just a cesspool, mi amor! It’s time to move, flow, grow.”

Zuri hears these words as Madrina’s, speaking to her, when she’s visiting the deceased woman’s apartment. They cement Madrina’s role in Zuri’s life as a spiritual guide and highlight the ultimate transformation Zuri has undergone, instilling an openness to change in her character that wasn’t there at the book’s start.