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59 pages 1 hour read

Ibi Zoboi, Yusef Salaam

Punching the Air

Fiction | Novel/Book in Verse | YA | Published in 2020

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Symbols & Motifs

Suits

At his trial, Amal wears a gray suit that was originally for important events like prom or graduation. The grayness of the suit represents the gray area that Amal exists in at his trial. He knows he is innocent, yet he also knows that he looks guilty because he is Black. Amal must navigate this gray area successfully, to make him look as innocent as a white person. The white teenagers Amal fought, for instance, get labeled innocent due to their skin color despite also fighting (and using racist slurs). Without the benefit of “whiteness,” Amal must wear a second skin—a suit—just to temper racist judgements that are based on skin color alone.

Later, after being processed into the jail system, Amal has to wear an orange jumpsuit. The orange jumpsuit supposedly signifies how Amal and the other inmates are somehow different from everyone else in the world, yet because prison feels so much like school, the jumpsuit sticks out as the only thing that isn’t somewhat normal. The jumpsuit is a symbol of Amal’s lack of individuality once he is placed in prison. He is dressed just like everyone else and has “been branded / labeled [….] property of the state” (279). The suits represent Amal’s struggle: He must conform despite being an individual. He must perform by being something he is not. The suits transform Amal into a caricature who suffers inhumanely from inhuman systems.

Butterflies and Wings

Amal paints and draws butterflies and wings throughout his incarceration. They symbolize Amal’s need for freedom not only from the prison but from the system that put him there. He draws butterflies on his cell walls and imagines them flying around him towards freedom—a freedom that Amal cannot get himself. When Imani tells Amal about repainting the mural, he writes: “This feels like / like growing wings / like flying” (348).

The mural allows him to feel freedom in creation through painting. Amal also draws his friends with wings on their backs when he repaints the murals. He sees them not as angels, but as people who need the means to get out and fly toward freedom.

Reality Versus Imagination

The idea that what is seen is not often reality is prevalent throughout the novel. Amal writes a lot about how others see him, and how their perception of him doesn’t match who he really is. The version of him that people see on TV is not really Amal. They see a “monster”: “head down, arms pulled back / wrists cuffed / mean-mugged” (30).

Instead of the cuffed, angry teenager on the news, Amal wishes people could see the truth: “the real [him], past [his] face, past [his] story / and into [his] eyes so they’d know / what really happened that night” (30).

In “Clone,” Amal reiterates the idea that what people imagine about him are all lies:

[they] made themselves
a whole other boy
in their minds
and replaced me with him (56).

Instead of truly looking and listening, people see Amal as just another Black kid who suddenly, inexplicably turned violent and deserves incarceration, which is far from the truth.

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