54 pages • 1 hour read
Jas HammondsA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Content Warning: This section of the guide references racism, colorism, anti-gay bias, anti-fat bias, emotional abuse, and terminal illness.
A heading imitates a country boundary sign, reporting that 17-year-old Avery Anderson is “entering Bardell County, Georgia, Population: 9,127” and calls the county “A Great Place to Grow!” (7). Avery notes at least 10 bullet holes in the sign. Avery and her dad, Sam, tease her mother, Zora, about their reluctance to come to Bardell, which Zora describes as “a diamond in the rough” (8). Zora marvels at the changes to Bardell, while Avery notes a Confederate flag that is prominently displayed.
Avery recalls the letter that arrived at her family’s Washington DC home five weeks prior, which informed Zora of her mother’s terminal cancer and led to the family’s summer relocation to Bardell. When they ring the bell at Zora’s childhood home, they receive no answer until a neighbor, Carole, recognizes Zora. Carole looks at Avery’s lip piercing judgmentally, causing Avery to recall how her best friends Hikari and Kelsi called it “trashy.” Carole introduces her daughter, Simone. Carole reports that she only wrote to Zora because “Letty’s cancer [is] eating her away” (14).
Carole grants the Andersons entrance into the house, and Zora is shocked by the mess in the home. Carole criticizes Zora for not coming “home” sooner, and Avery prepares to defend her mother as her grandmother, Mama Letty, enters the room with Simone. Mama Letty refuses Zora’s hug and criticizes Avery’s piercing, asking judgmentally if “she a lesbian now, too?” (17). She disregards Sam’s attempt to block Avery from anti-gay comments, scoffing that “no one asked [his] white hippie ass” (17), also using anti-fat rhetoric about Simone. When the two teens go outside, Avery attempts to apologize for her grandmother, but Simone characterizes Letty as “a grumpy old kook” (18), apparently unbothered.
Simone is pleased to have Avery joining her at Beckwith, their school, easily characterizing Avery as Black—a complicated notion for Avery. She recalls her ex-girlfriend calling her “barely Black” due to her white father, something that weighs on Avery. Carole makes veiled insults about it being “about time” that the Andersons came to help Letty.
Third-person omniscient narration describes the residents of Sweetness Lane, which the residents do find sweet despite its run-down qualities. Carole has spent her life there, inheriting her childhood home and living there through the birth of three children and the death of one of those children, after which her husband left her. She frets over her letter to Zora, whom she considers “a ghost from her childhood” (23).
Avery unpacks the car, catching her mother’s anguished comments about not knowing the state of Letty’s illness, though Zora quickly covers up her distress. Sam brushes off Avery’s question about “what is up with [Zora] and Mama Letty” by emphasizing that their role is to help, “stay out of Mama Letty’s way” and get through the temporary situation (25).
Avery enters Zora’s old bedroom, which will now be hers, pushing aside romantic thoughts about Simone. She thinks of the family motto, “focus forward,” which has helped her through hard times in the past. She looks at texts from Hikari and Kelsi, though she doesn’t respond. Mama Letty criticizes her for staring at her phone, then rudely dismisses Avery’s offer of help.
Avery settles into Bardell, finding life quiet and lonely. She feels increasingly resentful of Hikari and Kelsi, particularly when they criticize her course load at what they call “Hickstown High.” Avery connects with their excitement for their senior year, however, thinking about how the COVID-19 pandemic disrupted their expectations about their high school experience. Though the three friends long planned to attend Georgetown together, Avery is less enthusiastic about the plan following her breakup with Kelsi.
Zora shows Avery her high school yearbook, leaving Avery marveling over the younger versions of Zora and Carole. Avery cautiously asks if there was something remarkable about their last visit to Bardell, as she vaguely remembers screaming. Zora comments that “nothing really” notable occurred. Avery sits with Letty while her parents go purchase dinner; Letty smokes and calls Avery “Fish,” taunting her about her lip ring. Simone exits her house and invites Avery to meet her best friend, Jade. Avery, determined to avoid “drama,” refuses. Avery overhears Carole commenting that she dislikes Simone spending time with Jade, but Mama Letty refuses to explain. (In Chapter 4, Avery learns this is because Jade’s father is rumored to have ordered Jade’s mother’s murder.)
Sam teases Avery good-naturedly about her school uniform as she prepares for her senior year, while Zora offhandedly calls the outfit “cute.” Avery enters Letty’s messy room, intrigued when Letty calls her “stubborn [like her] grandfather” (40). Avery knows nothing about her maternal grandfather, but Letty refuses to offer more information. Sam asks if Avery would like to accompany him on a weekend work trip back to DC. She agrees, though she is unenthused.
Avery is unimpressed with the small, run-down Beckwith Academy. Simone and Jade greet Avery and show her the statue of the school’s founder, Richard Beckwith, who was “a giant, racist prick” (44). The three girls have their first class together; Avery notes that all the students are white except for her and Simone. A student named Tim makes probing comments about Avery’s sexuality until Jade embarrasses him in front of the other students. Avery feels warmed by this gesture of support.
Jade and Simone introduce Avery to Beckwith. At lunch, Simone complains about a teacher’s racist comments about her locs but reports giving in rather than letting him “mess up [her] chances at Spelman” (47). Simone and Jade tease Avery about being “afraid” or “too cool” to hang out with them. Avery asks about Tim, and Jade and Simone are surprised when Avery casually talks about being gay. Simone encourages Avery to spend the weekend in Bardell instead of returning to DC.
Locals in Bardell consider Beckwith Academy and Bardell High School “the white school and the black school,” respectively (51). Beckwith, originally opened by white parents who opposed desegregation of schools, is highly funded and remains overwhelmingly white, while underfunded Bardell High is overwhelmingly Black. From her freshman year, Simone rubbed the toe of the Richard Beckwith statue, not for luck (as school tradition held), but to remind herself that “she wouldn’t rest until the metal shards of this racist man made a home on the concrete where they belonged” (52).
Despite her resolve to focus on schoolwork, Avery becomes closer to Simone and Jade. The two locals take Avery on a tour, which ends at a mural of an angelic-looking white woman painted on the Draper Hotel & Spa; Jade painted the mural of her late mother, Amelia. Jade’s family owns the hotel, while Carole works there. Simone criticizes Jade’s stepmother, Tallulah, for marrying Jade’s father “like two seconds after Amelia died” (58). While Jade is unimpressed by her family business, Simone posits that it “single-handedly saved this town” (58). She believes the main draw isn’t the town’s history but the sordid rumor that Jade’s father orchestrated his first wife’s murder, as he was having an affair with Tallulah.
The three girls enjoy the various appetizers that Syrup, the Draper’s restaurant, sells. Avery reflects on how her friends’ allergies and dietary preferences restricted where she ate in DC. Jade and Simone explain how Jade’s family, after the civil rights movement, created an “idyllic Southern fantasy” that would let white tourists visit the South without “[being] reminded of all the evil shit they were responsible for” (61). Amelia added the spa, greatly increasing the Draper’s profile.
Tallulah enters, needing little prompting to brag about the Draper at length. She makes veiled comments about Jade finding “nice” friends, making Avery self-conscious about her piercing. Lucas, Jade’s father, enters. Avery finds herself instinctually disliking him. Carole enters, urging the girls to leave, and Lucas criticizes her for her “uniform compliance,” claiming her perfect shirt is “wrinkly” (66). When they leave, Simone congratulates Avery on “[surviving her] first meeting with the Murderer and the Mistress” (66).
The Oliver family has owned Ivy Rose Plantation since 1828. The land’s visible signs of its history of enslaved labor were only erased when one white owner considered it “unsightly.” Ohio native Amelia felt uncomfortable about living on a plantation, though this discomfort diminished over time. She transformed the Ivy Rose into a wedding destination and ignored her in-laws’ racist rhetoric and her knowledge of her husband’s affair, afraid of losing her daughter and her comfortable life.
Jade fervently apologizes for her parents, citing her hatred of Bardell and desire to move to New York. Avery, discomfited by all she has learned, resolves to enjoy her weekend in DC. Jade comments on the difficulty of watching Mama Letty die slowly, though Simone argues this is easier than the sudden death of Amelia and Simone’s brother, Shawn, who died in a car accident. Jade and Simone encourage Avery to enjoy the time she has left with Letty. Avery puzzles over how to do this, given Letty’s combativeness. She resolves to get to know her grandmother.
When Avery seeks more information from Zora, Zora cites her “old family drama” as painful and not worth discussing (78). She tells Avery, however, that “if Simone is anything like her mother,” then she is “a friend worth having” (78). She cautions, however, that Avery should be careful about gossip in small towns. Avery feels that her life is changing, though she cannot yet pinpoint how. She resolves, however, not to go back to DC for the weekend and instead spend time with her new friends.
The opening of We Deserve Monuments situates Avery’s narrative precisely in time and place. The novel notes, for example, the way the COVID-19 pandemic interrupted Avery’s high school years, leaving her particularly eager to have a robust high school experience during her senior year. This framing of the high school experience as a specific and limited resource works on several levels in the text. For one, it precisely marks the novel’s timeline as taking place a year or so after the 2020 school closures due to COVID-19 and marks how this pandemic might have had a specific psychological effect on students in Avery’s age group.
Additionally, the incipient ending of a protagonist’s high school career is an enduring theme in young adult literature, in which graduation is seen as both an ending and a new beginning, marking a sharp transition between a character’s school years and their time working or in college. In the genre of contemporary YA, this time often dilates, becoming, in effect, both very short and very long. In this genre trope, the entirety of a text may take place in this year, extending its narrative horizon to encompass the whole of a story, even as characters perpetually consider its brevity and the upcoming change to their lives.
We Deserve Monuments further emphasizes this play with time seeming at once short and long by making the novel’s dreaded endpoint Letty’s death, not graduation. Letty’s decline lends uncertainty and urgency to this timeline; Avery knows Letty is dying but does not know how soon her death might arrive. Moreover, the novel’s interludes tease at this otherwise contained narrative’s temporality. The short interludes often span decades, drawing close comparison to the past and narrative present, highlighting how Avery’s present is closely entwined with her family’s past (and in later interludes, her future).
This section deals with two pairs of present-day chapters accompanied by historical interludes to explore the longstanding effects of racism on the American South. In Chapter 3 and Interlude 2, the novel addresses the racist history behind Beckwith Academy, which was built by white supremacist parents who protested desegregation and sought to establish de facto segregation by creating a private school. The cost of this school is prohibitive for most of Bardell’s Black residents, such that well-funded Beckwith is 98% white students, while underfunded Bardell High is “overwhelmingly Black.” The continued existence of these segregated schools affects Avery’s emotions regarding Life in Cities Versus Small Towns. Having come from Washington DC, Avery is appalled that such a public display of racism is alive and well in Bardell. Still, the author uses this to create a commentary on different kinds of racism, as this is rivaled by the openness of Avery’s Bardell friends in comparison to her experiences in DC, which are discussed in later chapters. The presentation of these two schools also invokes the theme of Intergenerational Trauma and Privilege. Many generations after segregation has been allegedly removed from the South, the descendants of those who fought for the rights of Black Americans are still spatially separate and physically stuck in a place that highlights the trauma of the past.
Despite this explicitly racist intent when founding the school, Beckwith’s front entrance still sports a statue of its founder, Richard Beckwith, a monument that Simone vows to destroy. The novel’s final interlude notes that “three white freshmen” ultimately tear down the Beckwith statue after Simone leaves for college (370), suggesting that the novel recognizes that white students have social privileges that Black students lack, even (or perhaps especially) when conducting anti-racist activism.
Chapter 4 and Interlude 3, meanwhile, discuss how the whitewashing of histories of racism is not restricted to passive actions, like leaving a statue of a racist school founder in place. Jade, in Chapter 4, laments how her family turned their hotel into an “idyllic Southern fantasy” that elides the violence of enslavement and the Jim Crow era (61). Even Jade’s disdain contains an act of elision, however: While she laments what the Oliver family has done with the Draper, she holds up her deceased mother as saintly and not included in this critique. Interlude 3, however, notes that Amelia becomes complicit in promoting an idealized, pastoral image of the South’s past by turning Rose Hill Plantation into a destination for weddings, despite her initial discomfort with the Olivers’ history of being enslavers. This perpetuation of white supremacist imagery and ideology is not, the book suggests, less violent than more overt forms of whitewashing the past (as demonstrated, for example, through Tallulah). Thus, this section begins the novel’s exploration of Aggregate Burdens of Racism and how they affect Black individuals’ day-to-day lives, building tension and weight. Racist aggressions and microaggressions are a regular experience for Black Americans, and Hammonds implies that while progress is being made, systemic racism and societal norms keep racism alive and in force.
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