Pride: A Pride and Prejudice Remix

Darius Darcy, the teenage boy who moves in across the street from Zuri, is the “white knight” who the narrative posits opposite Zuri. He is immediately cast in this role in the first chapter, when he saves Zuri from getting hit by a bicycle. Darius’s character is parallel to that of Mr. Darcy’s in Jane Austen’s Pride and Prejudice. Darius’s prejudice against Zuri’s Bushwick neighborhood and, at times, her family, make him the “prejudice” counterpart to Zuri’s “pride.” Darius is different from the “boys in the hood” that Zuri is used to. He’s from a rich family, lives in a big house, and goes to a fancy private school. He even dresses different, wearing khaki shorts. These differences elucidate the vast class difference between Darius and Zuri, setting up a hurdle for the eventual lovers to overcome.

Darius’s character is used to explore the complex relationship between racism and classicism. Darius is a wealthy Black man. Darius’s economic privilege has given him a level of confidence in dealing with the world that Zuri lacks. When the police are called to Carrie’s party, Zuri is afraid for Darius’s wellbeing and makes him hide in the bathroom. Zuri is shocked when Carrie simply dismisses the police, not even letting them in the house, saying, “Wow. That’s it?” Darius replies, “That’s it. And that’s all that should happen” (246). His assertiveness speaks to a certain privilege, one that Zuri isn’t acquainted with.

Throughout the book, Darius and his family are presented as an anomaly, being a rich Black family that’s gentrifying the hood. Darius, in his khakis and with his apparent snobby attitude towards the hood—like when he doesn’t dance at the block party—is the ultimate example of this anomaly. Zuri must remind him repeatedly of street code. When he ignores the neighborhood boys at the bodega, she tells him: “You can’t walk around here thinking that you’re better than everybody else. These guys will put you in your place” (100). In the end, Darius undergoes a level of transformation himself. He adheres to the street code when he physically fights Warren at Carrie’s party, defending the honor of both Darius’s little sister Georgia and Zuri’s little sister Layla. This moment also sees Darius’s “white knight” role fully realized.

Warren’s character functions as an antihero, the opposite of Darcy’s character. While Darcy is polished and proper, Warren is a “hood” boy—something that resonates with Zuri and attracts her to him. Warren and Zuri bond about getting government assistance. After one of their early dates, Zuri reveals: “Last time we hung out, he showed me his EBT card and said that he’s never done that before with any girl—shared that part of himself where people will make all kinds of assumptions about what life he had had and what future is waiting for him” (129). This is the kind of issue Darius has never had to face. It serves to emphasize the class distinction, not only between Darius and Warren but also Darius and Zuri.

Ultimately, Warren supports Darius’s transformation to the “white knight” character when his salacious background in relation to Georgia is revealed. Warren also helps to explicate the book’s arguments regarding racism and classicism, and the way humans generally approach one another with judgments and preconceived notions. For example, when Warren pays for an expensive cab ride on his first date with Zuri, she asks him, “Are you slingin’ dope, Warren?” (80). Zuri’s assumption that a young Black man from “the hood” would only have access to this kind of cash by dealing drugs reveals how she, too, has her own preconceived notions. This drives home the book’s argument of how tough it is to overcome biases. Warren’s character in the book parallels that of Mr. Wickham’s in Pride and Prejudice.

Madrina’s character in the book is the ultimate example of diversity and otherness in the Bushwick neighborhood. Aged 65, she’s originally from San Juan, and adheres to Santería, an African diasporic religion that developed in Cuba during the late 19th century. Even to Zuri, Madrina seems exotic and other-worldly. Her apartment is full of crystal balls, candles, sage, tarot cards, and cigars—and the parties she hosts mix the human and spirit world, such as when she calls on the Santería goddess “Ochún, the orisha of love and all things beautiful” (56). As an external character who isn’t directly related to Zuri, Madrina serves as an objective sounding board for the teenage girl, who often seeks comfort from her.

Madrina’s character also serves the important role of spiritual guide in Zuri’s life. At the book’s conclusion, when Madrina dies, Zuri gives the old woman credit for her transformative moment with Darius: “I was on the roof with Darius when Madrina’s spirit left the world. Our bodies were glued together and I was happy for a little while […] Maybe it was Madrina, priestess of the love goddess Ochún, who made it so. She gave me that little bit of happiness” (261). Finally, Madrina’s character drives the plot forward through her death. When Colin then inherits the house Madrina owns—where the Benitez family lives—he decides to sell it, which is the final moment of gentrification realized.

The oldest of the Haitian-Dominican Benitez sisters, Janae’s character parallels that of Jane Bennett’s from Jane Austen’s Pride and Prejudice. Janae is the sister that Zuri is closest to and serves as a sounding board for Zuri to voice her fears. In Chapter 14, Zuri tells Janae she’s scared to go to Howard because she doesn’t know what to expect. Soft-spoken and sensitive, “Janae has always been the sensitive one” (119). Janae is the counterpoint to Zuri’s outspoken, prideful character. This makes Zuri even more determined to protect Janae from the harsh realities of the world. In Zuri’s point of view, one of those realities is that class differences like those between the Benitez and Darcy families can’t be overcome.

Janae’s budding relationship with Ainsley—and the fact that Ainsley appears to dump Janae because he thinks she’s a “gold digger”—drives home Zuri’s belief regarding the insurmountable nature of class differences. Although Janae seems soft compared to Zuri, Janae is more worldly and often pushes Zuri. Janae is the first person in the Benitez family to go to college, and she’s been beyond Bushwick. She tells Zuri: “We’ve been to a mall and a water park out of state. That doesn’t count for anything” (27). Janae’s character also drives Zuri’s character’s transformation. This is seen not only in her words, but also in her actions, like when she buys Zuri’s bus ticket to visit Howard University.

The middle one of the Haitian-Dominican Benitez sisters, Marisol’s character parallels that of Mary Bennett’s from Jane Austen’s Pride and Prejudice. Aged 15, Marisol is the “money-hungry sister” (3). Her character represents the value of street smarts, thanks to her “hustling” ethos. As soon as she meets the Darcy boys, she’s pitching them: “Can I interest you in any financial advisory services? It doesn’t look like ya’ll need any, but things are a little different out here” (10). Marisol flags the fact that money and education won’t help the Darcy boys fit in in Bushwick.

Twins Kayla and Layla are the youngest of the Haitian-Dominican Benitez sisters. Their characters parallel those of Kitty Bennett (Kayla) and Lydia Bennett (Layla) from Jane Austen’s Pride and Prejudice. Aged 13, the twins are boy crazy. Like Marisol, they drive the plot at key points. For example, when Layla dances on Darius in Chapter 4, it provides an impetus for Zuri to pridefully defend her family from Darius’s judgmental attitude. Layla’s flirtation with Warren is also the final climax in the book’s action, the moment that drives Zuri and Darius together—with the shared goal of saving Layla and making sure she doesn’t fall victim to the same trap as Georgia. This is also the incident that spurs Darius to fight Warren, helping his character to complete his “white knight” story arc.

The Benitez sisters’ mother and father, Mama and Papi complete the picture of home for Zuri. Haitian Mama and Dominican Papi reflect the diversity and cultural heritage that Zuri is so proud of. Mama’s character is primarily brought to life through her food—she’s always cooking. She even brings aluminum pans of food, Dominican pastelitos and griot (Haitian fried pork), to the Darcy’s cocktail party, a moment that highlights the class disparity between the two families. While Mama is loud, gregarious, and full of gossip, Papi is quiet and dignified. Zuri describes her father, who works at a hospital cafeteria and sometimes works night shifts, reading Howard Zinn books (7) and taking her to her favorite place in Brooklyn, a “book spot. This guy sells books on a corner” (86). Papi’s character highlights the fact that a formal education or fancy job doesn’t make a person “smart” or “literate.”

In addition to highlighting the importance of cultural heritage, the Benitez parents provide an example of a loving relationship. Zuri recognizes the love Papi has for Mama. She sees it in the practical ways he helps her, such as by cleaning the kitchen and washing the dishes after Mama cooks or bringing her a glass of water. Seeing this kind of love allows Zuri to set high expectations of her future romantic partners.

Ainsley is Darius’s brother. His character parallels that of Mr. Bingley’s in Jane Austen’s Pride and Prejudice. This is an instance in which Pride deviates from its inspiration, as Darcy and Bingley are only friends, not brothers, in Austen’s work. Ainsley is Janae’s romantic counterpoint in Pride, first pursuing her actively but then dumping her suddenly—presumably because he’s worried that she’s with him for his money. Ainsley’s dumping Janae is a testament to the book’s argument that class differences can be a hurdle to romantic love. However, the book ultimately argues that these class differences can be overcome, when Zuri and Darius find love. It's thus also fitting that Ainsley and Janae rekindle their flame. Ainsley also highlights how prejudiced and close-minded Darius can be. The Darcy brothers are both new to Bushwick, but while Darius doesn’t want to mingle and looks down on everyone, Ainsley is eager to explore the neighborhood and is friendly towards all.

Georgia Darcy is Ainsley’s and Darius’s younger sister, and parallels the character of Georgina, Mr. Darcy’s little sister from Pride and Prejudice. Georgina elucidates the Darcy and Benitez class differences. Zuri can’t keep up with Georgia’s cultural references: “Most of the things she brings up I’ve never heard of or experienced. So far, I know that they’ve gone skiing in somewhere called Aspen, go to somebody named Martha’s Vineyard every summer” (168). Georgia’s character further drives home how deeply ingrained classicism is in society. She manages this because, unlike Darcy, Georgina is not judgmental. She is sweet and innocent, full of questions about Bushwick. However, it’s clear that she harbors innate prejudices that, although not ill-intentioned, are nonetheless damaging.

Georgia notes that Darius says Bushwick is loud. Zuri replies, “It’s not noisy […] As a matter of fact, if it gets too quiet, I won’t be able to sleep” (160). Georgia replies, “Cause you’re used to it, right?” (160). Zuri stares Georgia down, who promptly apologizes and says that she didn’t mean to disrespect Zuri. While Georgia’s intentions weren’t bad, her “innocent” question draws a class line, implying that Darius is used to a quieter (“nicer”) neighborhood, while Zuri—born and raised in the hood—is used to the louder neighborhood. With this judgment coming from a well-meaning, kind-hearted character, the narrative shows how deeply ingrained classicism can be. Georgia’s also drives Darius and Zuri closer together: When Zuri learns about Warren’s shady past with Georgia, Zuri quickly dumps Warren.

Darius’s paternal grandmother is the books’ ultimate example of a high-class person who embraces classicism to elevate herself and put others down. As Zuri thinks, “If I thought the whole Darcy family was bougie, then this queen here is on a whole other level” (172). Ms. Darcy is snobbish towards Zuri, which also drives home the book’s argument that “money can’t buy manners” (43). It’s a sly wink from the narrative, a lesson that says a person can have all the riches and education and may look down on others who don’t have those opportunities—but that doesn’t make them classy. Ms. Darcy also serves as a potential foil that could ruin Darius and Zuri’s relationship, but she ultimately drives the two together. Darius recognizes how rude his grandmother is to Zuri, even apologizing to her. Ms. Catherine Darcy’s character parallels that of Lady Catherine de Bourgh’s in Pride and Prejudice.

Mr. and Mrs. Darcy barely appear in the book, and the “disapproving parent” role is fulfilled by Darius’s grandmother, Ms. Catherine Darcy. The Darcys stand out as being a rich Black couple spearheading gentrification in Bushwick. Although mostly seen from afar, the Darcys consistently represent “otherness,” as they don’t fit into Bushwick, and highlight the class difference between the Darcy and Benitez families. For example, when the Benitez family goes to the Darcy cocktail party, Zuri sees Mrs. Darcy looking at Mama’s shoes: “I look down too, to see Mama wearing her leopard print platform stilettos […] My face gets hot with embarrassment because I knew that this wasn’t the kind of party for those kinds of heels” (108). Mrs. Darcy also highlights otherness in a unique way the narrative doesn’t explore—she’s not American. Zuri describes Mrs. Darcy, who’s from Croyden in London, as having a “strange accent. It’s British, but not quite white people British. It’s kind of bootleg fancy, like a knockoff Louis Vuitton bag” (108). Her judgment of Mrs. Darcy’s Croyden accent as being akin to a knockoff designer purse shows that Zuri also has prejudices.

Colin is Madrina’s nephew and represents the type of “player” that Zuri looks down on in the hood. Zuri’s opinion of Colin is communicated as he watches her interact with her sister, when “He takes [Janae’s] hand and kisses it, pretending to be a gentleman and not the thirsty player that he is” (21). In Zuri’s eyes, Colin serves as a counterpoint to Warren—while Warren is seeking an education and has ambition, Colin is perfectly happy to stay put, playing basketball. After Madrina dies, Colin inherits her house and sells it, forcing the Benitez family to relocate. Colin’s character parallels the character of Mr. Collins from Jane Austen’s Pride and Prejudice. As in Pride and Prejudice, Colin (Mr. Collins) ends up with Charlise (Charlotte).

Charlise is Zuri’s best girlfriend in Bushwick. Charlise’s character parallels that of Charlotte Lucas from Pride and Prejudice. As in Austen’s original, Charlise (Charlotte) ends up with Colin (Mr. Collins). A basketball player, her character represents a brand of “hood” feminism, briefly allowing the narrative to touch on gender inequality, in addition to class and race inequality. When Charlise talks about fooling around with Colin, Zuri warns her about her reputation. In response, Charlise points out the gender stereotypes expected of them: “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” (95). Charlise serves as a foil to Zuri in this way, as she sets aside thoughts of society’s expectations and views of who she is supposed to be, while Zuri is at times consumed with them.