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The obstacle course behind station two is highly symbolic of Cassie’s struggles with her crewmates. Twice a year, the crew holds competitions on the boot-camp-style obstacle course to keep themselves in shape and as a means of bonding. Yet, when Cassie arrives, she notices one major problem; when she goes to show her crew how many pull-ups she can do, she can’t even reach the bar. The obstacle course was not built for anyone under six feet tall, and she is five-foot-six. The obstacle course, the station, and the fire department all have one major thing in common: They were not constructed with women in mind. The course is a symbol of how the men around her do not even believe it possible for a woman to be a firefighter.
However, Cassie uses the obstacle course continually to prove her worth to her co-workers, first when she arrives and makes a wager on how many pull-ups she can do and later when she stakes her job on being able to beat any man at the course. It also demonstrates that Cassie must work harder than the men to be accepted at her job. While the others are busy cracking jokes and pranking each other, Cassie studies and practices on the obstacle course, taking into account things like its angles and terrain that her co-workers—who can rely on size and muscle alone to complete the course—might not have considered. Though the rookie is twice as strong as she is, Cassie still stays ahead of him on the obstacle course before she sprains her ankle. She also makes a plan just after her first day on the job to learn parkour for an additional advantage in competition. Overall, the obstacle course represents all the obstacles Cassie must overcome as a woman at her fire department and how much more effort she has to put in to be considered “one of the guys.”
Throughout the novel, there is a recurring motif in which Cassie has to fend off hugs from friends, co-workers, and family members who sometimes mean well and sometimes don’t. After the award ceremony, her co-worker, Hernandez, says he thinks she needs a hug, and she struggles to think of a polite way to refuse. When she first reunites with Diana, Cassie says, “She moved in for a hug in slo-mo. I saw her lean in, and I thought, Don’t hug me. Don’t hug me. Then she hugged me. I stepped back when she released me” (87). Due to Cassie’s traumas and her refusal to express her emotions, she holds back from showing affection, especially if it involves physical contact. When Owen tells her that she always looks like she needs a hug and that he always wants to give her one, Cassie shuts down the conversation automatically, refusing to let him anywhere near her. Her actions here illustrate the distance she wants to put between herself and her emotions. When she and Owen finally do get together, one of the first things she does is hug him, calling it “a crazy thing” (366). She also notes that, though this wasn’t her first hug recently, as she had been initiating some with Diana and Josie, she says, “[I]t was the first hug I could remember in years that I wanted for myself,” representing a highly symbolic reclaiming of her body for her own use after the trauma of her assault (366). Owen’s mother, Colleen, also hugs Cassie after learning that she was the one who saved Owen’s life. This hug represents forgiveness, something Cassie struggles with throughout the novel. The motif of the hug functions as a physical embodiment of Cassie’s character arc throughout the novel, as she reclaims ownership of her body, learns to trust others, and becomes increasingly comfortable with emotional vulnerability.
When Diana asks Cassie if anything good came of her departure from the family, Cassie says, “I got very, very good at basketball” (183). Cassie’s father, Ted, was a basketball coach, and playing basketball with him after Diana left was their way of bonding. However, Cassie also used basketball as a way to avoid her emotions and put off dealing with the trauma she’d recently experienced. Throughout the novel, Cassie makes fun of things she considers “girly,” at one point saying, “I’m not a girl. I’m a firefighter” (18). She treats firefighting and femininity as mutually exclusive, just as her sexist coworkers later do. Like firefighting, basketball is not “girly,” and her crewmates exclude her from playing their daily basketball game for this reason. Since she is a woman, their logic says she cannot play basketball, even though she was the captain of her high school’s varsity team. Yet again, Cassie proves them wrong when she gets far more free throws than Tiny, who is a foot taller and would be the expected winner according to the men’s logic. Before she gets to the Lillian fire department, the motif of basketball represents Cassie’s rejection of emotion and all things she considers to be for girls. This is still the case once she begins at station two, where she has to prove her non-“girliness” not only to herself but to the misogynistic men around her. Cassie’s rejection of femininity makes it harder for her to cope with her emotions, yet it gains her acclaim within the male-dominated world of the fire station, further supporting the idea that firefighters cannot be vulnerable. It’s not until near the end of the novel that Cassie learns to view her vulnerability as part of her strength.
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By Katherine Center