We Are Family

This section establishes the narrative focus: basketball. The sport motivates the characters individually, and it ties them together. The story uses Hoop Group to unite Tamika, Anthony, Jayden, Chris, and Dex. Basketball is why Jayden wakes up before sunrise, and it’s what excites him about going to Carter Middle School. As the omniscient narrator explains, “[T]he first day of school can mean only one thing. Hoop Group” (13). Jayden’s expensive Kendrick King shoes symbolize the centrality of basketball, with Jayden’s mother investing emotionally and financially in the sport. In a note, she tells him, “Son, I love you more than you will ever know, and I believe in you more than you will ever know […] When you wear these shoes, I want you to remember that” (36). Her words elevate the shoes from mere footwear to a symbol of both Jayden’s aspirations and the generational sacrifices that fuel them, reinforcing the theme of Sacrificing for Other People. The shoes link Jayden’s present struggle to the larger dream of social mobility and success, emphasizing that basketball is not just a game but a potential means of changing his family’s circumstances. Jayden’s mother embodies the sacrifices made by parents who believe in their children’s potential, even at a personal cost. This connects to the novel’s broader message that success is rarely individual—it is built on the labor, hope, and persistence of others.

The young characters create an underdog atmosphere. Aside from Jayden, none of the team members fit the archetypal basketball player. Tamika’s gender makes her a subversive presence. Jayden initially thinks that “Hoop Group [i]s for boys only,” but after watching Tamika play, he realizes that “she can hold her own against anyone” (49). Tamika’s presence challenges the harmful notion that basketball is inherently male dominated, introducing the idea that access to opportunity should be determined by skill rather than gender. Her characterization also engages with the broader theme of Demonstrating Leadership and Fostering Community since she actively challenges norms to keep the team together. As Jayden switches his perspective on Tamika, he showcases his thoughtfulness. Anthony, too, is introspective, linked to the “nerd” archetype, preferring writing and reading to basketball. Chris thinks of himself as a basketball talent, but he’s insecure, so he distorts his skill set. Thus, each character is palpably distinct. If the disparate young people want to make Hoop Group work, they must manage their differences and accept one another. This early setup foreshadows their eventual growth into a found family, another example of the novel’s engagement with demonstrating leadership and fostering community.

The disbanding of Hoop Group in Chapter 4 marks the absence of an organizing structure, forcing the characters to determine how much they are willing to fight for their shared goal. Community and leadership are absent in Hoop Group, with Coach Beck unceremoniously disbanding the team. Before the first practice officially commences, the team represents fragmentation. On his own, Jayden displays Daily Persistence and Self-Control through his rigorous practice schedule on the Blocks. Roddy expands the theme of hard work by teaching Jayden not to give in when there’s an obstacle in his way. Roddy’s advice—that success requires the ability to push through discomfort—extends beyond basketball. It sets the stage for Jayden’s arc as he grapples with obstacles that test his commitment to his dreams. 

The authors continually use the literary device of allusion to reinforce the basketball-centric narrative. They reference elite basketball colleges, NBA stars, and NBA teams, but they don’t explain them, assuming that the reader already has a certain amount of basketball knowledge or is willing to research them on their own. The allusions therefore give accountability to the reader, just as the young characters must take responsibility for Hoop Group. This narrative strategy mirrors the way sports culture often demands implicit knowledge—fans and players alike must immerse themselves in the language, history, and expectations of the game to participate fully.

More so, the allusions give the story verisimilitude, linking the made-up characters to real-life basketball contexts. About Roddy, the narrator says, “[He] was a lock for Kentucky or Kansas, or even to follow in MJ’s footsteps at North Carolina” (26). Kentucky, Kansas, and North Carolina are vaunted basketball schools. Anthony Davis, LeBron James’s all-star teammate on the Lakers, attended Kentucky. Paul Pierce went to Kansas, and in 2008, Pierce and the Celtics eliminated James and the Cavaliers in the Eastern Conference Finals. “MJ” refers to Michael Jordan, who attended the University of North Carolina and played for the Chicago Bulls for most of his NBA career. This reference to real-life basketball legends serves a dual purpose: It not only establishes Roddy’s credibility within the novel’s world but also connects his lost potential to real-world stakes, reminding readers that talent alone does not guarantee success. Roddy’s story acts as a cautionary tale for Jayden, illustrating how even those with promising futures can be derailed by life circumstances. 

In addition to basketball culture, the novel employs another layer of allusion through its references to literature. Anthony’s appreciation for Langston Hughes in his creative writing class signals a thematic connection between sports and art. Hughes, known for his exploration of Black identity and perseverance, provides a fitting literary backdrop for a novel that is as much about resilience as it is about basketball. This intertextuality reinforces one of the novel’s central arguments: Whether through sports, literature, or leadership, greatness requires discipline, passion, and an understanding of the struggles that came before.