What Is The Setting Of 'We Are Not Free'?

The setting of 'We Are Not Free' is a gritty, claustrophobic depiction of Japanese-American internment camps during World War II. The story unfolds in places like Topaz and Tule Lake, where families are crammed into barracks behind barbed wire. Dust storms choke the air in desert camps, while cramped quarters force strangers into uncomfortable intimacy. The camps aren't just physical locations—they're psychological prisons where characters grapple with identity, loyalty, and survival. What makes the setting powerful is how it contrasts with flashbacks of pre-war life in San Francisco's vibrant Japantown, making the loss of freedom even more visceral. The book doesn't shy away from showing how these barren, government-built spaces systematically strip away dignity.

'We Are Not Free' drops readers straight into the heart of WWII-era Japanese-American incarceration, but what's fascinating is how the setting evolves alongside the characters' perspectives. Early chapters show San Francisco's Nihonmachi district buzzing with life—family-run markets, crowded apartments where kids play stickball in alleys, and the comforting hum of bilingual chatter. Then comes Pearl Harbor, and suddenly homes become barracks in places like Manzanar, where dust seeps through floorboards and guard towers loom over everything.

The book masterfully uses seasonal changes to mirror emotional arcs. Summer arrivals face sweltering heat that makes tempers flare during loyalty questionnaires. Winter brings isolation as families huddle around makeshift stoves, their breath visible in uninsulated rooms. Spring's arrival coincides with teenage characters sneaking past fences to see cherry blossoms, a fleeting taste of normalcy. The setting isn't static—it actively shapes relationships, from the way communal mess halls force awkward interactions to how latrine queues become spaces for whispered rebellion.

What stuck with me were the tiny details that ground the horror in reality: the way mothers repurpose flour sacks into curtains, how brothers carve baseball bats from scrap wood, or the ominous presence of searchlights cutting through night skies. These elements make the setting feel lived-in rather than just historical backdrop.

Traci Chee paints 'We Are Not Free' on a canvas of stolen spaces. The primary setting—internment camps—isn't just one location but a rotating nightmare. Each transfer to a new camp (from Tanforan's horse stalls to Jerome's swamplands) strips another layer of identity from the characters. The genius lies in how setting reflects theme: watchtowers appear in every camp, but their meaning changes. Early on, they're threats; later, some characters barely notice them, showing how oppression becomes normalized.

The book contrasts institutional brutality with pockets of resistance. A makeshift baseball diamond in Gila River becomes sacred ground where teens reclaim agency. Barrack walls host secret art—characters paint memories of home or subversive messages in toothpaste. Even the soil matters; desert camps make gardening an act of defiance when characters coax flowers from cracked earth. These settings aren't passive. They breathe, challenge, and occasionally offer fragile hope.