Where Is 'We Must Not Think Of Ourselves' Set?

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.

The climax of 'We Are All Completely Beside Ourselves' is set in a university laboratory, a place that feels both sterile and charged with emotional weight. This setting isn’t just a backdrop; it’s a crucible where the story’s tensions finally boil over. The lab is where Rosemary’s fragmented memories collide with the present, forcing her to confront the truth about her sister Fern and the experiments that tore their family apart. The cold, clinical environment contrasts brutally with the raw, messy emotions at play—white walls and fluorescent lights against screams and shattered glass. It’s a deliberate choice by Karen Joy Fowler, turning a space meant for objectivity into the stage for a deeply personal reckoning. The lab’s significance goes beyond its physical location. It’s where science and humanity clash, where the ethical boundaries of animal research blur into the emotional devastation of a family. The equipment—cages, observation mirrors, the faint smell of disinfectant—becomes symbolic. These details aren’t just set dressing; they amplify the horror of what was done to Fern and Rosemary’s childhood. The climax isn’t a grand battle or a chase scene; it’s a quiet, devastating moment of realization in a room that feels too bright, too exposed. Fowler’s genius lies in how she uses this unassuming space to hammer home the novel’s central questions about identity, love, and the cost of playing god. What makes this setting unforgettable is its irony. A lab, a place of discovery, becomes the site of Rosemary’s deepest loss. The sterile tables and labeled drawers hold the answers she’s spent her life avoiding. The climax isn’t about action but about the collapse of denial, and the lab’s oppressive orderliness makes that collapse even more jarring. It’s a masterstroke of storytelling—using a location to mirror the characters’ inner chaos. The echoes of Fern’s absence in that room are almost palpable, and by the end, the lab feels less like a scientific space and more like a graveyard for the childhood Rosemary can never reclaim.