Names are a dominant motif throughout the novel. Early on, Jason reflects that there is a sort of hierarchy of names—first names, nicknames, last names, insults—that mimic one’s place in the social world. Moran, for no apparent reason other than proximity in spelling, is called Moron. Jason has several names for aspects of himself: Hangman, who causes his stammer; Maggot, who represents Jason when he feels worthless; Unborn Twin, who is essentially an imaginary sidekick; and Eliot Bolivar, his poetry-writing alter ego.

The search for true masculinity is another recurring motif in the book. Jason spends a good deal of time worrying whether his actions will be perceived as “gay” or a “poof” or a “ponce”—the ultimate in social suicide. Masculinity denotes roughness in this book; it means breaking someone’s wrist in a fight, or committing a three-on-one tackle, or speeding away on a motorcycle. Masculinity is fighting (and dying) for one’s country, even if it means hiding your fears. Masculinity is never revealing your sensitive side, and never showing weakness. According to these standards, Jason isn’t masculine at all—but neither, it turns out, are the boys who value these traits most.