The experience of grabbing life and throwing yourself into it is an urgent priority throughout The Flamethrowers. All the characters appear to be living in their own selfish bubbles, which ultimately signifies the need to simultaneously be a part of the world while protecting yourself from it. Reno learns the hard way how important it is to embrace life. Due to her significant youth and lack of experience, her new social circle in New York is intimidating and difficult to keep up with. Reno takes a step back, allowing Sandro to play her navigator through the new world. Although it is very much indicative of her identity as an artist, Reno observes this world in New York rather than actively creating a role for herself. She repeats this pattern in Italy. At the Valeras’ villa, she holds herself back from engaging with Sandro’s mother and cousin Talia, two intimidating women, because she finds them easier to watch and listen to. When she flees to Rome with Gianni, she allows Bene and Gianni to replace Sandro as her navigators. Although she participates in the march and in helping Gianni escape, she doesn’t really know what she’s getting herself into.