The Fire-Dwellers is the third installment in a loosely connected series of five works centered around the fictional prairie town of Manawaka. This series includes four novels and a collection of stories, with A Jest of God (1966) being the closest in relation to The Fire-Dwellers. Stacey's story serves as a continuation of sorts to A Jest of God, which is narrated by her younger sister, Rachel Cameron. In Rachel's narrative, Stacey is introduced to readers as someone living an ostensibly ideal life in Vancouver. This perception forms the novel's backdrop, as Rachel—a withdrawn spinster—harbors envy towards Stacey, who appears assured and confident. Rachel’s belief that Stacey has liberated herself by leaving Manawaka underscores the novel's exploration of freedom and constraint. Yet, as The Fire-Dwellers unfolds, it becomes clear that Manawaka is more than just a place—it's a mindset that continues to ensnare Stacey, revealing the depths of her internal struggles.

Critically, The Fire-Dwellers has garnered attention from feminist scholars who appreciate its exploration of gender roles in a male-dominated society. Stacey operates within a world where chauvinism reigns, yet she remains unaware of her own oppression because it is so deeply ingrained. Her character reflects a woman ensnared by societal expectations, never contemplating employment or the possibility of entrusting her children and household to another’s care. Such notions are foreign to Stacey, who has been conditioned to believe that a woman’s ultimate fulfillment stems from marriage and family life, a belief shared by those around her. For instance, her husband, Mac, observes a nervous girl at a rally and simplistically concludes that she merely needs "the love of a good man"—a sentiment Stacey echoes, further illustrating the ubiquitous nature of these societal norms.

Despite the weight of these themes, Margaret Laurence’s portrayal of Stacey avoids the stridency often associated with feminist writings of that era. Instead, she crafts a nuanced narrative that examines Stacey’s life with subtlety and empathy, allowing readers to witness the complexities of her existence without overt moralization. This approach gives depth to Stacey's character, enabling a richer understanding of her internal and external conflicts as she navigates a world that both shapes and confines her. Through this lens, The Fire-Dwellers emerges as more than just a sequel to A Jest of God; it is a standalone examination of identity, autonomy, and the pervasive influence of one's origins.