Framed

This device of gradually revealing more about each character applies not only to Griffin, his friends, and the likeable characters but also to the less appealing Gordon Korman faces an interesting situation at the beginning of Framed in that he must reintroduce characters that many of his readers already know. The Swindle series, which began in 2008, was popular before this third book was first published in 2010. Plus, those who begin the series after its initial publication most often read the books in chronological order. Thus, the author must bring first-time readers up to speed without being redundant in introducing individuals a third time. He accomplishes this through the use of subtle, indirect descriptions of their appearance, actions, and foibles. For instance, he describes the way Melissa must shake her head so that her face emerges from behind her long, helmet-like hair. Thus, he describes an introverted person who only appears when she has something significant to say. Korman reinforces this practice throughout the narrative, each time adding depth to the personalities he describes.

This device of gradually revealing more about each character applies not only to Griffin, his friends, and the likeable characters but also to the less appealing characters in the narrative. Celia, whom he depicts as the most obnoxious character in the entire series—even more so than Darren—is allowed several opportunities to expand upon her rationale for criticizing children who have done nothing to her and are a real benefit to the community.

In Framed, Korman uses a number of motifs that he developed in the first two books of the series and reintroduces them in this first section. Perhaps most prominent is the perception of the community—both young and old—that Griffin and his posse are bad news. Even the new principal knows that these children have a sullied reputation. These young people, then, are in trouble before they ever get in trouble. Dr. Egan warns them that he will be watching them constantly. Another motif from the previous books is that the plans of The Man With The Plan almost always run off the rails. In this section, the first time Griffin tries to interest his friends in a new plan to end their early morning calisthenics, they all complain and refuse to participate.

Not all of the motifs from prior narratives are negative. Griffin and his friends are always there for one another and understand The Necessity of Loyal Friends. Loyalty is their highest virtue. Despite their disagreements and inducements to abandon one another, their loyalty is unfailing. They are also oddballs, socially awkward kids who understand they don’t really belong to any other group. Ben captures this reality perfectly when he points out that, as someone who has a prescription ferret, he is the wrong person to decide what is weird. Each member of the posse has an unusual trait and but finds community and camaraderie together. Their shared quirkiness motivates them to remain loyal to one another.

The perpetual antithesis to this consistent loyalty is the fact that, just as Griffin’s friends are ever loyal, his true enemy, Darren, is consistently cruel. Darren gives readers the opportunity to ask why someone is cruel simply for the sake of causing others pain. Of all the characters in the series, Darren never grows or changes.

Also carried over from previous volumes is the motif of troublesome adults. Before Griffin ever gets in trouble in this narrative, his mother harangues him for losing his retainer, despite the fact that it is painful and pops out of his mouth every time he opens it. Korman portrays parents as genuinely trying to understand their children, but really not getting it. Those adults who are not parents tend to be extremely judgmental. Dr. Egan is not the only authority figure who assumes Griffin is guilty. The grown-ups who populate this first section, such as Detective Vizzini and Judge Koretsky, have authority over the lives of young people and have already judged them. They don’t question False Evidence Appearing Real because they are certain that their age and authority make them infallible. By the end, the adults acknowledge their mistakes.

Korman writes about a specific group of young people made up of unique individuals. Even in this section, they have begun to face a major issue and must deal with disbelief and prejudice against them. For Korman, however, this small group of tweens is emblematic of the reality faced by early adolescents everywhere. Not everybody is Griffin, yet the trials he faces symbolize the issues faced by virtually every tween.