63 pages • 2 hours read
Jerry SpinelliA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more. For select classroom titles, we also provide Teaching Guides with discussion and quiz questions to prompt student engagement.
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Jeffrey’s journey from Bridgeport to Hollidaysburg to Two Mills illustrates his search for the loving home and family that he never experienced with his birth parents. Because they died when he was so young, he doesn’t remember his home with them, but the idea of his birth parents still haunts him. Living with his aunt and uncle provided no support or warmth, as they were too busy ignoring each other to show Jeffrey affection. Having no experience with a true family, Jeffrey still knows that one of its trademarks is communication, and with each new connection that he makes in Two Mills, it is clear that he always strives to communicate well and create positive interactions. Although his first version of home with his aunt and uncle is entirely out of his control, his choice to run away from Bridgeport stands as both an act of rebellion and an unequivocal declaration of freedom and autonomy. By rejecting his aunt and uncle, he is ultimately choosing a new home of his own, even though it will be a while in the making.
In his initial habit of running boldly around Two Mills and greeting strangers wherever he goes, Jeffrey’s primary goal is clearly to find human connection despite his outsider status. Having been denied such meaningful connection for so long, he actively seeks it out on his own, and therefore, he is quick to feel at home with the Beales and later with Grayson. As the narration states, “The way Maniac fit in, you would have thought he was born there” (45). Thus, he cherishes the address of the Beale home, 728 Sycamore, because it represents his place with his new family. He doesn’t care about the Beales’ different skin color; for him, the only thing that matters is that he finally belongs with someone. With Grayson, he similarly makes his own address to create a ritual of belonging: 101 Band Shell Boulevard. This fictional address is Jeffrey’s way of claiming a home with the old man, which, although it is smaller than the Beales’ home, is no less meaningful to the boy.
In contrast to these earlier sections of the novel, Part 3 heralds a significant shift in Jeffrey’s attitude toward finding a home. After enduring the pain of Grayson’s death, his resulting fear of abandonment makes him hesitant to form any new human connections. He is no longer open to the idea of finding a true home, especially when he sees that some homes, like the McNabs’, are not built upon close-knit or positive dynamics. However, he eventually learns that homes are not synonymous with houses or physical addresses. Instead, they are formed by a loving network of people, which he has found on both sides of Two Mills. This network reshapes his growing identity and restores his belief in the power of family. In the end, he is most at home with himself when he overcomes the idea that he is cursed to be alone. This final shift in attitude is demonstrated by his acceptance of Amanda’s and Mars Bars’s invitations to leave the zoo and come back to live in the East End with them.
When Jeffrey arrives in Two Mills, he soon learns that the town is racially divided; Black families live on the east side of Hector Street, while white families live on the west side. No one crosses over this arbitrary boundary voluntarily until Jeffrey comes to town. At first, he is entirely unaware of the racial tension, and his innocence and friendliness prevent him from noticing the divide. Even when he is told about the racial segregation, he still can’t grasp the reason for it. To him, treating someone differently because of their skin color makes no sense. His main concern is in navigating his life as a runaway and finding a new home, so skin color doesn’t register as a potential obstacle for him until townspeople begin showing a distaste for his living arrangement with the Beales on the East End. When some townspeople call him offensive names like “whitey” and “fishbelly,” the behavior first confuses him and then fills him with guilt when he realizes that his presence has caused the Beales to become targets of hate. Jeffrey doesn’t understand that this hate isn’t personal; it is a result of a long history of racism and white supremacy that has been deeply ingrained into American society. Through the course of the novel, it soon becomes clear that Black people in Two Mills have learned to sometimes be wary of a white presence, especially in spaces that white people aren’t usually welcome and rarely frequent, like the East End. This social divide becomes most evident when an older Black man yells at Jeffrey, “Never enough, is it, Whitey? Just want more and more…Come on down to see…the monkey house […] You got your own kind. It’s how you wanted it. Let’s keep it that way. NOW MOVE ON” (61). The interaction, while inexplicable from Jeffrey’s innocent perspective, demonstrates that the old man holds resentment against white people for the way they have treated his community in the past; faced with a white boy whom he perceives to be invading his home, he takes his anger out on Jeffrey. However, Jeffrey doesn’t fully understand the implications of this larger social issue until later, when the anger does become personal. This moment occurs when he ostentatiously beats Mars in a race and realizes that “[t]he hatred in Mars Bars’s eyes was no longer for a white kid in the East End; it was for Jeffrey Magee, period” (148). He recognizes that this time, someone dislikes him for his own actions and not for the systemic social injustices that they think he represents.
Despite these rocky beginnings, however, Jeffrey grows into his identity as Maniac by performing heroic physical feats, and slowly, the town begins to accept him both for who he is and for the openness and inclusivity that he represents. In the most ostentatious version of his ongoing attempts to encourage people to transcend the fabric of racism that pervades the town, he tries to make amends with Mars and ease the racial tension by bringing him to the McNabs’. The meeting is not a miraculous peacemaking event as Maniac naively hopes, but the boy’s lack of success in this instance demonstrates the novel’s realistic approach to the ongoing issues of inequality and prejudice. In the end, racism isn’t “solved” by the brashly courageous actions of a single boy. Instead, the story is truly about the ongoing process of undoing and overcoming divisions with one small act at a time. Thus, Jeffrey’s bond with Amanda, his budding friendship with Mars, and his attempt to start a conversation between members of both sides of Two Mills represent some of his most heroic acts.
The story is told by a third-person omniscient narrator who relays the legend of Maniac Magee and makes the boy seem larger than life right from the start. To intensify this “tall tale” effect, the “Before the Story” prologue begins with the repetition of the phrase “they say” whenever the various theories about Maniac’s birth and behavior are described (1). The narrator admits that some of these stories are true, while others are exaggerated, and by injecting this element of uncertainty into the beginning of the story, Jerry Spinelli primes the reader to be ready for anything and sets the stage for tales that bubble over with playful exaggeration. Thus, while the novel does have significant moments of realism and heaviness, much of the story is filled with humorous hyperboles. This dynamic is aptly demonstrated when the narrator claims that Cobble’s Knot “had more contortions, ins and outs, twists and turn and dips and doodles than the brain of Albert Einstein himself” (69), and that Maniac “would need the touch of a surgeon, the alertness of an owl, the cunning of three foxes, and the foresight of a grand master in chess” (72-73) to untie it.
To intensify this exaggerated effect, the novel often takes on the tone of a myth or “tall tale” told around a campfire: a story filled with magic, wonder, and humor. Thus, Jeffrey himself becomes larger than life as he transforms into Maniac Magee and braves “monsters” like Finsterwald or gets the better of tough bullies on both sides of town. Maniac’s exploits are sometimes described from the perspective of townspeople who encounter this talented stranger and don’t know quite what to make of him; at one point in Part 2, Maniac is even described through the eyes of the baby buffalo whose pen he is sharing. Other times, the unbelievable is mixed with the ironic, such as the moment when Maniac wins a pizza prize right after discovering that he is allergic to pizza. As the narrator explains in the Prologue, however, the truth of the events in the novel are not as important as their influence and underlying message, and this is perhaps true for all stories. In the magical alchemy of storytelling, the meaning of each tale takes on a life of its own regardless of how loosely it adheres to reality. The reader, in this case, takes on a role very similar to one of the townspeople of Two Mills and gets to watch in awe as Maniac runs around and looks for new feats of heroism to accomplish.
By Jerry Spinelli
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