A Duet For Home

“Tyrell had lived at Huey House for three years, and if there was anything he had learned, it was this: sometimes adults say things they mean, and sometimes adults say things they think they should say.”

Tyrell is an established presence at Huey House, so he has accumulated a fair amount of knowledge about how the shelter works and has grown to understand the adults who run it. Some adults, like Ms. Gonzalez, are honest and sincere, while others, like Ms. MacMillan and the people at HQ, use deceptive language and support harmful programs like HSP.

“HOMELESS SHELTER. This was a homeless shelter. The words echoed in June’s mind […] June wasn’t surprised to find out that it was on the fourth floor. Four. The unluckiest number of all.”

The repetition of the negative phrase “homeless shelter” reinforces June’s dismay about the prospect of living in Huey House. The repetition of the number four adds to her distress, as Chinese tradition dictates that the number is inherently unlucky. In this passage, June’s use of repetition reflects the fact that she is trying to come to terms with her unfortunate circumstances.

“[Jeremiah’s] mom had gotten a full-time job at the home goods store a few months ago, and they could afford stuff now. Like new pants from a real store. And by real, Tyrell meant not the Salvation Army.”

The portrait of Jeremiah and his mother creates a juxtaposition with Tyrell and his mother. While Jeremiah’s mother is a reliable caretaker and is able to find stable employment, Tyrell’s mother is peevish and nearly unemployable. The contrast between the two boys’ circumstances therefore foreshadows Jeremiah’s imminent move to better housing. Not only can Jeremiah’s mother afford new clothes from a “real store,” but she also has the capacity to live on her own.

“The new June wasn’t optimistic. Which was why she wasn’t surprised that their room at Huey House was only big enough for three twin beds with about two feet between them. It was why she wasn’t surprised when she and Maybelle were sprayed with sticky red juice.”

June continues to attribute her situation to “bad luck,” and the repetition of the phrase “she wasn’t surprised” imbues this passage with a tone of cynical resignation, indicating that June has become far more dispirited than a girl her age should ever be. She feels like she is the victim of a series of unlucky events, and she doesn’t know how to change the course of her life for the better. The accumulation of negative developments transforms her mindset from hopeful to pessimistic.

“To June’s surprise, the sound was coming from a small yellow school bus with HAPPY DAYS TRANSPORTATION stenciled on the side. It sputtered to a stop in front of the kids.”

Given June’s decidedly unhappy view of her circumstances, the name of the bus is a heavy-handed example of irony, and the bus ride itself is far from a “happy” experience. The bus smells and has no seat belts, and June and Maybelle are forced to wake up at 5:30 am in order to get to school, as their school is the last stop on the bus route.

“Tyrell and Jeremiah had ‘relocated’ the candy to their own hiding place and used it to bribe the security and maintenance staff when they needed a favor.”

The “relocation” of the donated jellybeans reinforces Tyrell and Jeremiah’s bond and establishes their joint status as the resident pranksters. The reappropriation of the jellybeans also indicates their resourceful nature as they transform the jellybeans into an unofficial form of currency and use the candy to gain access to restricted areas and keep staff members on their side.

“We’ve been here for thousands of hours! Can I have another candy?”

Maybelle’s dramatic use of hyperbole in this scene emphasizes the fact that undesirable environments can create even more negative outcomes. To counter the drudgery of the bus ride, Maybelle eats lots of candy, relying on an unhealthy habit to alleviate her boredom. However, June’s willingness to share with her sister also emphasizes her role as the responsible big sister.

“The slick voice again. ‘MacMillan, you need to talk to your family services director. We have to get families in and out quickly. We need to move them out within ninety days for the shelter to be eligible for the cash incentive.’”

Glaser reinforces the lack of humanity in the company person by depriving him of a name. He’s only a “slick voice” who cares about enriching his company, and his callous decision to drop the “Ms.” when he addresses Ms. MacMillan indicates that he holds her in just as little regard as he does the residents of Huey House. The emphasis on his “slick voice” also reflects the exploitative company that he works for, suggesting that both he and his superiors lack compassion.

“‘Vee-oh-la. It’s got one lower string, the C string, and it doesn’t have the high E string. It’s on the alto clef.’ ‘I have no idea what you’re talking about. Can I try it?’”

The dialogue between June and Tyrell has an educational focus, with June teaching Tyrell about the difference between a violin and a viola. Tyrell’s blunt reply is humorous and reveals his sincere interest in classical music. This scene suggests that both children are making new connections, thereby expanding their circle of friends and surrogate “family” members.

“The headline, in big, bold white letters against a dark photo of a man sleeping on the street, read HOMELESS POPULATION SURGES.”

The image of the newspaper reveals the extensive problem of finding housing for people in New York City, and the associated image also reinforces the unfairly negative connotations that tend to surround unhoused people. The headline also suggests that the media is not helping the situation, as such wording capitalizes on hyperbole and ignores the finer nuances of the problem.

“‘Is it true that there’s an instrument on the property?’ Her nose twitched, as if she could sniff it out.”

Ms. MacMillan’s overexaggerated dialogue and insistence on enforcing rules render her a highly cartoonish antagonist. In this outlandish moment, the author creates the impression that musical instruments are Ms. MacMillan’s nemesis, and the vivid depiction of her twitching nose makes her seem more like an animal than a human—as if she is trying to catch the scent of her foe.

“[T]he name June had called him a few hours earlier still stung. Secret: Every time he looked in the mirror, he saw his dad looking back at him.”

In a moment of irritation, June calls Tyrell a “criminal,” unaware that this term triggers his hidden insecurities and his fears that he will one day become just like his father, who is currently in jail for committing murder. Although the narrative has not yet revealed why the label deeply upsets him, the image of him looking in the mirror and seeing his father hints that he is carrying many unresolved issues about his past.

“A minute later they were downstairs in the basement, eating snacks in the cafeteria. Three minutes later they heard screams.”

The diction here creates a precise timeline for the boys’ plan to sabotage the meeting with mice. One minute after releasing the mice into the conference, Tyrell and Jeremiah eat snacks in the basement cafeteria to establish a likely alibi for themselves. In this case, the author uses the very lack of vivid description to create a lively impression of the scene; by mentioning nothing more than screams, Glaser leaves readers to imagine the chaos of 10 mice running loose in the midst of a meeting.

“‘She’s a dragon. A fire-breathing dragon with a werewolf for a pet […] I’m not going back there ever again.’ ‘I’m picking you up at eight. Trust me.’”

June’s colorfully negative first impression of Domenika acts as a red herring by suggesting that the violinist will be yet another antagonist in the story. However, Domenika is actually very supportive of June. Additionally, this description reveals the power of classical music, as the narrative will later reveal that Domenika is a veritable giant of the music world; she is an accomplished violin player and has performed at various illustrious venues during her musical career.

“Tyrell saw the exact moment June looked around the room and realized her mom wasn’t there. It wasn’t as if Tyrell’s mom was mom of the year or anything, but at least she was here.”

The juxtaposition between Tyrell’s mother and June’s mother emphasizes the detachment of the latter. Tyrell’s mother is not the “mom of the year,” but she still has the rudimentary drive to be present for the meeting about HSP. By contrast, June’s mother is too deeply incapacitated by her grief to participate in these potentially life-changing developments.

“‘Maybe the time frame is a good thing. I mean, who wants to stay here forever?’ ‘Not everyone is ready to leave. Jeremiah and I have been here for three and a half years. Have you seen my mom? She can’t hold a job for longer than a week.’”

The dialogue between June and Tyrell takes on the form of a miniature debate, with June seeing the positive side of HSP and Tyrell recognizing its drawbacks. Eventually, June realizes that the officials aren’t acting in the best interest of the families, so the imposed time frame isn’t a “good thing.”

“All of Huey House thought Mamo was a terrible cook and the meanest employee at Huey House, but only one of those things was true. Sometimes when Tyrell was in a bad way, she let him come into the kitchen and peel potatoes.”

Tyrell’s scene with Mamo allows Glaser to expand Mamo’s character. Though she may not be a great cook, she is far from mean, and she actively helps Tyrell cope with the news that Jeremiah is leaving by letting him peel potatoes in the kitchen. She’s conscientious and cares about the people in the shelter.

“Jeremiah looked so awful that June didn’t want to tell him her first thought: I don’t know what he’s going to do without you.”

Instead of celebrating Jeremiah’s move, June finds this moment to be melancholic because it separates Jeremiah from his best friend. June reflects on the boys’ deep bond when she wonders how Tyrell will get along without Jeremiah, and this thought emphasizes the Diverse Definitions of Family and Home.

“Unfortunately, HQ has decided that the focus should be solely on housing rather than services. You have openly opposed these priorities, so today will be your last day.”

Ms. MacMillan’s diction is bureaucratic and euphemistic in this scene, reflecting the cold, heartless approach of big government organizations that seek to hide their unjust aims in jargon. The company is not emphasizing housing over services; it is trying to make more money. If they truly wanted to “focus” on providing people with housing, they would want to maintain the services that make housing possible.

“Domenika was playing the violin for the president! Of the United States! There was another photo where she was onstage at Carnegie Hall’s Stern Auditorium with a full orchestra behind her.”

The pictures of Domenika expand her character and reveal her accomplishments as a violinist. Because she has performed for the president of the United States at Carnegie Hall, it is clear that her violin talents represent a lifelong passion, not just a casual hobby. By extension, the narrative implies that June herself may one day be able to reach similar heights.

“And suddenly, June, Maybelle, and their mom looked like a unit. A family. That familiar loneliness—the voice that whispered that no one was in his corner—sank over Tyrell as he watched them.”

Tyrell has a family and a home at Huey House, but he also longs for a family in the traditional sense. This hidden desire rises to the surface when he sees June and Maybelle hugging their mother since the tableau makes him feel left out, as if he is missing something.

“I’m sorry about the last year. I was so sad. I should have taken care of you and Maybelle. I hope you will forgive me.”

Mrs. Yang’s extended dialogue reveals that she is gradually confronting the trauma of losing her husband and her home. Although her early neglect has caused many issues for June, who has been forced to take on parental responsibilities, her attempt to make amends with her daughters indicates that she is ready to take responsibility for her actions.

“‘It’s June.’

‘Is everything okay?’

‘I need you to come down here right away.’”

After Henrietta bullies June during orchestra practice, June calls Tyrell, and this terse dialogue creates suspense. June’s urgent diction suggests that something important is about to occur, but the author has not yet revealed what June has in mind.