49 pages • 1 hour read
Helen FrostA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Stephie met Keesha in seventh grade during field day. Keesha excelled at hurdles and long jump, and she continues to perform impressively in track and field. Stephie compares the hurdles of track and field to the obstacles of life. She wonders if Jason will stay with her and help confront life’s adversities. Stephie thinks about how young people’s worth is measured through sports and grades, but conspicuous standards don’t account for what happens inside a person. Stephie assumes people judge her because she’s pregnant, but their perceptions come from appearance, not direct knowledge of her situation.
Stephie is in the hospital, and she pages Jason. Jason angers his coach by choosing to be with Stephie instead of playing in the basketball game. Stephie is bleeding, and the baby might die. Jason realizes he wants the child. There’s hope the baby will survive, but at 4:20 am, the doctor declares that the “fetus is no longer living” (63). Jason’s presence makes Stephie realize that he’s “right” for her, and Stephie and Jason both feel a mix of sadness, love, and relief.
Tobias visits Keesha at the house. He has a burn on his arm. Keesha suspects her father, but the burn relates to “drugs and gangs.” To earn money, Tobias works for Jermaine and Dan, and they think Tobias is deceiving them. Keesha worries about gang members or police coming to the house, and she wonders if she should talk to their dad. Tobias doesn’t want to draw Keesha into his problems, as their father’s substance use disorder has worsened.
Dontay has stayed at six houses in four weeks, and he’s back at Jermaine and Dan’s place. Dan wants to involve Dontay in drugs. He tells Dontay that the job is simple: Take the bag to Seventh Street and return with the money. Dontay senses leaves their house. He’s aware of Tobias’s situation; he owes them $300 because the recipients disapproved of his delivery.
Carmen’s court date is tomorrow, and she hopes she receives the judge who knows her grandmother. Her grandmother visits her with a dress so that she’ll look respectable. Her grandmother believes in her and stresses the importance of truth. Carmen wonders if she can truly change her behavior and stop drinking.
After school and on weekends, Harris goes to the library, where he completes his homework and listens to music. In the bathroom, he brushes his teeth, washes his hair, and shaves. Sometimes, he plays video games in the youth section, where there’s a sign that advises adults not to leave children unattended. There are people younger than Harris in his situation, and Harris watches over them.
There are predatory adults at the library, and one man compliments Harris’s red hair, asks for a photo, and offers to drive him somewhere. Harris wishes the library could be a safe space, and, as he’s about to be a dishwasher at the Pancake House, he thinks about dishwashing safety. Harris plans to make use of the bathroom at work.
Katie and Harris partnered on a lab report when they were freshmen, and Katie once sat next to him on a field trip. Now, they’re coworkers, and Harris’s car means that Katie doesn’t have to consider quitting school to make it easier to get to the Pancake House on time. Katie pays for gas, and after two weeks, she realizes that Harris lives in his car. She talks to Keesha, and Keesha says Harris can move into the house if he can pay for food.
At first, kids would appear and announce that they were looking for Joe’s house. The young people could stay for a week or a year. Kids can still stay for as long as they want, but now they ask for Keesha’s house, so Joe lets Keesha take charge. She assesses the situation and helps them find a room. Joe trusts Keesha, but he’s too young to be her father figure and too old to be her romantic partner.
Charles receives a letter from Dontay’s foster father, telling him that Dontay has run away. Charles is suspicious of the foster family and thinks they took Dontay to get extra money from the government. Charles prays that Dontay will be fine and stay out of trouble. In about a year, Charles will get out of jail.
Anthony thinks Dontay’s parents blame them for Dontay’s disappearance, but Anthony and his wife, Lenora, keep the front porch light on for him, and they keep his bed made. If Dontay wants to come back, he’s welcome. Anthony realizes the family rules might not help Dontay as much as their other kids.
Judge Davison believes the juvenile system should protect communities and the kids. She’s not trying to put kinds in jail; she’s trying to do what’s best. She knows Carmen’s history. The judge believes Carmen will be fine, and she’ll let her go home.
Through Tobias, William knows where Keesha is staying, and he feels she’s “better off.” However, William wonders what would happen if he went to Keesha’s house and promised not to drink—maybe Keesha would return home. William has tried to quit drinking twice, and he doesn’t feel like the Twelve Steps program can help him. He feels like pride and love are battling inside him.
King, Harris’s dog, and Jeannine miss Harris, and Jeannine wonders where he is. Greg, Harris’s dad, refers to the “theft” of the clothes and blankets, but Jeannine hopes Harris is warm and has a safe place to stay. Jeannine doesn’t agree with Greg and his anti-gay beliefs.
Martha dreams that Katie wears the blue skating costume she wore when she was 17. Someone pushes Katie, and Katie falls, and no one helps her. Martha wonders if Joe is helping Katie or abusing her. Katie tells Martha she’s safe at Keesha’s house, and Martha wonders why Katie acts icily toward her.
In Part 6, the poems from the adult characters complicate the three central themes, The Flaws of Families, The Need for Resilience, and The Quest for Belonging, and offer a different viewpoint of the seven teens and their respective conflicts. Anthony says, “The rules that make our own kids feel secure / don’t work that way for him” (70). Dontay’s foster father confronts the shortcomings of his parenting. He’s cognizant that he’s not a perfect parent, but he and his wife continue to believe that Dontay can fit in with their family, so they keep the porch light on and leave his bed made—symbols that he’s welcome. He also realizes that he may need to parent Dontay differently because he joined their family in a different way, which shows his flexibility of mind. As William wrestles with his substance use disorder, he confronts his issues. Jeannine acknowledges that her husband’s anti-gay beliefs are wrong. She bluntly declares, “Greg’s wrong. / I’ve read enough books by now to know” (82). Yet Jeannine continues to be complicit in Harris’s displacement because she doesn’t confront her husband and stand up for her son. Jeannine feels like she belongs with Greg, and she lacks the courage to challenge him and face possible displacement for it: If Greg could so easily cast aside his son, then he could easily do the same to his wife. However, her decision to stay with her husband rather than find her son is also a betrayal of Harris. William wants to overcome his substance use disorder and reunite with Keesha, but he doesn’t feel like he has the fortitude to stay sober. Like the teens, the adults search for tenable identities and face the weak points of the families that they’ve created.
The young people continue to form a positive network. Harris makes Katie’s schedule less harried by giving her a ride to work, and Katie helps Harris by paying for gas. When she senses he’s unhoused, she talks to Keesha about letting him live in their house. At the library, Harris makes attempts to keep predators away from the younger kids. Jason sticks by Stephie by going to the hospital instead of playing at the basketball game. As the presence of helpful adults remains inconstant, the teens use their strength and empathy to support each other and build family-like structures. They offer each other the care that they have been deprived of in their lives by the people they hoped would protect them.
In the book, the teen allyship has limits. Keesha tries to help Tobias, but her younger brother tells her, “Just stay / outta this, Keesha. You don’t hafta do / nothin’ for me. I’ll be okay” (65). Tobias’s confidence is misplaced and foreshadows his death: He won’t be fine, and he can’t manage his situation, but he wants to keep Keesha away from their father. Unlike Tobias, Dontay realizes the risk of working for Dan. Dontay notes, “[S]omethin’ bound to go wrong” (66), which further foreshadows Tobias’s death. Dontay reaches his conclusion without the help of an ally his age. Similarly, Carmen’s situation doesn’t require assistance from a teen, but rather from her grandmother. Like Stephie, Carmen has an overtly caring adult in her life, with her grandmother telling her, “Girl, no matter / what you do, I keep on believin’ in you” (69). In Part 5, Carmen’s primary supporter is her grandmother, which demonstrates the many forms nuclear families can take. In the absence of Carmen’s mother, her grandmother is committed to helping her and blames her daughter for abandoning Carmen.
Stephie’s poem in Chapter 29 highlights the benefit of the verse form. Stephie argues that adults perceive teens through outward measurements, like how they perform in sports and the classroom. Their judgments miss the “private things that no one knows about” (60). Poetry allows the teen and adult characters to express their innermost emotions. Carmen can convey her mixed emotions about whether she can stop drinking, and William can express his inner battle with alcohol. The personal poems in Frost’s book link to the history of poetry. The English Romantics of the 1800s used poetry to demonstrate the tempestuousness of human existence. Like the characters in Frost’s book, the Romantics felt life was precarious, and writing poetry offered some respite. Similarly, the confessional poets of the mid-20th century used their poems to address the turmoil in their lives, often addressing themes like belonging and the shortcomings of family life. Keesha’s House continues these poetic traditions, but the text also innovates in that most YA works are not structured as novels in verse. The text, then, repurposes old traditions for modern audiences.
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