logo

43 pages 1 hour read

Holly Goldberg Sloan

Short

Fiction | Novel | Middle Grade | Published in 2017

A modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.

Chapters 14-19Chapter Summaries & Analyses

Chapter 14 Summary

Shawn Barr keeps Julia and Olive even longer than the other featured performers to practice with the flying harnesses and the technical team, led by Gianni. Gianni fits them each for a harness, and the technical team nicknames Julia “Baby” to distinguish her from Olive. Julia adopts this nickname and grows more comfortable around Gianni and the crew. When Julia flies on the harness for the first time, the new perspective delights her: She is looking down at everything instead of looking up. When it’s Olive’s turn to fly, Julia realizes that though she and Olive are the same height, Olive’s arms and legs are proportionally shorter than Julia’s—a physical characteristic of many little people. As the rehearsal ends, Julia notices how quickly her attitude toward the play has shifted in the last few hours, from wanting to quit, to accepting being lead dancer, to becoming a flying monkey. Julia also reflects on how her size, rather than limiting her opportunities, made her a perfect candidate for both the Munchkin and the flying monkey roles.

Chapter 15 Summary

Before Julia leaves rehearsal for the day, Shawn Barr suggests that she visit Mrs. Chang to offer her a specialist position to make the flying monkey costumes. Julia asks Olive and Gianni to come with her and they agree; Julia plans to ask her mother to set up the meeting. Julia mentions Ramon in passing to Shawn Barr, and as Olive and Julia leave the theater, Julia tells Olive about Ramon dying earlier that year. When Julia’s mother picks her and Randy up from rehearsal and learns that Julia was doing wire work, she’s nervous and a bit upset. Ultimately, Julia convinces her mother that she loved the fly work and that “playing two different roles and learning how to do wire work and fly is helping [her] reach [her] true potential” (131).

Chapter 16 Summary

That evening, Julia’s mother shares the news about Julia and Randy’s new roles with the rest of the family. Tim, Julia’s distant older brother, shows uncharacteristic interest in Julia’s experience with the flying harness and they reconnect. Julia’s mother calls Mrs. Chang, who agrees to meet with Julia, Olive, and Gianni about the flying monkey costumes. As Julia gathers photos of flying monkeys for inspiration for Mrs. Chang, she wonders about how few women play flying monkeys in other productions, including the film. Julia’s mind wanders through thoughts of animal hybrids to thoughts of a new pet, but as she curls up on a chair outside to rest, she falls asleep imagining Ramon.

Chapter 17 Summary

Julia’s parents have scheduled an orthodontist appointment for her, even though Julia is concerned that getting braces during the run of the play may upset Shawn Barr or in some way jeopardize her spot in the cast. Julia’s father drives her to the appointment but allows Julia to go into the office on her own, so Julia spends her time in the waiting and X-ray rooms thinking about careers and wondering how a person knows what they want to do for a job. Julia decides that if daydreaming and taking care of dogs could be a job, that would be the one for her.

The orthodontist decides to x-ray Julia’s wrists as well as her teeth to measure her bone age. When Julia brings up her concerns about the play, the orthodontist offers to postpone braces until after the run of the play. The orthodontist also mentions a name that Julia hears as “El Frank Bomb,” but when Julia looks it up later, she realizes it’s L. Frank Baum, the author of The Wonderful Wizard of Oz. Julia is fascinated with the idea of writers—the creators of stories and worlds—and takes note of several famous writers who were also smaller than average.

Chapter 18 Summary

Olive arrives at Julia’s house and the two of them meet Gianni at Mrs. Chang’s to talk to her about working on costumes for the production. Mrs. Chang has already begun work on a flying monkey costume prototype, and based on the questions she asks Gianni about the flying harness, it’s clear that Mrs. Chang has done work in theater before. Julia, Olive, and Gianni learn more about Mrs. Chang’s life, including her age (76) and that she moved to the town to be close to her daughter. When Gianni presents her with the job offer, Mrs. Chang offers an interesting counterproposal: She will work on costumes for the play, but not in exchange for money. Instead, she wants a role as a flying monkey herself. Julia volunteers to ask Shawn Barr about Mrs. Chang’s role at the next rehearsal.

Chapter 19 Summary

Instead of waiting for the next rehearsal, Gianni and Olive offer to bring Julia to Shawn Barr’s motel to discuss Mrs. Chang together. After getting permission from her mother, who is busy on the phone with work, Julia rides with Olive and Gianni to the Bay Motel, where Shawn Barr and the other performers from out of town are staying. At first, Shawn Barr is delighted that Mrs. Chang can make the costumes and doesn’t want to be paid a large fee, but he immediately says no to her request to be a flying monkey. Julia confronts Shawn Barr about discriminating against Mrs. Chang because of her age, and Olive follows up with a discussion of bias in the theater from her perspective as a little person, a woman, and a person of color. Shawn Barr is persuaded by this argument and agrees to allow Mrs. Chang to audition, but only if she is medically capable of flying in the harness. As Gianni drives Julia home, Julia notices that Gianni and Olive seem to like one another and are making plans to spend more time together. Julia reflects on the growing attraction between the two and on Shawn Barr’s declaration that art is “asking people to take another look at themselves and at each other” (180). That evening, as she is adding a napkin from Mrs. Chang’s house and a matchbox from the motel to her scrapbook, Julia writes a short journal entry with her thoughts about art, career, and creativity.

Chapters 14-19 Analysis

When Julia, Olive, and Gianni bring Mrs. Chang’s request to be a flying monkey to Shawn Barr, he reveals his own bias against Mrs. Chang, showing the pervasiveness of bias and discrimination. When Olive stands up for Mrs. Chang and Shawn Barr relents, Julia sees firsthand how art can help one confront bias and encourage diversity; the episode simultaneously develops themes of The Power and Purpose of Theater and of Body Positivity, Discrimination, and Intersectionality.

The author further expands Julia’s perspective on the arts through her conversation with Dr. Brinkman, who teaches Julia about L. Frank Baum. Julia is particularly struck by the fact that Baum’s words continue to shape events in the present: “[T]his person had an idea and this person wrote it down, and that led to this day and to me talking to a dentist about changing the schedule of my teeth straightening” (152). Her fascination with an individual writer’s ability to effect change foreshadows her interest in writing as a career. This episode also highlights how the first-person point of view follows Julia as she considers the power of art to offer new perspectives. This encourages the reader to think through the same topics as they engage with another work of art: the novel itself.

Due to the first-person perspective, the reader is only privy to details that Julia notices. Olive’s race therefore only becomes clear when Olive refers to herself as a woman of color. Julia realizes that she didn’t think about Olive’s race as part of her identity and that this inattention caused her to miss important information about Olive. Julia’s belated revelation mirrors the way unconscious bias can shape the reading experience—e.g., assuming that all characters are white unless stated otherwise, which is itself a variation on considering whiteness the universal norm and all other skin tones different or “other.” By giving Julia this awareness, the author invites the reader to reflect on the ways in which they also may have assumed certain things about characters in the story because of their own biases.

Though thoughts of Ramon take a backseat to questions of art and identity in these chapters, there are nevertheless signs that Julia is making strides at Processing Grief. Her first experience in the harness is a moment of pure joy that teaches her about life’s ups and downs: “I’m learning a big lesson right now, which is that the same thing can be rotten one day and then amazing the next […] I was worried that I’d have to dance, and instead, I’m learning to fly” (121-22). Julia does not mention Ramon here, but the “lesson”—that the negative and the positive can coincide—is one that applies to loss as well. Meanwhile, doing wire work continues to build Julia’s confidence, as evidenced by her response to her mother’s concerns about safety: Julia not only recognizes that being in the production is positively impacting her but also has the courage and conviction to express this to an authority figure.

blurred text
blurred text
blurred text
blurred text