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At her audition, George joins the boys and is expected to read the part of Wilbur. Instead, when it is her turn to speak, George closes her eyes and “felt herself as Charlotte and gave each word her full attention as it left her tongue” (69). Ms. Udell thinks that George’s reading Charlotte’s part is “supposed to be some kind of joke” and offers her a shot at the male parts in the play (70). George leaves devastated and even gets angry with Kelly when she tries to comfort her.
At home, George lies and tells Mom that she did not audition. Scott teases her about Kelly being her “girlfriend” and chides her for not auditioning when she rehearsed all weekend (76). George is enraged and throws her fork down with such force that it bounces off the ceiling and then off Scott’s head. George runs upstairs and cries. She contemplates throwing away her secret collection of magazines and then worries about being found out. In the end, she cannot bring herself to get rid of them.
At school the next day, Ms. Udell reaffirms that she cannot cast George as Charlotte because there are too many girls who wish to play the spider. However, given George’s “passion and dedication” she can offer her the male protagonist’s part of Wilbur (85). George declines this and every other part. Kelly has been offered the part of Charlotte. George will be in the crew.
Two bullies, Rick and Jeff, overhear Kelly ask George why she isn’t in the play. They joke that George did not get a part because she was so bad and probably read the spider’s part, being the “freaking girl” that she is (89). Kelly calls the boys jerks and says that of course, George is not a girl. George surprises Kelly by saying, “What if I am?” (90). Kelly is confused, because George is anatomically male, and George begs her not to tell anyone that she is a girl. The two rush off towards home on their respective buses.
At home, Mom is waiting for George. While cleaning, she found George’s magazine collection. She asks if George stole the magazines, and George replies that she found them in different places. Mom tells George that she does not want to find her son wearing her women’s clothing. George says that she has not been wearing Mom’s clothes. Mom goes into her room, taking away the denim bag of magazines. George feels bereaved now that “her friends were gone” (94).
George spends the next days in “a haze of unhappiness,” isolated from both Kelly and her mom (95). She plays video games with Scott and contemplates the differences between the two of them. Whereas she likes the experience and sensory effects of playing, Scott enjoys the adrenaline-charged violence of the game. She gives up when Scott chooses a more violent, shooting video game and leaves him to “kill everything in sight (102).
At school on Monday, Kelly finds George and tells her that “if you think you’re a girl […] then I think you’re a girl too” (104). She has been looking up transgender people and wonders whether George’s mother would allow her to transition before she becomes a man. George is pessimistic; she tells Kelly about Mom’s banishment of her magazines.
Up until the play, afternoons will be devoted to preparing for it. George is part of the crew and decides that “if she couldn’t be Charlotte, she could at least deliver the large cards with the painted spiderweb words on them to Kelly” and “be Charlotte’s Charlotte, deeply hidden in the shadows” (111).
Jeff is in the crew and cross about having to participate at all. He decides to make fun of Charlotte’s character, saying he would crush her if he could. George is furious, thinking she won’t stand for such talk (114). She manages to emblazon the back of Jeff’s shirt with the words “Some Jerk,” a reference to the “Some Pig” message in Charlotte’s Web (115). When Jeff finds out, he tells Rick that “it looks like someone’s finally starting to grow some balls,” an expression George finds deeply embarrassing, because she dreads boys talking “about what was in her underpants” (117). Jeff calls George a “freak” repeatedly and beats her up until she vomits (118).
Principal Maldonado calls George’s mother. While in the principal’s office, George notices a sign that says “Support Safe Spaces for Gay, Lesbian, Bisexual, and Transgender Youth” (126). She wishes that she could find such a space and meet other girls like her there. Meanwhile, Principal Maldonado says that George should not make a habit of getting into fights, because she will not be so lenient next time. Mom takes George home.
This section of the narrative shows George making her first forays into expressing who she really is to the world and finding the process challenging.
George goes ahead with the plan to audition for Charlotte, the role that feels most natural to her, but is devastated to learn that Ms. Udell reads her heartfelt attempt as laughable (70). Seeing how upset George is, both Ms. Udell and Kelly try to console her by referring to her as a sensitive boy. They emphasize that George’s behavior can be included under the umbrella of masculinity. Ms. Udell offers George the starring male role of Wilbur as a reward for her emotionally convincing audition, and Kelly affirms, “You’re not a girl,” after Jeff’s teasing (90). Both attempts at kindness further frustrate and isolate George. Ironically, Jeff, the bully who spitefully pronounces George “a freaking girl,” is closer to the truth about her (89). George, who admits to a bemused Kelly that she is in fact a girl, now has the challenge of making her truth believable and acceptable, rather than ludicrous and freakish.
While Kelly researches transgender people on her own and is quickly accepting of what George tells her, George’s mom is not as accepting. She worries about George’s collection of girls’ magazines and can’t adjust to the truth about her child. Her banishment of George’s magazines is a symbolic attempt to dismiss this part of her child’s identity.
George’s attempts to protect her truth come out in anger—most prominently when she takes revenge on Jeff for making fun of Charlotte, a character who feels so much more real to George than the boy she is daily forced to play. She spells out Jeff’s true nature on his t-shirt. Getting beaten up by Jeff and then sent to the principal’s office is a frightening experience, but George finds a silver lining: She spots a notice on the office wall encouraging safe spaces for transgender children. In imagining a space where she is not alone to protect herself, but with “other girls like her,” she feels optimistic, as though there might be a chance for a better version of her life (125).