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57 pages 1 hour read

Rebecca Stead

Liar & Spy

Fiction | Novel | Middle Grade | Published in 2012

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Background

Authorial Context: Rebecca Stead’s Nuanced Portrayal of Bullying

Rebecca Stead’s third novel, Liar & Spy, represents a departure from her usual storytelling style, for it is her first story that is not a science-fiction mystery. For those readers who are familiar with Stead’s previous works, however, the author slyly use the trend of her past works to imply that the mystery Safer invents for Georges and himself might actually be real. In this way, Georges’s eventual revelation about the imaginary nature of “Mr. X’s” suspicious activity is intended to be just as much of a surprise to the reader as it is to Georges. Additionally, Stead has been praised for her realistic depiction of bullying and middle-school life and is frequently credited with highlighting the small-scale, everyday ways in which children are often harassed and demeaned by their peers. Instead of crafting an incident of obvious and horrific bullying, Stead’s novel depicts a pattern of insults, invasions of personal space, and other minor yet persistent forms of harassment that take place in plain sight but are consistently overlooked by teachers and administrators, even those who mean well.

Stead characterizes her novel within in the context of her own experiences as a child and as a parent. Much of the bullying in the novel is based upon her own middle-school memories of being socially isolated, with only one friend to her name. Georges’s flawed attempts to deal with the harassment by ignoring it were later reflected in her advice to her own children on how to handle such conflicts. In an interview with The Guardian, she explains that she would tell her children some variation of “It gets better” and “This too shall pass,” but she eventually realized that such advice robs her children of the right to advocate for themselves. When Georges’s mother gives the protagonist similar advice in the novel, it unintentionally causes Georges to endure the bullying in silence while desperately trying to rationalize his misery by telling himself that Dallas’s behavior is just one of “the little things” in life that does not deserve his time or energy. By contrast, Georges’s father represents the alternate perspective that Stead now wants to share: Even small examples of bullying are worth rejecting, and that it is important for children to stand up for themselves in the face of such social conflicts, for doing so allows them to develop a greater sense of agency and confidence that is vital to successfully navigating the challenges of the adult world. 

Cultural Context: America’s Funniest Home Videos

The television show that Georges’s mother has recorded to DVDs as his “smile therapy” is called America’s Funniest Home Videos. This program is a clip show that has aired consistently from 1989 through 2023. The show has had a number of hosts over the years, though its first host was Bob Saget, the then-star of the television sitcom, Full House. The majority of the video clips are short and last anywhere from five to 30 seconds; they mostly feature people and animals getting caught on camera in funny, embarrassing, and sometimes painful situations or accidents. Each week, the show was recorded in front of a live studio audience, who would vote to determine the funniest clip of the night. The owners of that clip would receive a cash prize of $10,000 ($20,000 beginning in 2022) and would also be entered into the running for a larger prize of $100,000 in a competition against other weekly winners.

The show was an immediate hit and soon became a pop-culture sensation that appealed to broad audiences and earned a place as a beloved family classic. Over the years, however, it has been criticized for including clips that depict animal cruelty or otherwise appeal to the basest forms of humor. Some critics have pointed out that many of the videos feature painful accidents such as wipeouts and falls. Additionally, videos featuring children having accidents have been particularly criticized, with some noting that the videos are always strategically edited to omit the children’s inevitable sounds of pain. The show therefore occupies a unique position in an overlapping space between simple family-friendly entertainment and an example of humor that appeals to the meanest parts of humanity.

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