45 pages • 1 hour read
Lynda BarryA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Barry listens to The Lovin’ Spoonful’s 1965 song “Do You Believe in Magic” the summer she moves her bedroom into the basement. She is in the middle of growing out her hair, and her house is changing. Her grandma has moved out, her parents are off seeing other people, and Barry is supposed to stay home and take care of her two younger brothers. Barry’s best friend Ev, who is two years younger than Barry, lives across the street. Once Barry starts junior high, she feels embarrassed to have a younger best friend and abruptly starts avoiding Ev.
Barry reflects on the loss of a kind of childhood magic that feels like possibility. Teenage Barry lashes out at her siblings for suggesting she play with Ev, retreating to the basement to listen to the radio. Music has a unique impact when you’re between the ages of 12 and 20. Adult Barry remembers climbing on the roof with Ev and “talking about infinity” (106). Barry wonders about how little the difference in age between them really was. She rediscovers an old photo of her and Ev in a photo booth and pastes it into this book. She breaks the fourth wall to say hello to Ev, if she is reading.
Barry knows a kid named Dean who bags groceries at a store in a bad part of town. He is so used to the store getting held up that it doesn’t faze him anymore. Barry finds Dean incredibly cool. He asks Barry to get high with him, impressed that she can score acid. Barry goes along with it, even though her “drug-taking days were sort of over” (114) and she gets nervous when she trips. They take the acid in Chinatown and talk about their lives. Though Dean has travelled a lot and Barry hasn’t, they both have an interest in exploration and experimentation. Barry withholds a lot of information from Dean: She doesn’t mention her past with drugs, her familiarity with Chinatown, or the fact that the acid is two years old.
The acid hits as they cross into the seedy, strip-club part of town and they laugh at the hilarious imagery. When they both start to freak out under the highway, they retreat to Chinatown. As they come down, Barry spots her mom driving a car. Barry’s mom screams at them in Tagalog, but they run away. Barry tells Dean the truth about her life and admits she is falling in love with him. In response, he mentions some other girl he loves and departs on the bus.
Barry feels anxiety, dread, and excitement when she starts to see back-to-school ads in August. School always represents newness, possibility, and the hope that this year would be better. The summer before 7th grade, Barry discovers the radio—music is a way to connect with her fantasies. She fantasizes about meeting a guy and running around with hippies.
Barry’s friend Gladys is two years younger than her. Gladys worries Barry will ditch her to hang out with other teenagers. One day, Barry and Gladys spot a group of hippies coming down the street. Barry races after them, leaving Gladys behind. Gladys calls Barry a traitor, knowing that the hippies represent Barry’s desire to leave and never come back. Barry keeps looking for the hippies, nurturing a dream to become one. When she learns that the hippies come and go from a halfway house, she follows them there and finds them drugged-out, vomiting, and making crass gestures. Barry runs home, returning after dark. Her mother yells at her violently. Barry starts 7th grade having lost Gladys.
Barry’s first job is working for two hippies she calls “Rippy” and “Scammy” who ride around on a school bus. Rippy and Scammy hire high school kids to help them man a booth at the farmers market selling jewelry and rare ferns they steal from the rainforest. Barry notices that Rippy does most of the work while Scammy sits around trying to “look cosmic” (137). Barry rubs black stuff onto jewelry to make it look antique, while Rippy and Scammy fight about whether to go back to California. Barry is disappointed that riding around with the hippies isn’t as transformative as she’d hoped. They take Barry to a national forest to dig up more ferns.
Barry can’t get the hippies to pay her for her work. Scammy is in the middle of organizing a “fest,” or a gathering of hippies in the woods with a loose theme. Because Scammy lacks the organizational skills to put together much of anything, the fest turns into a muddy, haphazard gathering of drunk hippies in vague animal skin costumes. Rippy and Scammy are unsuccessful in selling any of their wares. Barry hides on top of the bus, waiting for the night to be over. When she finally quits the job, she never gets paid, but she feels satisfied about leaving.
These chapters explore transformative moments from Barry’s adolescence. One moment of transition manifests in a changing family dynamic as her grandmother moves out and her parents reevaluate their marriage. At the same time, Barry changes her personal expression, growing out her hair and switching her bedroom to the basement where she can have more privacy and independence. She fixates on her social status, eager for anything to confer coolness. This new value causes her to abandon friends with perceived lower status, like Ev and Gladys, both two years younger than Barry. Her desire to be cool also inspires Barry to pursue guys like Dean, whom she sees as higher status, even though he is only using her for drugs. Adult Barry reflects on these moments of transition with regret, particularly about her treatment of Ev. She reminds the reader and herself that not all transformations are good; some come coupled with loss. Barry attempts to recoup that particular loss a bit by breaking the fourth wall and reaching out directly to Ev. This experimental approach to autobiography as a medium of actively rectifying past mistakes is one way that the book is Redefining Memoir.
These chapters also introduce the motif of hippies and Barry’s desire to become one. Hippies represent a life that mixes freedom and coolness, two things teenage Barry deeply desires. Barry nurses a secret desire to be a hippie; she abandons her friend Gladys to run after hippies she sees getting on a bus. This moment foreshadows Barry’s eventual revelation about what the hippies really represent: Complete freedom means a lack of empathy and a severing of social connections. Barry’s pursuit of the hippie life ends up costing her a genuine friendship that touched teenage Barry’s insecurity about being cool enough. The hippies fail to provide her anything meaningful to replace it. When Barry arrives at the halfway house where the hippies live, she sees them with a newly critical eye as run-down, drugged-out, and creepy people.
Later, when Barry gets a job working for a couple of hippies, she sees even more clearly the hollow promise of the hippie life. Instead of finding coolness and independence, Barry is stuck with two scammers who bitterly fight and regularly take advantage of high school kids. The rule-breaking nature of their lives is more exploitative than cool and carefree. Barry’s experience with Rippy and Scammy finally punctures her fantasy about hippies, giving way to a more self-assured and realistic Barry who has the power to stand up to her bad bosses and quit.
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