Flying Lessons & Other Stories

As the protagonist and narrator of “The Difficult Path,” Lingsi flies in the face of stereotypical gender expectations of a girl living in Imperial China. These limited expectations are noted immediately when Mrs. Li, Lingsi’s master, proclaims, “‘A girl! Learn to read! What a waste” (23). Education in Imperial China was for boys only, and resources and time were not to be thrown away on females. Despite this obstacle and Mrs. Li’s disapproval, Lingsi does earn a chance at an education, and her tutor tells her that she is “a very smart and clever pupil” (27). He goes on to claim that, if she were a boy, she would have won awards. Lingsi’s academic prowess defies the societal expectations that girls are not worthy nor capable of receiving an education.

Lingsi’s schooling is not the only means by which she lashes back against society’s prescribed gender roles. In a plot twist, instead of marrying, as all girls would have, she finds herself a place on a pirate ship under the helm of a female captain, Tianyi. Ironically, Lingsi’s ability to read is what secures her spot in the fleet. By the end of the narrative, instead of being trapped inside of society’s restraints, Lingsi writes about her travels on the ocean and notes, “But my head is raised and I can’t help but smile” (39). She has found joy and pride in living an unexpected life with the Red Flag Fleet.

At the outset of “Sol Painting, Inc.,” the protagonist and narrator, Merci, is a strong-minded, confident young woman who has clear goals and no questions in her life. She recognizes that academics are not her strength, but she is practical and longs to eventually run her father’s painting business. In fact, she notes that she has a long-term plan “to take over his company one day and turn it into an empire” (43). This clear and focused ambition contributes to a fixed mindset: She views her business success and her academic failure as equally predestined and inevitable. This rigid self-image translates into a rigidity in her views of what is right and wrong, which is why she cannot understand why her father fails to confront the girls who ruin their paint job. In Merci’s mind, there is only one response: to stand up for what is right.

However, with the help of her brother, Merci begins to realize that things are not so black and white, and that what sometimes appears to be wrong, may in fact be the best course of action. When Roli tells her, “‘Papi chose to be invisible today so you won’t ever have to be” (59), Merci is forced to consider a gray area, that what her father did may not have been correct, but that it was the best option in the moment. Because she admits feeling guilt, Merci implies that this message is starting to sink in. She feels badly because her father opted to remain silent to help her, and she repaid him with anger and frustration. The final sign that Merci learns a valuable lesson is when she jumps in the water to swim after her brother. “In the end” (60), she chooses to shake off her shame and follow Roli into the pool.

Sam is the dynamic protagonist of “Secret Samantha.” As they struggle to embrace their identity publicly, Sam is quiet and bends to the preferences of those around them. For example, in the opening scene, Sam must select an elf name for the class holiday gift exchange. Instead of claiming Flame as their elf name like they want, they succumb to expectations and choose Sparkles because “it seems safe enough” (62), meaning that their teacher and classmates will find nothing unusual about the nickname. Sam’s reluctance to express themself also manifests in their struggle to project their voice and speak confidently. In fact, Sam claims, “If I’m known for anything, it’s for how hard I am to hear” (76). This refers both to the literal volume of Sam’s voice and to their difficulty expressing their views.

However, as they get to know the new girl, Blade, Sam becomes more confident and willing to express their authentic self. Just arrived from California, Blade is unapologetic about her identity. She wears military boots on the first day, chooses an unconventional elf name, and does not flinch when rumors circulate about her. For these reasons and more, Sam is drawn to her. Blade’s confidence empowers Sam to give the girl the skull shoelaces as a gift. During this exchange, Sam reveals not just their elf name, but that they prefer to be called Sam. They reflect, “It’s the first time I’ve corrected somebody in nearly a year” (84) and “this time, I’m not whispering” (85). This newfound confidence, in both name and volume, signifies Sam embracing their identity and asking others to do the same.

As the protagonist in Kelly J. Baptist’s story, Isaiah is a mature character, who, in a role reversal, takes care of his family. After the death of his father and his mother’s subsequent struggles with alcoholism, Isaiah is left to care for his sister and himself. Not only does he manage his schoolwork, but he also makes sure his little sister eats and is loved. In doing all of this, Isaiah often keeps his thoughts to himself and only says and does what is right or expected. For example, when his mother is angry with him for getting a detention and making her wait, Isaiah apologizes instead of voicing his frustration at their living situation, which was ultimately the cause of his outburst at school.

Despite this inclination to always suppress himself, Isaiah does learn the value of speaking up and that he cannot bottle his feelings forever. After his mother tells him not to complain about the food unless he gets a job and buys the groceries himself, Isaiah challenges his mother and says, “When are you gonna get a job Mama?” (102). This shocks everyone in the family, including Isaiah himself: “I can’t believe I said that to her, even if I been thinking it for a while” (102). Isaiah admits that he has been tamping down this frustration with his mother for a long time. As a parent, it is her responsibility to provide for the kids, and Isaiah finally outwardly acknowledges that she is letting them down. Although the argument explodes in this moment, Isaiah’s courage to speak up leads to a reconciliation with his mother in the library, and they even talk about Isaiah’s dad, a topic that has previously been taboo. The story ends with the suggestion that the family will work to repair their wounds and improve their financial situation.

Turtle Kid, the narrator of “Choctaw Bigfoot, Midnight in the Mountains,” embraces and celebrates the culture and traditions of the Choctaw. Turtle Kid repeatedly emphasizes the nonverbal forms of communication that characterize Choctaw culture and how this deeply connects the family. The narrator emphasizes, “We’re Choctaw and we have our own ways, trust me” (106). Unlike other characters who struggle with their identities, the narrator fully embraces theirs. Additionally, although family members warn the children not to listen to Uncle Kenneth, the narrator and other cousins are drawn to the older man as a storyteller, a role worthy of respect among the Choctaw for its rich tradition of passing down history and culture.

In some ways, the narrator is much like Uncle Kenneth, an entertainer with a flair for the dramatic. After the older man completes his tale of Naloosha Chitto, Turtle Kid “stood up and lifted [his] palm to Uncle Kenneth in a sign of high respect” and then launches into why the Chukma family in the story is victorious by stating that of all the things the family can do, “the greatest of these my dozens of cousins, the greatest of these things is that they can—each and every one of them—tie their own shoelaces” (119). The narrator’s mixture of respect for Uncle Kenneth (using Choctaw signs), ability to draw out suspense with pauses and repetition, and use of humor indicates that he has the skills to carry on the storytelling tradition. In this moment, Turtle Kid demonstrates that their role is not just to listen, but to be an apprentice to Uncle Kenneth.

Treetop is the dynamic narrator in “Main Street,” who begins to undergo a transformation in the story. When she first meets Celeste, Treetop admits that she “had never known anyone brown” (128), suggesting not just her limited experiences, but also her white privilege to never have to think about skin color before. This is apparent when she naively touches her friend’s hair. Even though she is curious about the differences she sees in Celeste, Treetop is unaware of how disrespectful her actions are.

As her time with Celeste continues, the narrator witnesses the constant barrage of prejudice and microaggressions directed toward her friend. Whether it is the stereotypes her old friends perpetuate or other kids petting Celeste’s hair, Treetop becomes more aware of how hard it is for Celeste in this town. In fact, the narrator notes that “some mornings, when [Celeste] thought no one was looking, I saw her face dip into a sadness I had only seen on my father” (132). The sadness Treetop witnesses is comparable to losing a loved one, indicating just how difficult and painful it is for Celeste to be living in an all-white town. Treetop’s recognition of this pain suggests that she is no longer naïve and oblivious.

Although the narrator is not able to stand up for her friend when she’s there—Treetop is only 10 at the time—she is able to understand how much bias and prejudice Celeste and other Black people face in her community. Her longing to leave the town suggests not just a desire to meet up with her friend, but to also renounce the narrow-mindedness of her hometown. Looking back, Treetop thinks, “This town is both completely different—and absolutely the same—without her” (124). Her admission that the town is still the same indicates that the flaws, biases, and whiteness remain. However, what has changed is that Treetop has lost her friend but gained insight and compassion. Treetop’s reflections emphasize just how much she has grown because of her friendship with Celeste.

Santosh, the narrator and protagonist in “Flying Lessons,” internally grapples with his desire to belong and his need to show everyone how strong and successful he is. As he sits on the beach alone, watching other kids playing and having fun together, he thinks, “It’s almost as if without knowing it, I made some deal with the devil: I can have all the success in the world, but no one will ever like me” (144). The metaphor of a deal with the devil represents his own inner conflict: He views success and inclusion as mutually exclusive. Because of this fixed mindset, Santosh assumes that his academic success makes him unlikable. This belief perpetuates his self-created isolation.

However, Nani nudges him out of his solitary bubble by concocting a scene in which Santosh must interact with Tomas, the Spanish boy he rejects his second day on the beach. Ultimately, Santosh realizes that this mindset is what traps him and prevents him from making friends. Not until Nani forces him to let go of it can he understand that success and belonging can coexist. When talking with Tomas, Santosh thinks, “I never mention school. I never even think about school” (155). His inclination to talk about other aspects of his life does not negate the awards and trophies Santosh has earned; instead, he realizes that there are other parts of his identity too, and they do not have to constantly battle with his success. In this moment, Santosh is free to simply enjoy himself without the weight of his internal conflict.

Monk Oliver is the humorous and intellectual protagonist of Kwame Alexander’s story “Seventy-Six Dollars and Forty-Nine Cents.” Writing a memoir in verse, Monk entertains with jokes about himself and playful exaggerations. He sprinkles these tidbits throughout, but one notable anecdote is his proclamation that, at eight-years old, he knew Lisa Castillo liked him because “of the way she threw sand / in [his] eyes” (167). Obviously, Lisa’s actions are not a sign of love, but Monk’s emphasis on how she flung the sand at him makes the tone humorous. In addition to his light-hearted storytelling, Monk also reveals that he is an above-average student. After noting that Mr. Olley’s quizzes are renowned for their difficulty, he shares that he “aces” them every time. Furthermore, his description of DNA off the top of his head is very detailed and even his teacher notes that Monk does not need to think about earning extra credit.

Despite his likability and smarts, Monk is an unreliable narrator. At the forefront of this unreliability is the premise for his memoir: his superpower to read people’s minds. Given that a memoir is a narrative of an important part of one’s life and that superpowers are fodder for comic books and not real life, it is difficult to believe Monk’s version of the events that transpire. Furthermore, he reveals in his epilogue that he has embellished his story “here (and there),” but then waffles to say that “everything / I’ve written here / is true / (Mostly)” (206). This shifting back and forth makes clear that Monk has invented a fantasy that reveals his deep desire for acceptance.