Good Kings Bad Kings

In the final chapters of the book, characters resolve their conflicts and begin toward new paths. Michelle finally breaks away from Whitney-Palm, having tolerated too much guilt and mistreatment from the board of directors. The more access she gains into corporate leadership, the more she begins to realize how cruel and inhumane the company is, which she wants no part of. In the final meeting she attends after Teddy’s death, the lack of compassion for human life is evident in the way the Whitney-Palm executives address Teddy’s tragedy:

And he died. Because he had his legs amputated and got pneumonia. None of this was that big a deal—well, it was a huge deal for the boy, of course, and his father who is suing but what I meant to say is it wasn’t picked up by the media at all until one of the girls here decides to sit in front of the building one day with a big sign that says THEY ABUSE AND KILL CHILDREN HERE (229).

The sheer neglect of Teddy’s life is obvious in the carefree tone and dismissive descriptions provided by the executive—i.e. “None of this was that big a deal” in describing a young man’s severe death. This tone symbolizes how disconnected and unsympathetic the Whitney-Palm corporation is towards their patients, and how, from a universal standpoint, the healthcare system ignores the wellbeing of the masses in order to collect profit for a select group of individuals sitting in an exclusive business meeting. Even with Yessie’s bold sign, they still refuse to accept the situation and offer their help, instead scheming for “damage control” and protecting their public image.

Michelle’s increasing sense of resentment towards the company’s stance can be seen in how she laughs at Dr. Caviolini’s incompetence and loses interest in her role until she finally gets drunk and quits. This act salvages her character’s integrity, showing that she does, indeed, realize the horrific conditions for these patients is intolerable and wrong. She no longer wants a part in the exploitation of disabled humans, proving her moral compass is still intact.

Joanne’s resolution, on the other hand, is forced by her firing from ILLC. Though she is glad to leave her work duties behind, she feels saddened by her abandonment of the young patients, who she knows will continue to need support and advocacy. However, Joanne’s work of social empowerment manifests in both Yessie’s political action and Mia’s leadership training with Access Now. Joanne’s character largely represents the power of community, love, and faith when shared with youth. By trusting the young patients, treating them respectfully, empathizing with their struggles, and exposing them to different ways of political thinking, she has given them a sense of confidence and autonomy that they lacked before. When they are trapped within a system of exploitation, abuse, and neglect, the youth are—as expected—depressed, rebellious, and even violent towards their abusers. But Joanne operates outside of this institutional abuse and actually views the young patients as capable, funny, wholesome people, and this act serves as a catalyst for their forward progress. Mia’s pink power chair is symbolic proof of how the youth are able to move forward into the future with Joanne’s encouragement and support.

Though Ricky’s resolution is unclear, he wants to leave ILLC, and his solidarity with the patients and Joanne is undeniable. His role as a physical enforcer at the beginning of the book has turned into his role as an emotional support for many of the disabled characters, and his ability to use his large, male body to help others is also proof of how health care can work if the right people make good decisions. Unlike his counterparts—Louie, Jerry, and Candy—who all use their bodies to exploit and harm the helpless patients, Ricky refuses to overpower others and instead uses his abilities to care for those who are largely uncared for. His character—along with Joanne, Yessenia, and Mia—acts as a hero for the ILLC community, who stands up to the malicious characters around him to provide safety and advocacy for a vulnerable population.

Another hero in this story is Jimmie, whose large physical stature and wholesome emotional care persist until the final sentence of the final page, in which she is waiting to receive Yessie in the middle of the night. Whereas Ricky represents a fatherly/brotherly hero and positive influence, Jimmie represents motherly/sisterly hero and positive influence. Her decision to propose the adoption of Yessenia is the apex of her sisterly care. Her love for Yessie goes beyond any financial or professional responsibility, it’s from pure compassion and the desire to “raise” a young girl who needs guidance: “I just love Yessie and I think I could finish raising her” (242). In many ways, adults in the story like Jimmie, Ricky, and Joanne are able to heal both themselves and the youth by committing good deeds. They each have their own past of suffering and tragedy, and by caring for and helping these patients, they receive happiness and personal fulfilment in a healthy, genuine, and non-monetary way.

Lastly, Yessenia’s character transformation from an angry, aggressive, and even violent girl into an independent, visionary, and politically curious young woman marks the benefit of caring for our youth. Though her character is imperfect and still prone to mistakes (highlighted by her rash decision to run away to Milwaukee for a night), she is still able to come to her senses and doesn’t break. Having been largely misguided, uncared for, and abused in her life, it is understandable that the choices she makes aren’t always the best. Yet, the way she has evolved into a maturing, compassionate, and socially aware person shows that she is moving in the right direction once she has freed herself from ILLC’s control (literally and metaphorically). She wants to support her peers, and she also wants to be supported by others, and her search for her identity and self are signs of a young woman taking control of her life. Much like Joanne and Jimmie, Yessenia is determined to be a fierce woman who will accept help from others, but she refuses to be a dependent, subservient weakling.

Joanne’s description of her relationship with Ricky is proof of how the female characters are independent and self-sufficient, even when their bodies limit them: “I don’t want to forget how long it took for me to become self-sufficient again after being injured. I always want to be self-sufficient. You never know how long anything might last, relationship wise” (234). Joanne’s self-determination here largely reflects the determination of all the female heroines—including Yessenia, Mia, and Jimmie—how must each, in their own ways, discover how to take care of themselves while also finding ways for others to take care of them. The theme of self-sufficiency and self-advocacy is best exhibited in these characters, representing a larger message for readers that with community, trust, political awareness and confidence, a shot at happier living is possible—particularly for marginalized groups such as people of color, women, the disabled, and youth.