93 pages • 3 hours read
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Art is a central theme in the novel. Over the course of the novel, Lolly must learn how to cope with the death of his brother Jermaine while resisting pressure to follow in Jermaine’s footsteps and join a crew. Lolly feels most alive and excited when he is building his Lego castle, an artistic project that frees from the shackles of his grief. In the beginning of the novel, Lolly is so depressed that he doesn’t think he’ll ever be happy again. He has also only ever built Lego kits to match the models on the box. But when Steve gives him the book A Pattern of Architecture for Christmas, Lolly feels a spark of creativity that pushes aside his anger. He bursts with “crazy energy to want to rip apart all of [his] Legos and make them into something else. Something different” (26).
Lolly’s original Lego castle, House of Moneekrom, and its surrounding city of Harmonee make his grief feel more manageable. Crafting stories about the alien race who rule over the castle is the only thing keeping Lolly from sinking further into depression. The act of creating and using his imagination is helping him process emotions that otherwise are too painful to confront head on. Anything that interferes with this project threatens his emotional state: When his mom wants to tear down the House of Moneekrom because it is taking up too much space, “I didn’t know what I was going to do then. Really did not know. Like I was losing control” (58). Similarly, when Mr. Ali allows Rose to build her Lego city alongside Lolly, he initially feels as though his world is being invaded.
Later in the novel, Lolly realizes that his and Rose’s Lego cities are works of art, which can come in many forms, no matter how unconventional. They have poured the pain of their loss into their work, which has become art that can “change people” (161). As Lolly sees the potential of art, he finds art everywhere. Vega’s violin playing now affects Lolly’s mood, especially when Vega plays sad songs. Lolly also responds to poetry, from the songs of rapper Tupac Shakur to the poem “On Imagination” by Phillis Wheatley, to the line from Richard Chenevix Trench’s poem “The Story of Justin Martyr” that Rose likes to repeat.
The power of art to change minds comes to a climax when Lolly defuses Mr. Tuttle anger over Yvonne stealing from his store by reciting lines from “On Imagination,” words that feel “like they were talking to [him]” (183). The scene shows the influence of artistic work and its potential to triumph in situations violence never could.
One of the greatest conflicts in the novel is the choice that Lolly and Vega face as adolescents: “you can’t go everywhere. You got to start worrying about crews” (4).
Jermaine and Steve symbolize the two paths that Lolly and Vega could follow. Jermaine joined a crew and tried to get Lolly to join too. Lolly turned down the offer, a decision which haunts him—he blames himself for not having been there for Jermaine when he was shot. Conversely, Steve Jenkins, Jermaine’s former childhood friend, survived in the projects without a crew. Steve emphasizes the importance of having choices, even when it doesn’t feel like there are any:
If you only expose yourself to whatever everybody else does, you’ll never create anything new. I think that’s what got your brother: He couldn’t see any other way out of here besides dealing. Got caught up in that street lifestyle, like that sheisty Rockit and all them (14).
Later, Steve tells Lolly, “Your brother took that easy path” (211). In Harlem, choosing the street life is the “easy path,” even though it is the most dangerous.
When Frito gives Vega the Glock to use on Harp and Gully, Vega and Lolly must decide if they are going to take the “easy path”—behaving the way they are expected to now that they are of age to start joining crews. However, because they’ve both seen alternatives—music for Vega and architecture for Lolly—the boys know that violence and revenge are not the only possibility. Lolly reminds Vega “about Steve and Jermaine, growing up together, but parting ways. If he chose wrong, he’d definitely end up screwed. But if he made decent choices, there was a chance he might make it out all right. Like Steve did. We both could” (269). They throw the gun into the river, deciding to pursue a different, more hopeful future.
Life in Harlem reinforces traditional belief that real masculinity relies on physical power and violence. As Lolly and Jermaine grow up, their dad rejects Jermaine’s clever problem-solving skills in favor of strength, often pinning Jermaine against the fridge and forcing him to fight back: “You can be a sly fox in the head […] but you can man up too. You not gonna man up and free yourself from me?“ (71).The phrase “man up” underscores this connection: Being a man means using one’s body as a weapon. Daddy Rachpaul continues this message into the present, making disparaging comments about Mr. Jonathan, Sue-ellen’s gay friend, and telling Lolly’s mom to stop calling him “Lolly,” because it sounds like she is “trying to make him into a female” (53). Lolly’s real name, Wallace, is what his dad calls “a solid man’s style” name (53). After Lolly gets jumped, his dad tells him that his mom “made [Lolly] soft” and that he needs to take martial arts or boxing classes (211).
However, Lolly knows firsthand where this attitude towards masculinity leads: Jermaine joined a crew, a path that led to his death. They consider the downsides of joining a crew, agreeing that it would be annoying to have to do what other people tell you to do, and that their moms would be deeply saddened by their choice. After Harp and Gully jump them, however, Lolly and Vega feel the allure of joining a crew and exacting retribution. When Vega shows Lolly Frito’s Glock, he tells Lolly they need to “man up” (237), doing whatever it takes to defend themselves, even if that means killing Harp and Gully. After seeing the effect of Yvonne’s arrest on his mother, Lolly can see farther into the future than just the first instinct towards violence. Lolly ultimately helps Vega make the choice not to use the gun, but instead to throw it into the Harlem River. After he throws it in, Vega thanks Lolly and tells him that he “manned up” (270). This time, to “man up” means to take the non-violent path and do something that requires a different kind of strength: the strength to make your own choices. By the end of the novel, Lolly and Vega have developed a much more nuanced understanding of masculinity.
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