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Eloise and the Smithforks explore the layers of her father’s inheritance scavenger hunt by examining Mr. Post’s poetry book. Though the quest seems simple on the surface—find where Mr. Post hid his treasures—they soon discover that his poem selections were not accidental and that he was imparting messages for his children from beyond the grave. By portraying the treasure hunt as she does, Sherry recognizes the significance of solving mysteries: The joy of the hunt is not in the destination but in the journey and in what one learns along the way.
When the children present their initial findings to Eloise, she is skeptical and less than impressed. She tells them, “Perhaps there was only one mystery to solve, and that was the location of my father’s poetry book. That is probably the treasure he meant” (157). Years of no progress make Eloise cynical; rather than enjoying the thrill of exploring New York City, she becomes bitter toward her father; he led her and her brother on what she believed was a wild goose chase. When considering her father’s love, she further elaborates, “There have been moments over the years when I doubted that, but after you handed me the book, I felt happier. Even if we never find the treasure, I feel better about how everything has turned out” (178). She begins to understand what her father wanted her to learn, but she still has a long way to go.
She begins to understand toward the end as she and the Smithfork children gather more clues and come closer to uncovering the truth. Brid says, “It’s almost like your dad was telling you how to live your life through some of his favorite poems” (283). In her sorrow, she recognizes that “there isn’t much of [her] life left to be lived” (283). Eloise chose not to follow the trail her father left and, by extension, did not discover the thrilling adventure her father planned for her and Julian. She also did not learn how exciting a well-designed treasure hunt can be when searching for family history and historical context. Having solved a complex mystery at such a young age, the Smithfork children are also the beneficiaries of the lessons that Mr. Post intended for his children: the fun of solving a mystery. They also make friends and grow closer to each other during the process.
Despite growing bitter toward her father, Eloise learns the thrill of solving mysteries and deciphering clues because she works with the Smithforks to uncover the secrets. Rather than making the treasure hunt about the destination—finding her father’s treasure—she becomes enamored with the quest and camaraderie that comes from working with others and solving hidden mysteries.
Though the clues are difficult for the Smithfork children to decipher alone, they face a more significant challenge on their adventures: working with their siblings. Each of the three older Smithforks possesses talents and skills that aid their search for the Post treasure, but their inability to see beyond sibling biases often hinders their hunt. The two dynamics that impact the quest most significantly are the dynamic between CJ and Patrick and between CJ and Brid. CJ Smithfork, the oldest brother, is at the heart of their external conflicts and dismisses his siblings’ skills.
CJ and Patrick have a complicated relationship, but the heart of their relationship is care and support. He stands up for Patrick when Brid tries to exclude him from the adventure when she says, “We don’t have time for your delaying tactics. Are you scared? If that’s what it is, just say so. I can do this, too, you know” (15). CJ defends Patrick by telling Brid to “shush” and then asking Patrick, “Where do you see words? Because we can’t see anything” (15). Despite their sibling rivalry, CJ does not intend to push Patrick out—in some ways, CJ recognizes the value that he and his siblings each bring to their adventure and works to play to their strengths. He carefully uses Patrick’s small size when they need to crawl into tiny places, and he asks clarifying questions when Patrick needs to read since “[he] jumble[s] things; he forg[ets] letters” (15). Though the author does not use the words, CJ works to help Patrick overcome challenges associated with dyslexia. In other circumstances, Patrick would be excluded from a treasure hunt focused on reading because of his disability—CJ does not exclude him, and by doing this, he challenges the limitations society places on physically and intellectually disabled individuals.
On the other hand, CJ and Brid’s connection is based on secret keeping and mutual assistance. When he is out of the apartment unaccompanied, Brid covers for him and tells their nanny, “I swear, Maricel, CJ is home. He is just hiding or something. He didn’t go out and leave us alone. He would have told me if he was leaving” (104). She has his back, and he has hers. Their relationship shines because they do not need to regularly communicate to be on the same page—they just are. Their bond portrays an innate trust in those with whom someone works in any situation, which is crucial to the success of any teamwork situation.
Art, history, and storytelling have intertwined for thousands of years. The ancient Greeks left stories on pottery; Egyptians used artistic portrayals in their hieroglyphics and prominent artistic portrayals of gods to display their history in extravagant displays; and before language fully developed, cave dwellers used art on walls to tell their stories. The tradition continues in Sherry’s Walls Within Walls as the Smithfork children learn about the unknown architect Guastavino and explore his impact on New York City. Sherry’s presentation of Guastavino’s work and how people view it mirrors the real challenge where artists and architects go unnoticed by history, even when their works live on and influence day-to-day life.
When CJ and Brid first learn about Guastavino, they refer to his name as “a popular last name in both Italy and Spain” (143). Eloise goes on to explain Guastavino’s legacy:
Guastavino and his sons were tile makers and builders. They designed fireproof buildings at a time when New Yorkers were worried about fires. Back then, we had no sprinkler systems or firefighters with modern equipment. Once a building caught fire, it usually burned to the ground, along with all the buildings near it (143).
Guastavino’s name is significant to the Post family history; they took an interest in the unknown and the mysterious—puzzles, riddles, and forgotten historical figures, for example. To public perception, Guastavino faded into obscurity: “People forget. They let things decay and fall apart. The guy who built this place probably thought he’d be famous or something, and here we are, and I’ve never even heard his name” (300). People forgot Guastavino, but his art (architecture), the history of New York that makes his contributions significant, and the story they tell live on.
CJ, Brid, and Patrick want to project his legacy into the future. They do their best to inform the firefighters who rescue them from the sewer about him: “Rafael Guastavino. Once you know about him, you sorta see him everywhere” (300). Patrick’s words present the crux of the intersection of art, history, and storytelling. History loses the names, but their stories live on through those who tell them and through their artistic and historical contributions. Sherry uses Guastavino’s history to encourage readers to explore their hometowns and learn the forgotten stories of people long ago. By doing so, Sherry hopes to revitalize middle grade students’ interest in these stories and encourage adults to take a similar interest.
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