68 pages • 2 hours read
Jarrett KrosoczkaA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more. For select classroom titles, we also provide Teaching Guides with discussion and quiz questions to prompt student engagement.
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The story begins with Jarrett getting driving lessons from his Grandpa Joe. Jarrett draws them in a loose, brushy style, mostly in black and white, with grey wash and burnt orange accents. Joe has taken Jarrett to a graveyard to practice, joking that it’s safe because “everybody is already dead” (4). Jarrett’s internal monologue includes: He can’t wait to learn to drive, because his grandparents don’t like to get in the car, his aunts are busy with their own young families, and he hates to have to ask his mother for rides (for reasons that remain, for the moment, mysterious).
Joe has Jarrett pull the car over so he can go say a prayer over his parents’ grave. Joe complains that he wants his grave close to them, but he couldn’t get the plot next door; when Jarrett objects that he’s not dying any time soon, Joe says, “But it’s unavoidable in the end” (9). Jarrett wonders where his own body might end up—and adds that it’s amazing his mother isn’t dead already.
The chapter ends with a collage of family memorabilia: a wedding invitation for Joe’s marriage to Jarrett’s Grandma Shirley, a little love note in Shirley’s handwriting, and a 50s-style coaster from a bar called Hennessy’s.
Jarrett retells and illustrates the story of his grandparents’ high school romance. Joe and Shirley met when Joe was a freshman and Shirley was a junior. As Shirley tells it, “she stopped on a dime at the sight of him” (14): the two were instantly infatuated. The two dated all the way through high school until Joe left to join the Navy. He served in Guam in WWII. Shirley broke up with him while he was over there (though Jarrett thinks he might have had a pretty good time anyway, and demonstrates by including a drawing Joe did of a Guamanian babe). However, the two got back together and married when he returned.
Joe was a go-getter, if not always a guy who played by the rules: He originally pretended he was older than Shirley, and after the war he made a brief and illegal living selling neckties door-to-door without a license. The couple had five children (and one heartbreaking miscarriage), and Joe at last opened a piping factory to support his growing family.
Jarrett jumps forward in history now to ask: “And how did my parents meet? How did I come into this world? I don’t know many of the details of it. I just know that it was at my father’s family’s bar” (34). Leslie, Jarrett’s mother, got together with Jarrett’s father—who already had a girlfriend—and became pregnant. Jarrett’s father refused to help or to acknowledge his son. Shirley was at first infuriated with her daughter, but she greeted her grandson with love, and Leslie brought baby Jarrett home to live with her whole family.
The chapter ends with a reproduction of “Baby’s Health Record”: a booklet with a photo of Leslie lovingly cradling baby Jarrett on its cover.
Jarrett goes on to tell the story of his early life with his mother. Joe bought the two of them a house to live in, and Jarrett remembers sweet times with his mother when he was very small. However, he writes, “I also remember strangers coming in and out of the house” (47).
In a spread of sinister pages framed in black, Jarrett describes a recurring nightmare he had as a child, in which monsters were closing in on him. They would freeze when he stared them in the eye, but they surrounded him, so many of them that he couldn’t look at them all at once. They always got him in the end. When he’d wake from these dreams and run to his mother, he’d sometimes find a strange man in her room.
He remembers all of Leslie’s irresponsible behavior—shoplifting, ignoring him, avoiding her family, and hosting sinister guests who used her bathroom to wash blood out of their clothes. He remembers a family confrontation when he and Joe went to bail Leslie out, and Joe threatened to file papers to claim custody of Jarrett.
In the end, that’s what Joe and Shirley did. The young Jarrett didn’t understand why his mother couldn’t be with him, but appreciated the comfort and security of his grandparents’ house: He was amazed that they gave him breakfast in the morning, so used (at three years old) to getting his own cereal while Leslie slept. Joe and Shirley, at Shirley’s insistence, worked out a custody agreement that gave Leslie no parental rights. However, Jarrett says, he of course had no idea any of this was going on when he was little.
The collage at the end of this chapter reproduces letters from Leslie to Jarrett, and a program for a 1982 Christmas concert at a place called “Spectrum House.”
The first chapters of Hey, Kiddo make several jumps in time. The narrative starts with the author’s teenage self as he learns to drive with his grandpa, and then makes further leaps to when his grandpa and grandma were teenagers, and then to when his mother was a teenager. Through these jumps, Jarrett begins to paint a (literal) picture of what this book is all about. In this memoir, Krosoczka is going to be exploring family history, investigating the choices his parents and grandparents made (for good and for ill) and the effects those choices had on his own young life.
By setting up the first few chapters as the story of four different teenagers (his family members’ antics as teenagers), Krosoczka extends sympathy and love to the adults who would both protect him and let him down. He records his grandparents’ youth and his mother’s terrible predicament as a pregnant teenager with sensitivity, but also honesty. For instance, he depicts his mother’s deep, drug-driven irresponsibility when he was a kid as thoroughly as he depicts her sincere love for him. This book is going to be about the complex lives of real people; there will be no easy answers.
In these first chapters, Krosoczka begins a pattern of framing difficult or frightening parts of his family’s life in stark black. The same black framing will reappear throughout the book to set off the stories of his mother’s addiction. Notably, Jarrett frames his childhood nightmares in that same black, suggesting that they belong to exactly the same family of experience as his mother’s addiction—or were born of the fear and neglect that that addiction brought into his childhood.