The Next Great Paulie Fink

“I mean the kind of gods that Mags talks about in humanities class. The ones who sat up on Mount Olympus. In a way, those gods were like normal people—they messed up constantly, and they drove each other bonkers, and sometimes they played wild pranks. But they also had powers that regular people didn’t have, and they created chaos for everyone else.”

In the first interview of the novel, Diego compares Paulie to the deities in the Greek pantheon, using a simile to bridge the divine and mortal realms. He suggests that, like the gods, “normal people” exhibit human flaws and complexities. Likening the gods to “normal people” emphasizes their relatability and human-like behavior. The mention of gods creating chaos aligns with the theme of unconventional disruption seen throughout the novel. The enumeration of god-like behavior—messing up, driving each other bonkers, playing wild pranks—creates a vivid and comprehensive picture of the gods’ characteristics, making the analogy more impactful.

“Different kids, different sizes, different shades, different styles. Yet they seem united in their feeling about what’s appeared in the doorway. Whatever they expected, whatever they were cheering for, it’s not this.”

As Caitlyn surveys her peers, she captures the diversity of the students. The repetition of “different” emphasizes the distinct attributes of the students, reinforcing the idea that each one is unique in their own way. Simultaneously, the use of anaphora creates a rhythmic and balanced expression, making the diversity of the group more pronounced. The contrast between the individual differences and the collective reaction underscores the unexpected unity that arises from a surprising event.

“We were too busy trying to figure out who they were and how they fit in. If the New Kid wore a Star Trek T-shirt, we knew that by lunchtime she’d be sitting with the sci-fi geeks in the cafeteria. If it was an athletic-looking boy in basketball shorts, he’d sit with the jocks. The whole thing reminded me of one of those coin-sorting machines: You take a jar of jumbled-up change, dump it all into the machine, and within about twenty seconds all the dimes are neatly stacked, and all the nickels, and all the pennies and quarters, too. That’s what middle school feels like: a giant sorting machine.”

This quote vividly illustrates the social sorting that occurs in middle school, where students quickly categorize and classify their peers based on superficial attributes like clothing or appearance. The metaphor of a coin-sorting machine conveys the rapid and seemingly automatic, mechanical nature of this social categorization. The anaphoric repetition of “all” in parallel structure adds a rhythmic quality to the writing and reinforces the idea of comprehensive categorization.

“I used to feel sort of bad about all the trouble I got into. And then I heard that expression Well-behaved women seldom make history.”

The quote “Well-behaved women seldom make history” is attributed to Laurel Thatcher Ulrich, a historian and professor at Harvard University. She coined this phrase in the 1970s, and it has since gained popularity, conveying that women who challenge societal norms and expectations are more likely to leave a lasting impact and be remembered in history. Fiona shares the quote because she initially experienced guilt for deviating from societal expectations, but embracing nonconformity is the pathway to legacy—a key theme in the novel.

“Even before I learned Paulie was gone, I’d been freaking out. See, I had a secret that first day—one that was going to affect all of us. Even you, Caitlyn. This wasn’t just the beginning of a new school year. It was the beginning of the end. And I was the only one who knew it.”

In Henry’s interview, he foreshadows the decision to close the school, setting an ominous tone. The phrase “beginning of the end” wields antonyms to highlight the dramatic irony, as readers are aware of impending events, while most characters within the novel remain oblivious.

“But that’s the thing you learn from playing Underlair: You can never tell exactly who a creature is just by looking at them.”

Sam introduces Underlair as a metaphor for identity; individuals, like creatures in a game, may have hidden depths or unexpected qualities. By acknowledging the complexities of personal identity, Sam discourages relying on stereotypes and promotes empathy.

“Most rules aren’t even actual rules. We like to call them rules, and most people think of them as rules, but it’s not like they’re written down anywhere. They’re just the things people do to be polite, or because they want others to like them.”

Gabby uses a paradox, challenging conventional perceptions of rules and critiquing societal norms. She suggests that some behaviors are accepted not because they are inherently right or wrong but due to a collective agreement driven by social dynamics. The motif of rules permeates the novel. For characters like Caitlyn, rules lend structure when navigating social dynamics and the influence of societal expectations on individual behavior.

“I feel something behind my ribs then. It’s not a stone, but it doesn’t feel swampy, either. It’s like something is cracking deep inside me. It hurts a little, to be honest. But it also feels good. Like now there’s a tiny bit more room for me to breathe.”

After Fuzzy hugs Caitlyn, she vividly describes her physical sensations, which indicate the emotional transformation taking place within her. The “cracking” is a metaphorical breaking of internal barriers. The juxtaposition of discomfort (“it hurts a little”) with “feels good” adds depth to the emotional experience, highlighting the complexity of personal growth through contrast. Caitlyn’s internal shift aligns with the theme of The Odyssey of Self-Discovery and Personal Excellence, as Caitlyn is transforming into a more authentic version of herself.

“The Mitchell School is a cave. And it’s possible I’m the only one in my class who’s ever been outside of it.”

Caitlyn draws upon Plato’s allegory of the cave to highlight the school’s insularity, implying that the students’ experiences and perspectives are limited. Venturing beyond the familiar—in this case, the school—aligns with the theme of The Odyssey of Self-Discovery and Personal Excellence.

“And when she did, I felt the swamp inside me hardening, turning into stone. Like I was building a suit of armor on my insides.”

Caitlyn reflects on her emotions using a simile, drawing a parallel between her emotional process and the act of constructing armor. The use of words like “swamp,” “hardening,” and “turning into stone” yields strong visual and tactile imagery, vividly capturing her emotional transformation. Caitlyn’s inner swamp—a metaphor for emotional turmoil—transforming into stone suggests a struggle to deal with emotions and the process of finding a way to protect oneself. In turn, the construction of a suit of armor symbolizes a desire for emotional resilience.

“‘Herodotus showed that our understanding of history is never objective truth,’ Mags explains. ‘It always depends on who does the telling. To get the fullest understanding of history, you need to listen to as many different voices as possible.’”

Mags uses allusion, referencing Herodotus in her discussion of history. Herodotus, an ancient Greek historian known as the “Father of History,” is often criticized for including myths and unverified accounts in his writings, which is at odds with the modern notion of objective historical reporting. Mags uses the allusion to emphasize the subjective nature of history, challenging conventional expectations about historical objectivity.

“Mean Old Goat watches me, and I swear I see a smirk on his face. Like he knows I’m a coin without a cluster. Like he knows that I’ll never find my place.”

Here, the goat serves as a metaphor for challenges or obstacles Caitlyn faces in finding her place and identity. The smirk suggests a mocking awareness, emphasizing the difficulty Caitlyn perceives in fitting into a predetermined category or social cluster. The alliteration surrounding the smirk (“swear,” “see,” “smirk”) slows the pace of the sentence, giving it extra weight, with sibilants underscoring the negative mood in the scene.

“‘A great team is like the ultimate ecosystem,’ he tells us that afternoon. ‘Everyone matters! Everyone contributes to something bigger than themselves! If we’re going to beat Devlinshire, we’re going to need each of you!’”

Mr. Farabi uses a metaphor to compare a great team to the “ultimate ecosystem.” The metaphor suggests that, similar to the intricate relationships and dependencies in an ecosystem, every team member plays a vital role, and their contributions are essential for the team’s success. Mr. Farabi’s choice of words is likely intended to inspire a sense of unity and shared responsibility among the team members. The metaphor reinforces unity and the idea that the whole is greater than the sum of its parts.

“You are a character out of literature, Paulie Fink. You are an archetype. You are a Shakespearean Fool.”

The reference to a “Shakespearean Fool” is an allusion, invoking a recognized literary archetype to characterize Paulie. Associating Paulie with a tradition of witty, insightful, and often humorous figures adds depth to his character. The term “fool” carries connotations of both jest and insight. By describing Paulie in this manner, Yumi suggests that he provides both entertainment and profound observations. This description helps create a nuanced and multifaceted character while placing him within a broader literary tradition.

“People assume they know everything there is to know about me. But when they look at me, all they’re seeing is their own darn selves.”

Through irony, Maryellen, a Megastar contestant, explores the idea that people’s perceptions are often more reflective of their own perspectives than an accurate understanding of others. In this quote, she challenges the validity of assumptions and emphasizes the complexity of individual identity. The metaphor of a mirror also underscores the need for deeper understanding when connecting with others.

“‘What I realized early on,’ says the Megastar, whose most recent music video has already been viewed nearly three million times, ‘is that you can’t wait for others to see you as a star. You have to believe you’re a Megastar, no matter what others think. That goes for everything in life: What do you want? Who do you hope to be? Nobody’s going to give you a permission slip. So just strike your pose and hold it.’”

Jadelicious uses the second person to directly address her audience, creating a personal connection to make her message of self-empowerment more immediate and encouraging. She appeals to a wider audience by mixing metaphors: While the concept of a “permission slip” typically relates to formal authorization, often associated with activities in school, “strike your pose” is a metaphor derived from the world of performance or presentation. The “permission slip” metaphor implies the need for self-empowerment and self-belief, while “strike your pose” suggests the active and intentional expression of one’s identity or aspirations. Together, these metaphors convey a message of self-affirmation to take charge of one’s journey without waiting for external validation.

“A person’s brain can get stuck. It can cycle over the same old problems, or the same old fears, until there’s no room to think about anything else. Maybe believing you can send your problem away is just a way of getting yourself unstuck. You do it because you’ve run out of other ideas. You do it because you see bad luck hurtling toward you fast, and your only other option is to stand there and wait.”

Henry delves into the complexities of the human mind, portraying it as susceptible to stagnation with the metaphor of a brain getting “stuck.” Henry uses anaphora, repeating “same,” to emphasize the monotonous and cyclical nature of mental challenges. Henry then introduces the idea of “sending your problem away” as a potential solution, metaphorically suggesting the act of distancing oneself from challenges. This act is portrayed as a coping mechanism, a way of getting “unstuck” when other strategies fail. The mention of “bad luck hurtling toward you fast” adds a sense of urgency, emphasizing the need for a swift response, while subtly alluding to the ancient Greek belief that fate (or luck) held ultimate sway over the lives of mortals.

“It’s like Henry wanted the competition to capture the best version of Paulie—his arete, Mags called it—even if it wasn’t necessarily the whole Paulie.”

Caitlyn references arete, the Greek concept denoting excellence or virtue, often associated with the fulfillment of one’s potential. This reference enriches the understanding of Henry’s goal and the nature of the competition. Irony, however, lies in the notion that capturing the best version of Paulie may not necessarily involve capturing the “whole Paulie.” This acknowledgment reflects the complexity of identity and the challenges of encapsulating a person in their entirety.

“It reminds me of a story Mom used to tell me, from a book of fables. In the story, a bunch of people who couldn’t see were asked to describe an elephant based only on touch. One felt the trunk and said that an elephant is like a snake. Another felt the leg and said that an elephant is like a great tree trunk. A third felt the tail and said an elephant is like a rope. All of them were right, and at the same time all of them were wrong. Or rather, they were all wrong, until you added all of their impressions together.”

On a drive with her mom, Caitlyn recalls the fable of the elephants; this literary allusion adds depth to the narrative by exploring the theme of perspective and subjective interpretation. Subtle irony lies in the fact that while each person describing the elephant in the fable is both right and wrong, the collective understanding becomes more complete when all perspectives are considered. The comparison between the people’s interpretations of the elephant and the various perspectives on Paulie’s character serves as a metaphor. This fable mirrors the novel, in which different characters contribute to a multifaceted view of Paulie.

“‘Everything we know is always incomplete,’ Mags says. ‘In the end, we get to fully know exactly one person only: ourselves. And that’s only if we work hard at it.’”

Mags presents a paradox to express the inherent limitation of human knowledge. She suggests that while individuals seek understanding, knowledge itself remains perpetually incomplete. Mags’s statement presents a concise and profound observation about the nature of knowledge and self-awareness. The aphorism encourages contemplation on the challenges and significance of self-discovery.

“His we was our they. It felt like they weren’t just saying that Devlinshire was going to win this game, but that Devlinshire would always win. Like anything that would ever matter to us in our whole lives, they’d manage to take from us. Like it’s not enough to have all the money they could ever possibly want, they also had to have one of us. Talk about a double whammy.”

The use of pronouns like “we,” “our,” and “they” creates a stark division, emphasizing the contrasting identities and interests between the Originals and Devlinshire. The choice of the possessive “our” emphasizes a sense of collective identity and shared experience. The phrases “Devlinshire would always win” and “they’d manage to take from us” employ hyperbole, intensifying the perceived dominance and perpetual disadvantage faced by the Originals and the town of Mitchell on the whole. By describing Devlinshire’s advantages as a “double whammy,” Fiona metaphorically illustrates the compounded impact of both financial power and the appropriation of personal experiences, conveying a sense of injustice and powerlessness.

“His hair is shorter he is taller his eyes are sadder he used to have a disco ball spinning around behind his eyes but where is it now?”

Fiona reflects on Paulie’s appearance at length, underscoring her disbelief when he first arrives for the soccer game. The asyndeton highlights the flow in her stream of consciousness while intensifying her emotional state, and the parallelism with comparative adjectives underscores the ways Paulie has changed since leaving the Mitchell School. The mention of a disco ball adds a layer of symbolism, suggesting a loss of vibrancy or enthusiasm in Paulie.

“I was thinking how accidental it all is. Where you happen to be born. Who you wind up with in school. Whether you have stuff in common or not. It’s just dumb luck, and yet for your whole life, you share the same memories with this tiny handful of people.”

Diego ponders the nature of life, landing on the Greek belief that fate (“luck”) had ultimate control over shaping one’s lived experience. The relative pronouns “where,” “who,” and “whether” create parallel structures in a tricolon of examples, highlighting the myriad possibilities in life.