Setting
The novel bursts into life with a scene all too familiar to any teenager grappling with the woes of adolescence. Ace finds himself planted in the cramped confines of "The Pits," his new apartment's bathroom, gaping at his reflection. An unsightly red, swollen sore has planted itself above his eye, practically eclipsing his vision with a garish yellow lump on his lower eyelid. In just forty-five minutes, he is meant to brave the halls of his new high school. Appalled by the overnight transformation of his eye, he rummages through his sister’s room, emerging victorious with an eye-patch to mask the blemish. With a mix of trepidation and anticipation, he exits the family's three-bedroom abode atop Twenty-third Street, ready for his inaugural day at Kennedy High.
The narrative unfolds at Kennedy High, ensconced within the bustling environs of New York City. The authentic New York setting pulses with life: apartment living, navigating the city's labyrinthine bus routes, and maneuvering through throngs of people and perpetual traffic. Upon his arrival, Ace strategically positions himself at the candy store across the street, observing the student spectacle. Teens clad in jeans, denim jackets, and T-shirts parade the sidewalk, embodying the fashion of the era.
From that very first day, the authors skillfully immerse readers in a whirlwind of adventure and intrigue. Ace encounters Raven, whose beauty is unparalleled in his eyes. She is affiliated with the Purple Falcons, notorious as the most formidable gang. Clad in their signature black leather jackets emblazoned with Purple Falcon, they promptly extend an invitation to Ace, their curiosity piqued by his eye-patch.
That same fateful day, Ace's eye-patch captures the interest of a couple in a sleek maroon Cougar. Ace soon learns that his admirers are none other than Francois and Marilyn Maroon, movie producers from Los Angeles. They envision him as the star of a budget-friendly flick, "Bound and Gagged." Marilyn, with her flamboyant Hollywood style, sports outfits like a fringed brown leather ensemble, later switching to a white skirt paired with a maroon silk shirt with rolled cuffs.
The authors vividly flesh out the settings with everyday details of the
characters' world. As a tense moment brews between Ace and the Falcons, the
ambient noise of a tractor-trailer clattering along Eighth Avenue penetrates
the silence, its eight wheels rattling over a manhole cover. As Ace and the
Falcons forge their camaraderie, they experience quintessential teenage
moments—lounging against hydrants, grabbing pizza, and enduring monotonous
classes. Their escapades bring them filming near Pier 42 off Morton Street,
stealthily approaching the corner of Morton and Washington, darting across
Washington past a burned-out streetlight, and skirting two ominous Dobermans,
enveloping readers in their vivid lives.
Murphy and Wolkoff weave in elements quintessential to the decade, keeping
readers engaged and entertained. Ace’s ten-year-old sister, Nora, explores
their new neighborhood, discovering a nearby McDonald's, befriending six other
kids her age, and with her signature know-it-all flair, informs him about the
Purple Falcons' dominance at Kennedy.
The authors indulge in nostalgic references to the culinary staples of a 1980s family: from tepid orange juice and limp toast at breakfast, to a modest lunch of bagel and banana or a salami sandwich, grape soda, meatloaf for dinner, capped with potato chips for a late-night snack.
Furthermore, the inclusion of iconic gadgets from the era lends authenticity to the tale. Mentions of Bic pens that often fail to ignite on the first scribble, Nora's cherished Flintstone stickers embellishing her red loose-leaf notebook, and her shiny new Outer Space Adventure lunch box that replaces her rusty Donald Duck one, enrich the narrative.
Murphy and...
(This entire section contains 683 words.)
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Wolkoff sprinkle in references to contemporary figures such as comedian Bill Cosby, actor Burt Reynolds, and the legendary Rockettes at Radio City Music Hall.
The vibrant New York vernacular and youthful slang infuse characters with authenticity. The dialogue brims with relatable teenage lingo from the era and locale, with phrases like "Let's just hang around, waddya say..." "We're gonna star in the movie," and the incredulous "Heh Heh. Ha ha. Us?... Starrin' in a movie?" keeping the novel's tempo lively and engaging.
Literary Qualities
Murphy and Wolkoff weave a vibrant tapestry of literary techniques, including the use of first-person narration interlaced with evocative flashbacks, vivid imagery, and introspective interior monologues laced with verbal irony. They masterfully employ comedy and humor, along with intriguing language structures like parallelism, metonymy—a stylistic choice where words with shared characteristics stand in for what is meant—and regionalism that breathes life into dialects.
Flashbacks and First-Person Perspective
Guiding us through the vivid tapestry of Ace Hits the Big Time, the authors choose a first-person viewpoint, cleverly using flashbacks to unveil essential backstories. Readers are initially drawn into the narrative by learning why the Hobart family uproots to Manhattan, spurred by Barney's grueling eighteen-year commute. These glimpses into the past illuminate the challenging scenarios Ace encounters. Whenever burdened by embarrassment or worry, Ace's mind darts back to lessons from Nevada Culhane, pondering his mentor’s likely actions and adopting them as his own path. This continual retrospection fortifies Ace, providing a wellspring of inner strength and guidance throughout the story.
Imagery and Sensory Language
Murphy and Wolkoff paint a sensory-rich portrait of New York and its denizens, engaging readers' senses beyond mere sight. As the Purple Falcons crouch in hiding amid a brewing gang clash, Ace plunges into a trash can, his legs sinking into a swampy mess. The acrid odor assaults his nose, while cottage cheese dribbles over his hair, and cold strands of spaghetti snake down his spine, prompting a gag. Meanwhile, the menacing growls of Dobermans echo in his ears, heightening the tension.
Interior Monologue and Verbal Irony
The authors deftly employ interior monologue to delve into Ace's psyche, revealing his thoughts, reflections, and the humorous irony often at odds with his spoken words. In an encounter with Raven, Ace’s inner dialogue diverges; when Raven eagerly anticipates his response to the Falcons’ invitation, Ace outwardly agrees, "Neither can I," yet internally questions, "What am I going to tell them?" He self-deprecatingly labels himself in Latin as "non compos mentis!” during a moment of mental chaos. As Ace confronts the Piranhas, his internal battle with fear transforms into courage drawn from Nevada’s wisdom. Despite projecting a façade of calm, greeting his foes with "How are you? Fine, I hope," his mind races with anxiety, and a forced yawn conceals his true emotions.
Comedy and Humor
Through humor, the authors tackle the complex themes of gang violence, self-worth, and acceptance. Ace’s journey through these trials leads him to a newfound freedom. He learns to navigate gang conflicts without resorting to violence, bolsters his self-esteem by landing a movie role, and discovers acceptance among the Falcons without reliance on his eyepatch. Murphy and Wolkoff’s clever use of humor, particularly within Ace's internal monologue, lends a lighthearted touch to these weighty issues.
Creative Language and Regionalism
Murphy and Wolkoff artfully construct compelling characters with inventive language structures, including parallelism, metonymy, and colorful expressions. Ace’s youthful vernacular peppers the narrative with phrases like "really built" to describe ample figures, "me, myself, and I" in self-reference, and quips like "painting the town," "tickled pink," "lickety split," "birds of a feather," and "walking like flamingos on grass." Metonymy, such as referring to New York as "the Big Apple," vividly anchors the story in its urban setting. Parallel structure heightens drama: "The Maroons were happy... The Falcons were happy... I was happy."
While passive verb tense occasionally muddies this vibrant language, incorporating dynamic verbs could enhance reader engagement. The novel’s rich regionalism takes us on an immersive journey through the streets of New York alongside the youthful cast. From bustling bus rides to the Pier to the vibrant street life, readers are steeped in the city’s ambiance. An old sedan, weathered and wheel-less, perches on cinder blocks, whispering tales of the past. Gang members’ shouts and the snarls of Dobermans compose a raucous urban symphony. The Purple Falcons' dialogue resonates with local flair: "Where ya from, Ace?", "C'mon, Ace," and "It's lunchtime, ain't it?" These linguistic nuances and cityscape experiences vividly capture the distinctive essence of New York.
For Further Reference
"Murphy, Barbara Beasley." Dive into the pages of the Contemporary Authors, New Revision Series, vol. 20, published in Detroit by Gale in 1984, featuring a comprehensive biographical essay.
"Wolkoff, Judie (Edwards)." Discover a succinct and intriguing biographical entry in Contemporary Authors, vol. 115, Detroit: Gale, 1984.
"Wolkoff, Judie (Edwards)." In volume 159 of Contemporary Authors, brought to you by Gale Research in 1984, find an in-depth exploration of her life.
"Barbara Beasley Murphy Papers." Unearth the treasures within the De Grummond Collection: McCain Library and Archives, University Libraries, University of Southern Mississippi, available at http://www.lib.usm.edu/~degrum/findaids/murphy%2Cbarbara.b.htm. This collection, enriched by Barbara Beasley Murphy's contributions from 1981 to 1995, includes a biographical sketch, detailed scope and content, interrelated collections, and meticulously organized series and subseries.
