with a hard-earned ten dollars, which Max pridefully declines. This stark contrast between the two paternal figures highlights Woody's genuine, considerate nature against Hugo's indifferent, detached demeanor. Throughout the novel, Max's values evolve until he comes to appreciate Woody's abundance of love and kindness.

Symbolic Relationships

Konigsburg crafts another parallel by juxtaposing Lilly and Sabrina's mother-daughter bond with Woody and Max's father-son relationship. Although Lilly and Sabrina adopt alter egos at conventions, they are authentically themselves with each other. Conversely, Max adopts the persona of Maximilian, rejecting the name "Bo" in Woody's presence.

Symbolic Names

Konigsburg's choice of symbolic names brings clarity to her thematic ideas. Woody's name evokes the image of a man deeply connected to the earth, showing reverence for the early settlers of the West, the Native Americans, by following their tradition in naming his child. The grandiose names of Maximilian and Hugo Malatesta suggest affluence and authority, standing in sharp contrast to the organic simplicity of names like "Woody" and "Rainbow."

Meet Max, an astute twelve-year-old whose journey through life is colored by the kaleidoscopic ideals of the 1960s that inspired his parents' choices—embracing communal living and "free love." On his travels with his father, Max encounters an eclectic array of quirky, down-to-earth individuals. The tale Journey to an 800 Number, narrated entirely from Max's viewpoint, offers encounters that some might find raw and startlingly authentic.

Author Konigsburg does not shy away from authentic dialogue in her quest to explore the nuanced experience of a boy growing up in a fragmented world. The children's conversations in the narrative are typically witty and insightful, yet they echo the widespread use of crude slang found in today's vernacular. Readers should note that Konigsburg occasionally employs expletives to deepen her characters' portrayals.

A particularly delicate topic emerges when Max uncovers the truth about his mother, Sally—that she was pregnant and unmarried upon meeting Woody. He also learns that his mother has deceived him, claiming his grandparents were dead, whereas they have actually distanced themselves due to her unexpected—and in their eyes, shameful—pregnancy. Initially, Max is taken aback by these revelations but soon embraces Woody as his real father.

Konigsburg approaches this revelation with clarity and impartiality. Max processes his newfound legitimacy with a nonchalant acceptance, musing, "I've joined the crowd. I'll bet half the first-borns at Fortnum School can't add nine months between the time their parents got married and the time they were born." His worldly outlook allows him to remain unperturbed when his father spends time with Ruthie Britten during a stay at a dude ranch. Aware of their romantic relationship, Max feels slightly excluded and comments on Ruthie's lack of appeal compared to his mother, yet he remains largely unaffected.

Max's capacity to adjust to his parents' separation and embrace their new relationships shifts the focus of Konigsburg's narrative away from moral judgments. Instead, she illuminates the enduring qualities that rise above societal norms. Woody's boundless generosity, acceptance, and empathy are showcased, revealing him as a devoted and loving father despite his unconventional lifestyle. In contrast, Max's grandparents are ensnared by tradition, choosing to forsake their daughter and grandson. Sally, in her relentless pursuit of an upper-middle-class lifestyle and security, wraps herself in a cloak of pretension and instills this same facade in Max. Consequently, Max is quick to make sharp, sarcastic assessments of others, like Mama Rosita, whom he criticizes for her appearance and ethnicity. Yet, Woody imparts to Max a genuine respect for his environment and the people within it.

Notable Bibliographies on Konigsburg

Edited by Carpenter, Humphrey, and Mari Prichard, The Oxford Companion to Children's Literature, published in New York by Oxford University Press in 1984, delves into an insightful review of Konigsburg’s literary creations, showcasing her artistry through both words and illustrations.

Anne Commire's editorial touch graces Something about the Author, Volume 4, from Detroit’s Gale Research, 1973, offering an intimate autobiographical sketch that provides a window into Konigsburg’s personal and creative world.

Meanwhile, in The Third Book of Junior Authors, edited by Doris De Montreville and Donna Hill, and published by H. W. Wilson in New York, 1972, readers can discover a succinct autobiographical entry penned by Konigsburg herself.

Exploration of Konigsburg's Works and Legacy

Dictionary of Literary Biography, Volume 52, edited by Glenn E. Estes, emerges from Detroit’s Gale Research in 1986, providing a comprehensive overview of Konigsburg's life alongside critiques of each of her literary works.

In Twentieth-Century Children's Writers, edited by D. L. Kirkpatrick and released by St. Martin's Press, New York, in 1983, Konigsburg is portrayed as a "patchy, unpredictable, and fascinating writer," a testament to her intriguing and multifaceted storytelling.

The Contemporary Authors New Revision Series, Volume 17, featuring the editorial prowess of Linda Metzger and Deborah A. Straub, hails from Gale Research in Detroit, 1986, and presents a candid interview with Konigsburg.

Critical Reception of Konigsburg's Writing

Amy Roinick's review titled "Journey to an 800 Number" in the School Library Journal (May 1982) on page 72, describes Konigsburg's narrative style as "sharp and tough, shot through with whimsical tenderness and compassion, funny and kind," capturing the vibrant essence of her writing.