84 pages • 2 hours read
Rebecca SteadA 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.
When Miranda’s mother needs to focus for The $20,000 Pyramid, she “has to get herself into a certain frame of mind” that is “sort of like lifting one little corner of her veil” (72). Miranda’s mother does not actually wear a physical veil over her eyes. Lifting her veil is a metaphor for blocking out the distracting details and seeing “the world as it really is” (71). Every person “has a veil between ourselves and the rest of the world” Miranda’s mother explains, and most of the time people “walk around happily with these invisible veils” that keep the world blurry because “we like it that way” (71). The “beauty, and cruelty, and sadness, and love” of the world are too much for most people to take in, so “mostly we are happy not to” (71).
Miranda’s mother can focus and control the information she takes in, allowing her to sort through details to see the threads connecting them to bigger ideas. It’s this skill that makes her successful as a contestant on The $20,000 Pyramid. Miranda thinks about this veil frequently and wonders whether perhaps “every once in a while, someone is born without one” (72). Someone without any veil at all, she figures, “sees the big stuff all the time” (72). Her mother explains that “most of the time, people get distracted by little stuff and ignore the big stuff” (72). By lifting her veil just enough to take in some details, Miranda’s mother is able to see threads connecting ideas in ways that others don’t.
Marcus is someone who sees the big stuff all the time, so much so that he often overlooks or misses small details. For example, he can debate the notion of time travel—a complex concept—but he doesn’t remember the names of his own classmates or characters in books. This frustrates Miranda who is the opposite. She remembers the names of people and characters but focuses too much on details to wrap her head around bigger ideas like time travel. Miranda’s veil lifts at the resolution of the story as she puts together the details that confirm the solution to the plot’s mystery: Marcus and the laughing man are the same person. She experiences a distortion of time as “an invisible hand reached out and snatched away my veil. And for almost a minute, I understood everything” (188). The moment is fleeting—“fifty-five seconds, to be precise” (189)—but when a person’s veil is lifted, “a minute is long enough to realize a lot of things” (188). The clues to the mystery have been in front of Miranda and readers all along, but a moment of clarity and greater perspective is necessary to connect the threads.
Miranda is a latchkey child, “a kid with keys who hangs out alone after school until a grown-up gets home to make dinner” (3). Miranda has to carry her house keys with her to and from school each day because her single mother works a full-time job, so Miranda needs to let herself into her apartment on her own each day after school. Julia and Annemarie, on the other hand, do not need to carry their house keys because their parents are constantly home, and doormen let them into the lobbies of their buildings. A kid carrying a key is an indication that their parent doesn’t have the flexibility or means to be at home in the afternoon, usually because they are working. Kids from wealthier families like Julia and Annemarie don’t need to worry about carrying their own house keys because there is always an adult available to let them in at home, whether that be a parent or a doorman.
Miranda doesn’t have a watch, a luxury item that Julia can easily flaunt. Marcus doesn’t own a watch, either. Miranda uses her lack of a watch as a ploy when trying to disarm potentially scary people on the street by asking the person for the time. She assumes that in letting a person know that she doesn’t have a watch, she’s sending an indirect message that “I am probably not worth mugging” (26).
Richard doesn’t have a key to Miranda’s apartment until the end of the story. Still, he has keys to his own apartment. And in the denouement of the plot, Richard finally receives keys to Miranda’s apartment, signifying a level of equality and belonging with Miranda and her mother.
When You Reach Me repeatedly references A Wrinkle in Time, a 1962 young adult novel by Madeleine L’Engle. In the book, awkward teenager Meg Murry must overcome her insecurities and self-doubt travel to rescue her father, a famous scientist who disappears after investigating interdimensional travel. In addition to her journey through space and time, Meg experiences personal growth by learning to trust in herself and to find value in her ability to love.
The theory of time travel put forward in the novel rests on the idea of a tesseract, or a wrinkle in time. One of the characters explains the concept by holding a string taut and then bringing the two ends of the string together. Bringing the two points together by creating a bend between them allows a traveler to easily pass from one to another.
By Rebecca Stead