New Kid

“The handshake is one of the most important rituals on earth. Why? I don’t know. Nobody does! But here’s how to do it. Step #1 ONLY use your right hand…even if you’re a lefty. #2 ALWAYS look each other in the eye. #3 Remember, the firmer your grip, the more that people will respect you.” 

Jordan’s sketchbook peeks into his worldview, one where he doesn’t understand many adult customs. This advice comes from his father, who worries about people talking down to his son and delivers vice-grip handshakes to Liam’s father and Gran’pa. Jordan includes comical sketches to go with these directions, such as drawing a snowman to depict cold hands and a series where the person’s handshake pins a job recruiter to the ground.

“S’up, Lame-O? So who’s this? One of Grayson’s middle school friends? […] You’re in the first form?!! Wow, Gordon. You’re really small!! […] I’m Andy. Andy Peterson. So what sport do you play, Gordon? And what are you, anyway?” 

Craft quickly sets up Andy as an antagonist. In addition to mocking someone he just met and mispronouncing Jordan’s name, Andy asks inappropriate questions about what Jordan’s race is and later insinuates that he would like Mr. Garner, a Black teacher, “’cause’s he’s… he’s… well… you’ll see” (29). His equal-opportunity offensiveness and ability to stay just outside the line of blatant racism protects him from disciplinary action.

“So that was how my day was… Feeling lost… Feeling alone… Feeling lost AND alone. And all this was before lunch.” 

Chapter 2 ends with what first seems like a joke: Jordan attempts to go to his next class by himself, only to get lost like many other students. But Craft uses this problem to illustrate a bigger internal challenge for the protagonist. Jordan doesn’t feel like he has a place in RAD, especially after seeing the bullying that Maury suffers and the obnoxiousness of Andy and Alexandra. Like the metaphor that begins Chapter 1, Craft visually depicts Jordan’s solitude by shrinking him to the size of an ant.

“And then there’s US, seventh and eighth graders, also called first and second formers (Toenail Fungus). We get to sit in front of the drafty doorway next to the trash cans.” 

Jordan previously went to a small private school with about 25 students in his grade. RAD is much larger in ways that force Jordan to deal with new social dynamics. In his sketchbook, he draws seating arrangements in the cafeteria as if it’s a food web. Jocks and high school students are predators; freshmen, theater kids, dorks, and English as a Second Language students are their prey. At the bottom are middle school students like Jordan, who have the worst seats.

“‘Wow… Hey, did you see Kirk outside? He rang the bell earlier.’

‘Yeah, he was on the stoop. But I was with Liam, so it was kinda weird.’

‘How come?’

‘I dunno. It just was.’” 

Jordan struggles to tell his father about his awkward encounter with his old friend, Kirk, who excuses himself after seeing Jordan leave a fancy Hummer with a white kid inside. Jordan may be too young to fully understand how race and social class influence people’s perception of each other, but he feels like he must hide one side of his life from the other. This insecurity rattles his self-confidence even further.

“Fitting in on the ride to school is hard work! I have to be like a chameleon. For example, in Washington Heights, I try to look tough. Inwood is a little different, so I can lose the hood. No one ever smiles in the morning, so you won’t catch me doing that either! Kingsbridge is where all the public school kids get off, so it’s okay to take off my shades. I can even draw! Last comes Riverdale, where I do my best not to look cool at all! No shades, and definitely no hood. I don’t even like to draw ’cause people might think I’m going to use my markers to ‘tag the bus’! 

Jordan’s sketch about his bus regimen shows how he code switches to fit in different settings. While Jordan is kind at heart, he intentionally toughens his image so that no one in his neighborhood will bother him about going to a fancy school. He hides his drawings until everyone his age is gone, then puts them away again as the bus enters the upscale Riverdale neighborhood—where it only takes one overly suspicious person to get him into trouble. His need to appear “nonthreatening” to white passengers means he can never be himself in either neighborhood (58).

“I’m sorry, Drew. Deandre is one of my former students. He was a real handful.” 

While Ms. Rawle is not explicitly racist, she and other faculty members frequently call Drew and Jordan by the names of other Black students. By connecting Drew with a problem student, Ms. Rawle becomes more judgmental of him, even though Drew is an honor student. Meanwhile, her misnaming makes Drew feel unwanted in the school, so he acts out in retaliation.

“Well, then just get out there and run fast. I know you can do that! I mean, because you look athletic! Not because… You know… We’re all created equal, Jordan. I REALLY believe that.” 

Mr. Roache is one of Jordan’s favorite teachers. He often blurts out possibly inappropriate comments, then quickly apologizes for them. Mr. Roache later tells Jordan’s parents about the incident and asks whether he is racist. Craft positions Mr. Roache as a self-correcting white instructor. He may earnestly believe that everyone is created equal and that racism is wrong, but because he rarely interacts with people of color, he has little idea about what is or isn’t offensive.

“The game was tied in the fifty-third minute. (Actually, I have no idea what that means, but I heard it on TV once and it sounds cool!) In reality, we were being beaten like a bunch of eggs!”

Craft uses irony and visual effect to amplify the soccer game’s humor. A common plot for kid’s stories is that the main character overcomes his isolation by winning the big sports game in a buzzer beater. However, the lower-form B game is an unimportant match that Jordan’s team stands no chance of winning. But Craft plays the story beats anyway for comedic effect—Jordan dramatically taking his jacket off, his parents cheering him on when no one else is paying attention, Jordan scoring a goal (because a ball smacks him on the head), and his noncompetitive teammates using his feat as an excuse for donuts. While Jordan’s team loses, he learns the value of team sports, a sign that he’s becoming more comfortable in school. 

“If we weren’t smart, we couldn’t have gotten into this school in the first place, right? […] Then why do they make it so tough for us? We don’t dress weird. We don’t use a whole lot of slang they can’t understand. We’re not aggressive […] Well, Jerome, we’d better break this up before they think we’re starting a gang or something.” 

Drew shares his frustrations during his first real conversation with Jordan. As some of the only Black students in RAD, they become the focus of the class whenever topics like slavery, financial aid, and minority partnerships come up. Drew’s closing statement is a joke, but Ms. Rawle fulfills that worry by directly confronting Drew afterward and warning Jordan’s parents.

“But not everyone can play that game, Ellice. Nor should they have to! That’s why I left that life. They don’t give you all the pieces or even teach you the rules. The only good thing that came out of working there was meeting you. […] If he can handle feeling like an outsider. Kids talking about movies he hasn’t seen, or books he hasn’t read…”

Chuck understands Ellice’s perspective on sending Jordan to RAD, but he sides with his son for reasons that are greater than a desire to go to art school. Even though he excelled at his job, Chuck suffered under the white-centric corporate culture. His words imply that he frequently broke unspoken rules and couldn’t connect with his coworkers. His perspective mirrors Drew’s frustrations with RAD. As the parents argue, Craft depicts Jordan regressing to an infant state to depict his powerless.

“GASP!!! My parents didn’t tell Alex’s parents how much I like HIM!… They told Alexandra’s parents how much I like HER!!! They say that there are some animals that will chew off their own leg to get out of a trap. I never understood that… until now! Then I thought of my Gran’pa who says, ‘You don’t have to like everyone, but you don’t have to be a jerk about it, either!’”

Jordan’s reaction to hanging out with the off-putting Alexandra—imagining her parents as cutesy mascots and himself biting off his own leg—shows how Craft uses absurdist humor even outside of the child’s sketches. Despite his intense despair at the confusion, Jordan honors his grandfather’s teachings and gives Alexandra a level of tolerance that others don’t. Drew does the same when he invites her to their conversation because they are all outcasts in the eyes of the school and should stick together.

“Jordan, when you were little, you used to love ‘strimp lo mein.’ You couldn’t pronounce ‘shrimp.’ Anyway, that’s all you ever ordered. You ate the noodles one at a time… Used to pretend they were worms… Totally disgusting! Then one day you discovered pepper steak. And now it’s General Tso’s chicken. But it still takes you nine hours to order. That’s why today, we lived dangerously and ordered ALL THREE! […] You don’t always have to choose, kiddo. Sometimes let yourself be happy. Just know that whatever you do, I’ll always be proud of you.”

Gran’pa only appears in one chapter, but Jordan’s recollections of his teachings reflect a profound influence on the boy’s life. Here, Gran’pa uses a story about his favorite Chinese foods to encourage Jordan to hang out with Drew and Liam at the same time. Later, Jordan calls Kirk “my shrimp lo mein” as he applies the lesson to maintaining his pre-RAD friendship (142).

“First, my mom can NEVER find her camera. It could be anywhere! Plus, it’s really old! It used to be her dad’s so she refuses to get a new one or use her phone. It still uses something called film! Google it! Then she makes us take a jillion shots in hopes that a few of them might actually turn out good. But they almost never do!”

Just as Chapter 1’s sketch demonstrates Jordan’s confusion about his father’s teachings, this one shows his disconnect with his mother’s point of view. Ellice supports her son, but what she believes is best for him is very different from what he wants. Taking photographs with an old camera that requires obsolete development techniques is important for her because that’s what she grew up with, even though the extra effort often isn’t worth it. Likewise, she believes RAD is necessary for his success later in life—after all, he may not be able to make a living with his art or lose interest in it. But she overlooks the stresses that RAD puts Jordan through, straining their relationship.

“African American Book Covers: A depressing photograph full of realism and hopelessness.

African American Book Plots: After moving to his third city in three years, DaQuell “Scooter” Jackson must decide if he will pursue his dream of being in the NBA or join a notorious gang. […]

African American Book Heroes: Lives in the hood! Lives in a broken home! Just wants to live! His father is gone!

Reviews: A gritty, urban reminder of the grit of today’s urban grittiness. —Jet magazine”

After visiting the book fair, Jordan outlines the stark differences between children’s novels for mainstream audiences and those for African Americans. Stories with assumed white protagonists are often colorful and inspiring fantasy adventures. Stories with African American protagonists often receive critical acclaim, but they are so bleak that they push away their intended audiences.

“I hope you like all your presents. I worked really hard on them. I baked and decorated all the basketball cookies myself. I know you like basketball because you have a Knicks poster in your locker. I got you a KFC gift certificate because, who doesn’t love KFC, right? We should go one day. My treat! Then I got you a chocolate Santa ’cause I love chocolate. And this little guy is just soooo cute. It’ll be a shame to eat him, but, oh well.”

Just as Drew prepares to confront Andy over suspiciously stereotypical Secret Santa gifts, Ashley reveals she is his Secret Santa and explains why she chose them. Stereotypes often associate African Americans with basketball and fried chicken, so receiving these items can seem like an insult, even though Drew actually likes both. As Jordan’s own Secret Santa conversation with Ashley shows, she doesn’t know much about Black culture, so she chose gifts without considering the social implications.

“Business trip. Where else?! You’re lucky, you get to see your dad all the time. He even comes to your games. My dad hasn’t been to one of my games since T-ball.” 

Liam explains to Jordan why his father isn’t home for the winter holidays. Throughout New Kid, Liam is open about his absent father and envies Jordan’s connection to his parents. However, he is also evasive about his family’s wealth as he changes topics as soon as Jordan asks about why his family’s name is on one of RAD’s buildings. This is likely because of implied problems that broke Liam’s friendships with Maury and Andy in the past. A companion book, Class Act, touches on the conflict between Liam’s parents and his relationship with Drew, who is more confrontational about their wealth disparities than Jordan.

“HA! You’re not the first person to ask me that. He really IS a decent guy… But I know he can cross the line sometimes.”

Collin defends Andy’s behavior to Jordan, later adding that he can be funny as well. People defend bullies for various reasons. In this case, Andy is Collin’s friend and takes him on his Hawaiian vacation over the holidays, so Andy is willing to focus on his redeeming qualities. Others may support bullies out of fear that the bully will turn on them, or they may even condone the bully’s actions because they reflect hidden desires. Andy comes over to taunt Jordan’s height as this conversation ends, nullifying Collin’s defense.

“Then… You don’t like ME? It’s okay, no one does. I know everyone thinks I’m weird. […] This is where you’re supposed to tell me that no one really thinks I’m weird. Even though they really do.”

Alexandra’s conversation with Jordan exposes how much of her obnoxiously joyful behavior is a front to protect herself. She would rather push others away than face rejection because of her scarred hand. Alexandra warms up to Jordan because he is also someone the school treats differently, and he is honest about his feelings toward her without outright dismissing her.

“This is Collin. And unlike many of you, his parents didn’t inherit wealth. His dad isn’t an investment banker, and his mom didn’t go to law school. But despite their shortcomings, they still want the best for Collin. Like sending him to a school like this. But they can’t do it without people like you. Won’t you please help my buddy Collin for just pennies a day?” 

This sketch comes after Jordan learns that RAD expelled Collin for traveling to Hawaii with Andy, which violated the terms of his financial aid. But this one is different from the others: It stars famous television host and actress Oprah Winfrey and is a parody of the public service announcements that raise funds for destitute children in developing countries. When telling the news, Ashley refuses to mention that Collin, a white student, is on financial aid as if it would be insulting. In contrast, other children assume that Jordan and Drew are on financial aid and have no problem staring at them during class whenever the topic came up.

“And at that moment, it all became TOO MUCH! TOO MUCH of kids like me trying to fit in. TOO MUCH of kids who should fit in trying hard not to. TOO MUCH of good kids being blamed for being bad! TOO MUCH of bad kids getting rewarded for their mean behavior! And wayyyy TOO MUCH of me feeling like I’m never in control of ANYTHING! UNTIL NOW!”

As Andy and Ms. Rawle blame Drew for the cafeteria fight, Jordan is overwhelmed by frustrations over Andy’s ability to escape consequences for his bullying and Drew’s tendency to escalate matters. Craft returns to the opening image of Jordan falling through space, only this time he transforms into a superhero as he summons the courage to defend his friend. His cosmic transformation recalls his earlier wish to be Superman, rather than his frequent calling upon Batman throughout the book.

“But how can I be attacking the school if all this stuff really happens? I mean, no offense, but you call Drew by the wrong name all the time. And the year is almost over. And some kids DO look down on kids on financial aid. And kids STARE. ALL THE TIME! It’s not always easy being so different!” 

Jordan defends his sketches from Ms. Rawle’s accusation that he is angry at the school. When confronting someone about problems that don’t break a clear rule, it’s common for that person to be defensive and frame the accuser as angry or oversensitive. But that dismissive attitude ignores legitimate concerns and allows unfair practices to continue until they become a serious problem. Jordan’s willingness to stand up for his beliefs and deliver a mic-drop line to his teacher represents growth from his 

“Jordan, this is AMAZING! […] Sure, the way that some colors blend. While others clash. It’s like, beneath this calm exterior lies this storm. It’s so YOU, Jordan!” 

Ms. Slate commends Jordan for the abstract painting he creates after she explains how it can help break boundaries. While painting, Jordan thought about his frustrations with RAD, so the painting features the salmon pink and light blue that are part of the school’s colors. Even though he isn’t familiar with abstract art, Jordan’s frustrations come out the same way they do in his more traditional cartoons. While Ms. Slate comes to a similar conclusion as Ms. Rawle—that Jordan’s art reveals an internal anger—she doesn’t see it as necessarily a bad thing and even uses it for the yearbook cover.