57 pages 1-hour read

Hands

Fiction | Novel | Middle Grade | Published in 2023

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Chapters 23-44Chapter Summaries & Analyses

Content Warning: This section of the guide includes discussion of death, physical abuse, emotional abuse, and bullying.

Chapter 23 Summary

Trevor reflects that his biological male relatives have been like the sun before night—present briefly and then gone, leaving darkness. His “uncles” (like Uncle Puff), to whom he is not related by blood, are his true family. He compares these uncles to trees in the concrete projects: reminders that the hard world around them is not normal. His uncles were raised by the men in Trevor’s family, and they now help raise him, sharing stories about his blood relatives so that he does not feel entirely without the sun.

Chapter 24 Summary

As the narrator, Trevor introduces Uncle Lou, his blood uncle and Ma’s brother, who died when Trevor was four. Ma says that Trevor was Lou’s heart and that he looks like Lou, though Trevor has no memory of him.


When Quick calls Trevor Lou’s twin, Trevor loves the idea of being seen as distinct from his stepfather. Ma has described Lou as a “gentle giant” who was forced to adopt a hardened mindset due to his circumstances. In short, he was someone in a gang who should not have been. Ma keeps a photo of Lou on her mirror. She says that Lou’s wide, free smile shows how he could have been if his circumstances had been different.

Chapter 25 Summary

At the gym, Trevor notices that Quick has the same tattoo that Uncle Lou did. After sending P to the punching bag, Quick confirms Trevor’s resemblance to Lou and asks why he wants to train in boxing. When Trevor says that he needs to protect his mother and sisters, Quick reveals that graduating and going to college was Lou’s dream for Trev, not boxing. Quick says that he and others promised Lou that they would keep Trevor focused on school instead of fighting. Remembering his own promise regarding his stepfather, Trevor insists that Quick train him and offers to show proof of good grades in exchange. Quick refuses, saying that Lou wanted Trevor to be different; he says that no one else in the gym will train Trevor either. As Trevor walks away in frustration, Quick invites him back to hang out anytime. Trevor recognizes that Quick wants to help, but he feels that Quick’s gesture is insufficient if it does not include fight training. He agrees to return but knows that he will not.

Chapter 26 Summary

Trevor tells P that they are leaving because Quick refuses to let anyone train them. He shares some information about Uncle Lou with P, which feels good despite Ma’s rule against sharing family business. P expresses sympathy for Lou’s death, and Trevor is unsure of how to respond. He decides to walk alone, and P understands. While walking, Trevor wishes that Lou were there to talk to. Suddenly, he remembers that another uncle, Uncle Frankie, also has the same tattoo as Quick and Lou.

Chapter 27 Summary

Trevor walks past his stepfather’s corner and heads straight to Uncle Frankie’s garage. The smell of oil and gas brings him comfort. In the parking lot full of broken-down cars, he sits in one and follows his old ritual. He remembers playing here as a small child after daycare, pretending to race while waiting for Ma or his biological father to pick him up.

Chapter 28 Summary

Uncle Frankie, a large man resembling actor Dwayne Johnson, appears at the car window, smiling. Trevor asks for a serious talk, and Frankie leads him inside. Trevor recalls his friend Ethan comparing Frankie to the actor and Frankie joking about it. Uncle Lou helped Frankie get this job at the garage, protecting him from the customary beating that was standard punishment for leaving their gang. Lou promised to beat Frankie if he ever rejoined.


Now, Trevor reflects that Frankie protects him just as Lou once protected Frankie and that the garage has always felt like a safe haven. In Frankie’s plant-filled office, Trevor notices a napkin with a quote about being a rainbow in someone’s cloud; Ma likes this quote as well. Frankie gives him a soda, and Trevor feels as carefree as he did when he was younger.

Chapter 29 Summary

Frankie immediately notices Trevor’s red knuckles. When Trevor asks if Frankie knows Quick, Frankie’s eye twitches, and he touches his tattoo before confirming that they are brothers for life. Trevor asks Frankie to convince Quick to train him, but Frankie refuses, explaining that Lou wanted Trevor to be different and saw him as a second chance. Trevor confesses that he needs to learn to fight because his stepfather hit Ma. Frankie is shocked but says that this matter is solely Trevor’s parents’ business. Trevor reveals that he’s been boxing and says that he’ll confront his stepfather if necessary. Frankie warns that this could cause the police to get involved, a consequence that he says would be damaging to Trevor’s mother, to Frankie, and to everyone involved. Trevor is furious at what he sees as Frankie’s lack of concern, so he fakes receiving a text and leaves before Frankie can explain further.

Chapter 30 Summary

Outside, Trevor is still angry about Frankie’s words, especially the idea that his will to fight his stepfather could endanger the whole family. He feels that there is no real community or “village” to protect his family, and he concludes that the responsibility is entirely his. He passes his school and sees a banner bearing the saying “IT TAKES A VILLAGE TO RAISE A CHILD” (61), but he dismisses this idea as a lie.

Chapter 31 Summary

Walking past his stepfather’s corner, Trevor feels cynical about the “uncles” there. Uncle Puff, Ma’s childhood friend, is one uncle who is not aligned with Trevor’s stepfather. Puff approaches, and when he senses Trevor’s sour mood, he leads the boy away to his expensive car and offers to get food for Trevor and his family. In the car, Trevor admires Puff’s diamond ring, which distracts him from his anger. Puff praises Trevor’s good grades. Trevor recalls Ma saying that Puff can afford nice things because he engages in bad activities, but she also cautioned Trevor against judging Puff.

Chapter 32 Summary

Puff drives them to a shop that serves sandwiches to diverse clientele; it feels like a safe zone. A worker calls Trevor “boss,” which he likes. Trevor orders his favorite sandwich and some food for Ma, Jess, and Nikki, remembering their specific preferences. When Puff asks what Trevor’s stepfather would want, Trevor says to forget him. Puff correctly deduces that Trevor’s bad mood stems from his stepfather.

Chapter 33 Summary

While driving, Puff reveals that he knows Trevor has been boxing at the stadium. Trevor says that he wants to develop skills like Puff’s, referencing a past fight. Puff asks if someone is bothering Trevor and offers to handle it. Trevor recognizes Puff’s willingness to get involved but worries that his uncle might go too far. When Puff threatens to ask Ma about the matter, Trevor asks him not to, claiming that he wants to handle it himself, like Puff did in his fight. Trevor downplays the situation by telling Puff that he just has to deal with a bully. Puff agrees to stay out of the issue as requested, but he reminds Trevor that he is there for him. Trevor thanks him, saying that his presence is enough.

Chapter 34 Summary

Nikki and Jess arrive home to find Trevor doing homework. The sandwiches from Uncle Puff are on the counter. Trevor quickly sets the table, impressing Jess and Ma. During the meal, he enjoys seeing his family happy and peaceful. Trevor’s sandwich is missing tomatoes, so Nikki kindly gives him some of hers. Trevor is surprised and pleased by her gesture. Ma decides to knit Puff a surprise scarf. Trevor reflects on the feeling of being taken care of and wishes it could last.

Chapter 35 Summary

Feeling good from the harmony of the previous night, Trevor wakes early and makes breakfast for his family. He prepares cornflakes for Jess, toast for Nikki, and scrambled eggs for everyone. When his sisters wake, they are surprised to find breakfast ready. Trevor proudly tells them that he has taken care of the meal for them. Ma comes out visibly pleased, looking like a rainbow. Jess is happy too, though Nikki remains somewhat grumpy.

Chapter 36 Summary

Nikki enters Trevor’s room as he prepares for school. Instead of thanking him for breakfast, she reveals that their stepfather sent Ma a letter. Nikki says that she saw the open letter on Ma’s dresser and knows that he’s definitely being released this month. Trevor is stunned. Nikki sits on his bed, and they both express anxiety about what will happen when he returns. Trevor strokes his red knuckles, saying that he doesn’t know what to expect. They share a deep sigh and then tease each other to cope with their fear.

Chapter 37 Summary

Jess prepares to leave for the day. When Nikki mentions seeing her boyfriend, Rick, Jess confronts her, calling Rick a “con artist” who cannot be trusted. Jess lists his suspicious behaviors, saying that he is cheap, grows possessive of Nikki’s phone, and disrespects their home by acting like he owns it. Nikki defends Rick’s possessiveness as a form of caring, but Jess warns that Rick is controlling. Nikki angrily slams her bedroom door. Trevor agrees with Jess, reflecting that Rick is a suspicious character. He recalls his promise to his stepfather that he would protect his sisters, but he feels powerless to protect Nikki from herself. Trevor reflects that people often hurt those who love them and try to protect them, just like his stepfather did.

Chapter 38 Summary

Walking home from school, Trevor meets Uncle Larry, a librarian and Ma’s longtime friend. Larry has always supported Trevor’s artistic talents, predicting that he could become a famous comic-book artist. Larry invites Trevor to his apartment after calling Ma for permission. Trevor asks if Larry really believes in his artistic potential, and Larry confirms it. As they walk, Larry engages Trevor in a philosophical conversation about winning and failing; he explains the old adage that everything is “in the eye of the beholder” (77). Trevor is impressed with Larry’s intellect and feels that the man is like a tall tree providing shade.

Chapter 39 Summary

Inside Larry’s book-filled apartment, Trevor sees a large collection of photos of the late rapper Nipsey Hussle on the kitchen table. When Trevor asks if they’re intended for a library display, Larry likes the idea. Larry explains that Nipsey represents promise and showed people a new way to succeed by giving back to the community. Larry expresses sadness over Nipsey’s death. The word “promise” resonates with Trevor, and he thinks about Nipsey being in the middle, able to choose any path. Trevor wonders if he is in a similar position regarding his stepfather.

Chapter 40 Summary

While walking home on autopilot, Trevor realizes that he’s on a dangerous block. Two brothers who are known troublemakers spot him and approach menacingly. Outnumbered, Trevor stands his ground and clenches his fists, ready to fight. P suddenly appears, calling Trevor’s name, and when the troublemakers realize that the fight is now two-on-two, they retreat to their stoop because they never fight fair.

Chapter 41 Summary

Trevor and P find Little Cole drawing in the hallway. Cole is frustrated, looking for a fast hero to add to his drawing. Trevor and P help by calling out hero names. They simultaneously suggest Black Panther, which is perfect for Cole’s drawing. Cole becomes absorbed in his work, and Trevor and P head to Trevor’s apartment. While watching Cole, Trevor feels nostalgic for the time when drawing was his biggest concern.

Chapter 42 Summary

Trevor and P discover that the apartment is empty, and they are pleased to have it to themselves. In Trevor’s room, P is impressed by a drawing that Trevor made when he was 10. P asks why Trevor stopped drawing, and Trevor recalls his mother asking the same thing. Inspired by seeing Little Cole, Trevor and P decide to draw together. P draws a lion, calling it the “king[] of the jungle” because it is unafraid and “uncaged” (86). Trevor thinks of his stepfather, whose zodiac sign is Leo. They hear keys at the front door, and Trevor peeks out.

Chapter 43 Summary

Nikki enters with Rick and his friends, breaking Ma’s rule that no boys are allowed there when she’s not home. They blast music and start a pillow fight, disrespecting the home. P comments on the disrespect, angering Trevor, who steps out to confront Nikki. She is shocked to see him, and Rick and his crew are dismissive and challenging.

Chapter 44 Summary

Trevor firmly reminds Nikki of Ma’s rule. Rick tells Trevor to go back to his room, but Trevor stands firm and threatens to call Ma. The threat works, and Nikki tells Rick and his friends that they must leave. As they all exit, Rick and his friends glare at Trevor. After they leave the apartment, Trevor checks the hall for Little Cole and is relieved to find that the boy is gone. However, Trevor sees that Nikki, Rick, and his friends have not left the building; they are lingering in the hall with their loud music, making him feel that the confrontation is not over.

Chapters 23-44 Analysis

The Importance of Accepting Community Support is complicated in these chapters, for although Trevor’s interactions with his “uncles” heavily reinforce the concept of a foundational “village,” these scenes also develop the idea that a realistic community consists of a complex network of individual loyalties and conflicting philosophies. Trevor begins with a clear distinction between his absent blood relatives, whom he contrasts with his chosen family of uncles. To Trevor, these men of the community serve as vital sources of life in a hard environment. However, his idealized view shatters when he seeks their help. Both Quick and Uncle Frankie stand as figures of safety and respect, but when they refuse to teach him to fight, bound by a past promise to Trevor’s deceased Uncle Lou, Trevor is devastated by the sense that his mentors are dismissing his problems entirely.


When Frankie labels the domestic abuse “[Trevor’s] parents’ business” (58), this moment further disillusions Trevor, who comes to believe that his “village” has no intention of supporting him. Frankie’s statement illustrates a traditional, hands-off approach to domestic violence, exposing a crack in the village’s protective façade. For Trevor, the school’s banner, “IT TAKES A VILLAGE TO RAISE A CHILD” (61), subsequently becomes a source of bitter irony, crystallizing his sense of abandonment. Although Uncle Puff offers an alternative form of support based on street justice, Trevor recoils from its potential for escalation. Puff’s and Frankie’s disparate reactions demonstrate that a community’s willingness to protect certain members is as conditional as its methods are varied, and as a result, Trevor is driven to the isolating belief that he alone must bear the burden of his family’s safety.


Trevor’s journey is defined by the need to focus on Breaking the Cycles of Trauma and Abuse, and his preoccupation with the conflicting promises he has made illustrates the essence of his emotional anguish. Even as he vacillates between his own incompatible vows, he is presented with yet another obstacle: the promise that Quick and Frankie made to Lou to keep Trevor on an educational path and away from violence. Their commitment to this goal directly opposes the silent promise that Trevor made to protect his mother, creating a moral paradox in which an act of love from the past now hinders what he perceives to be a necessary act of love in the present.


Trevor’s confusion deepens as he recalls promising his stepfather that he would always protect his sisters, as this directive becomes nearly impossible to fulfill as he watches Nikki choose to embrace a controlling, toxic relationship. Frankie’s dire warning that Trevor’s violent intervention would “kill all of [them]” elevates the personal conflict to a communal one (59), reframing vigilantism as a catalyst for a new cycle of violence. This dilemma forces Trevor to consider whether true strength lies in fulfilling a harmful promise or in having the wisdom to break it.


As Trevor grapples with these issues, the various “uncles” in his life function as a spectrum of masculine archetypes that challenge Trevor’s rigid definition of strength and propel his character development. Each man embodies a different model of masculinity that contrasts sharply with the toxic masculinity of his stepfather. For example, Quick and Frankie both represent a principled form of nonviolence, as they actively prioritize Trevor’s future and honor a legacy of protecting others by offering peaceful guidance. By contrast, Puff embodies the street-level protector who solves problems with intimidation and force—the very model that Trevor is trying to emulate—yet Trevor’s hesitation to accept his help reveals the boy’s nascent understanding of the consequences of such actions. Finally, the gentle Uncle Larry becomes a source of intellectual and artistic strength, championing the power of creativity and knowledge.


With all of these examples laid out before him for consideration, Trevor finds it easier to identify the dangerous elements in the behavior of Nikki’s boyfriend, Rick, who embodies a more insidious form of toxic masculinity. Jess’s astute observation that Rick’s possessiveness is “not caring—it’s controlling” directly links his behavior to that of Trevor’s stepfather (75), suggesting that abusive patterns tend to replicate over time and across generations. Rick’s baleful presence in the house makes Trevor’s promise to protect his sisters an immediate concern, foreshadowing an intensification of the action as Trevor struggles to succeed in breaking the cycles of trauma and abuse.


Within this context, the recurring motif of hands symbolizes the dichotomy between creation and destruction. Throughout much of the novel, Trevor is singularly focused on weaponizing his hands by transforming them into instruments for boxing. His red, cracked knuckles are a physical manifestation of this commitment, serving as a testament to the pain he is willing to endure in order to gain the power to inflict pain on those who threaten his family. However, by injecting periodic reminders of Trevor’s artistic talent, the author strategically interrupts this violent trajectory, suggesting that a gentler path is possible. For example, Larry champions Trevor as a potential “future star illustrator” (77), and P expresses awe at a drawing from Trevor’s childhood. Even the sight of Little Cole absorbed in his craft serves as an emblem of the creative innocence that Trevor has sacrificed for more toxic goals. As these positive reminders emphasize the importance of Redefining Strength Beyond Physical Violence, Trevor must face a fundamental choice and decide whether his hands will be used to dismantle his family’s future or to draw a new one.


Through careful foreshadowing, the author cultivates an atmosphere of escalating tension in which moments of peace and connection are abruptly shattered. With the warm, communal sentiment behind the family dinner that Puff provides, the novel offers a brief glimpse of the stability that Trevor craves, but this harmony is immediately fractured by Nikki’s news of their stepfather’s imminent release. This strategic sequencing emphasizes the fragility of their safety and highlights the issues that Trevor has yet to solve. Similarly, Jess and Nikki’s argument over Rick functions as a microcosm of the family trauma, as Rick’s own behavior mirrors the worst of the stepfather’s faults, perpetuating harmful patterns of control. This subplot amplifies the narrative’s stakes, revealing that the threat of violence and abuse is insidiously woven into the family’s dynamics. Because these chapters culminate in a tense standoff, with Rick’s crew disrespecting the family’s home and lingering in the hallway, the dangerously unresolved conflict foreshadows even greater strife to come.

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