Hands

A strong, supportive community plays a significant role in a person’s development and well-being. In Hands, Trevor begins his journey believing that he must face all his challenges independently, but he eventually realizes that with the support of the people around him, he has a much better chance of making sense of the world and adopting healthier coping mechanisms for his problems. One of the most difficult lessons he learns is that reliance on community is a vital source of growth and hope, not a weakness.

To outline the struggles inherent in Trevor’s journey, Maldonado builds a portrait of the surrounding community, emphasizing the many mentors who wish to guide a boy who believes he stands alone. Trevor begins the novel feeling isolated by his conviction that he must use violence to protect his family from his stepfather. He feels cut off from any support, a feeling that is only worsened by Uncle Frankie’s initial refusal to get involved in the family’s troubles. When Trevor notices the school banner that reads, “IT TAKES A VILLAGE TO RAISE A CHILD,” he scoffs and says, “There is no ‘us,’ ‘we,’ or ‘village’” (61), and from his contemptuous response, it is clear that his sense of isolation has caused him to discount the many sources of support that surround him.

As the story unfolds, the people in Trevor’s life contradict his cynical belief through their small but steady supportive actions. Most notably, Trevor’s “uncles” form the center of the proverbial “village” that is steadily helping to raise the protagonist and make up for the absence of a positive male role model in the family. For example, Frankie offers Trevor practical help and gives him a safe haven by unconditionally welcoming him to his garage. Similarly, Uncle Puff makes it a point to offer his help with anyone who may be bothering Trevor, even though the boy declines to explain the full details of his dilemma. Finally, Uncle Larry uses books and movies to help Trevor make sense of his fear and grief. The men’s benevolent influence counteracts the damage that Trevor’s stepfather has done to the family, empowering Trevor to find a more positive way forward.

Other adults widen this network, broadening the boy’s philosophical horizons, and a key character in this dynamic is Quick, the boxing trainer, who keeps a promise to Trevor’s deceased uncle, Lou, by refusing to teach Trevor how to fight. Quick’s refusal becomes its own kind of protection because it prevents Trevor from repeating his stepfather’s abusive behavior patterns. On the scholastic side, Ms. Clark adds another layer of support when she recognizes and encourages Trevor’s “promise” and invites him to speak honestly about his fears and issues. Finally, Trevor’s mother and sister Jess praise Trevor’s artwork and encourage him to focus on cultivating strength through more creative and construction means.

Trevor’s growth toward accepting this help is complicated when his “village” sometimes fails to support him in the most effective ways. This dynamic becomes clear with Frankie’s initial reluctance to get involved in Trevor’s mother and stepfather’s abusive relationship. Yet this moment of disillusionment is eventually mended when Frankie apologizes and pledges his support, saying, “Trev, I’ll have your back—your mom’s and sisters’ too. We’ll figure it out together” (134). This turnaround shows that even a strong community sometimes requires self-reflection in order to improve. Through these flawed but strong relationships, Maldonado shows how a metaphorical village can help a boy even when he struggles to see it.