58 pages • 1-hour read
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Ware watches Jolene smash concrete and wonders why the lot doesn’t feel more “holy.” He thinks about what his mother said when she read his school report on knights, and how she balked at the idea of women needing to be saved by knights. This discouraged Ware, because it led to the realization that he may never be able to become a knight or be a hero himself. When Ashley appears at the lot, Ware takes it upon himself to defend Jolene. He tells Ashley that she must have her father call off the auction, as he and Jolene work to build the moat.
Ware sneaks over to the market after Jolene leaves, hoping to purchase some fruit. He loves the sight of all the colors, and finds some fresh papayas on the checkout counter which he buys to bring home. Behind the woman at the counter, Ware can see a backyard garden, and Jolene and Mrs. Stavros outside. Jolene is eating and laughing, a sound that Ware has never heard from her before.
Back at home, Uncle Cy and Ware have a talk. Uncle Cy is impressed by Ware’s work at the church ruins and believes Ware to be an artist like himself. Ware admits he feels different, left out, and judged by his parents, and Uncle Cy admits he has experienced all of that as well. He encourages Ware to believe in himself as an artist, whatever form that may take, and offers to lend Ware his film camera to film the wreckage. Ware begs his uncle not to reveal where he’s been going to his parents, and his uncle agrees for now.
Ware takes his uncle’s camera to the ruins and films everything that moves him, including a growing papaya, Jolene’s gardening work, and footage of the wrecked church. Ware starts to feel like the camera is an extension of himself, and he loves the way it captures the beauty in the ordinary.
Ware wants to make the church walls look more like a castle, and dislikes their pink color. He mixes rock dust with glue and water to create a mixture, and uses a makeshift catapult to fling it at the wall. Jolene likes the idea and joins in, and when they’re finished, they sit back admiring their work.
Ware is about to go into the lot one morning when his mother pulls up, looking frazzled and impatient. Ware approaches her, dreading having to tell the truth, but she explains that she forgot to give him a new bus pass and thinks he was just looking for a solution. His mother sees him waving at kids as they go into the rec center and compliments her son on how he has changed and grown over the past few weeks. She adds that he used to always be off in his own world, suggesting that to be a negative thing. Ware considers this and realizes he is still off in his own world, but that there is nothing wrong with that at all.
Ware doesn’t want the moat around his castle to smell or become polluted, so he convinces Jolene that they need to find some water-filtering plants to add to it and keep it clean. He doesn’t know much about holy water, but he does know that it isn’t dirty. Jolene suggests a detention pond behind the school, and they plan to head over there right away.
Ware and Jolene arrive at the detention pond and find some water plants that would be perfect for the moat. Jolene digs in, ignoring Ware’s protests, and in the end, they make three trips carrying plants to the lot. Afterward, a thunderstorm rolls in, and Ware creates a shelter out of a table, a cloth, and some candles. While under the table, Ware admits that his parents wish they had a different child, and Jolene admits that her aunt doesn’t want her at all.
Jolene becomes frustrated when she discovers that caterpillars have been eating her plants. She tasks Ware with cutting plastic cups to protect them, but it doesn’t work very well. When the subject of trash comes up again, Jolene still wants to know about Ware’s grandma’s hips, and Ware reveals that there are other people at the rehabilitation center with organs or body parts that have been removed. Jolene is eager to go there and ask them about it, and they plan to do so the following day.
Jolene stares at a candy wrapper and Ware wonders why she finds it so interesting. She explains that it has a history and came from other materials and places. Jolene also points out that Ware tends to want to turn things into something they are not, like turning the church ruins into a castle, or expecting the world to be fair. Ware suddenly realizes that even people do not stay as they are forever and eventually become something else.
Ware goes to see his grandma and is overwhelmed with relief to find her well. He apologizes for not being there when she fell, but his grandma finds that ridiculous and does not blame him for what happened. He asks her if she was afraid during her surgery, but Ware’s grandma explains that having his mother there helped a lot. Having noticed Jolene wandering through the hallways and peeking into the room, Ware’s grandma tells him to go get Jolene and introduce her.
Ware is surprised by Jolene’s manners when she meets his grandma. Ware’s grandma is curious about Jolene, but Jolene just wants to know what happened to her hips, so Ware’s grandma tells her to go ask a staff member about those things. Ware and his grandma talk about Jolene, and his grandma wants to know why she lives with her aunt, why her aunt doesn’t want her, and why Ware knows so little about her. She tells Ware to bring Jolene the next time he comes to visit.
In these chapters, the setting becomes increasingly laden with thematic significance as Ware begins to see the world through the eyes of an artist. This change supports the theme of Seeing the World Clearly. Ware’s perspective shifts from passive observer to active participant, and he begins filming everything that moves him, like Jolene moving dirt and a papaya as it grows. This visual attention to detail mirrors an emotional maturing; Ware is no longer just dreaming up stories in his head, he is now capturing and shaping the reality around him. His artistic engagement is strongly exhibited in the transformation of the church ruins. Ware discovers a method to coat the “castle” walls in mud to make them appear more authentically medieval: “The church now looked strong and defiant, like the best castles, like a fist of rock bursting up through the ground” (153). The ruins are reimagined as a fortress and become proof of Ware’s vision, determination, and creativity. This shift in imagery reflects the larger theme of Renewal and Rebirth, both of physical spaces and personal identities.
Ware undergoes meaningful growth in this section, slowly coming to terms with his identity and questioning how to live with purpose in a complex world. One of his biggest questions is whether it’s even possible to uphold the Knight’s Code in modern times. Despite his doubts, he tries to do so by taking action; he confronts Ashley and tells her she has to call off the auction, standing up for what he believes is right. Ware also begins to understand himself more fully through the eyes of others. His Uncle Cy, a successful artist, visits the lot and recognizes Ware’s creative vision when he says, “The lot is your art right now. You’re creating it” (141). This is a powerful moment of validation, helping Ware to realize that his supposed strangeness (preference for solitude, his unusual way of seeing the world) is part of being an artist. Later, Ware has an important epiphany: he has actually been spending more time “off in his own world” (156) lately, and he finally sees that not as a flaw but as something valuable and meaningful.
All of these attempts relate to the theme of Finding One’s Purpose, as Ware searches for his. Another key moment in Ware’s growth occurs during a thunderstorm, when he and Jolene take shelter under a table lit by candles. Ware confesses that his parents wish they had a different child, and Jolene, in turn, reveals that her aunt wishes she didn’t have one at all. This shared vulnerability deepens their friendship, giving Ware hope that maybe people really can change. The idea of transformation takes on real momentum as Jolene’s curiosity about amputees leads her to accompany Ware to the rehabilitation center. During that visit, Ware’s grandma points out that, despite his closeness with Jolene, he knows very little about her actual life. This observation challenges Ware to rethink his relationships and reminds him that emotional connection requires effort and curiosity.
Symbols and motifs in these chapters continue to emphasize story’s coming-of-age themes. The papayas become especially important; Ware buys them and brings them home for his family to eat, integrating the symbol of his secret personal life into his family’s home life, foreshadowing the eventual merging of the two. He also films a papaya every day as it grows, which is an act that demonstrates both his artistic sensibility and his fascination with transformation. This idea of growth is echoed in the physical transformation of the church. After covering the walls with mud, Ware notes that “The church now looked strong and defiant, like the best castles, like a fist of rock bursting up through the ground” (153). This imagery transforms the space into a testament to creativity and resilience.
Finally, another powerful symbol emerges when Jolene admires a candy wrapper and muses about its origins and past uses. This sparks a realization in Ware: “If everything was something else before, then everything will be something else afterward” (170). This insight applies not just to objects, but to people as well. Ware begins to understand that identities are not necessarily permanent; just as a papaya or a castle wall can change, so too can people evolve and become new versions of themselves.



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