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Content Warning: This section of the guide includes discussion of child abuse and bullying.
Michael Woodbine gets a call from his adoptive mother, Judy Woodbine, while walking to his first film-workshop class. He’s annoyed that she’s already asking how his first day of college has gone. He ends the call when he arrives early at Professor Robert Dunning’s classroom. Michael is surprised by the burn scars all over Dunning’s face and apologizes for staring. Dunning urges him not to go through life apologizing.
Mr. Dunning starts the class by talking about self-acceptance. He acknowledges his scars and invites his students to look at them. He then urges the class to always have something to say in their work, as film “is a form of communication” (9).
Michael stays after class to talk to Mr. Dunning. He shows him his scars on his chest, and Dunning suggests that they get coffee. Over coffee, Michael tells Dunning about his reasons for studying film. He wanted to be an actor but decided against this path since he’d eventually have to show his scars to the world; he prefers to cover them with his clothing. Dunning encourages him not to give up on life because of his scars and urges him to try hard things even if he doesn’t feel ready.
The novel shifts back in time. Seven-year-old Michael is spending the Fourth of July with his birth parents, Livie and Miles Costa, and his brother, Thomas Costa. Their parents keep leaving Michael and Thomas alone on the beach while returning to the car.
During one of their absences, Thomas dares Michael to steal a fireworks rocket and set it off. Michael is confused and scared but accepts the dare, as he always feels pressured by Thomas. When the adults head back to the beach, Michael throws his body onto the lit rocket, unaware that Thomas lit the fuse. The rocket goes off in his arms. Michael looks up to see an unfamiliar man’s face standing over him before he loses consciousness.
Michael wakes up in the hospital nine days later. He is covered in bandages and feels groggy. A Child Protective Services (CPS) agent enters and informs Michael that his parents can’t come to see him. They’ve been arrested for failing to care for him.
Michael wakes up again, this time to Dr. Banerjee. He explains that Michael was severely injured by the firework and has undergone several surgeries so far. He then asks Michael questions about himself, his life, and current events. Michael remembers his and his parents’ names but not the year. Dr. Banerjee assures Michael a woman named Ms. Keller will come talk to him about his parents. Afterward, Michael’s roommate, Jeffrey, engages Michael in conversation. He was injured by a firework, too. Michael appreciates his honesty. He comforts him about his parents and encourages him not to look at his hands until they’re more healed.
Later, Michael wakes up, and Jeffrey is gone. Ms. Keller visits. She explains that Michael’s parents were arrested for endangering and neglecting him. He will now go to live with foster parents, Judy and Charles Woodbine. Thomas will be going to a different foster home because CPS sees him as “a bad influence” on Michael (38).
Back in the present, Michael tells his adoptive parents about his film class and the documentary he plans to make. Judy gets upset when he reveals that his chosen topic is scars. Charles calms her down and suggests helping Michael buy a camera. After dinner, Michael and Charles further discuss Michael’s project. Charles reassures Michael that it’s okay to talk about hard things and reminds him of how much Judy loves and wants to protect him. Michael opens up about his admiration for Mr. Dunning.
Michael meets with Mr. Dunning about his documentary, which he plans to call Here I Am—Get Used to It. He will interview people with scars and tape their stories. He asks Dunning to be one of his subjects. He promises to consider and helps Michael come up with ideas to start the project.
Michael then makes a sign calling for volunteer subjects for his film. The ad asks for people who worry about their bodies and appearances.
Early the next morning, Michael receives a call from Rex Aronfeld, a man interested in participating in Michael’s film. He explains his fraught relationship with his body: While he was once an Olympian, he is now 103 years old. He tells Michael his whole story and agrees to volunteer for the project.
Later, Michael gets a call from a man who identifies himself as Freddie. He explains that he doesn’t like his body because he’s tall and too skinny. People have always teased him; he feels ugly and like it’s impossible for him to date. Then, a woman named Tanya calls to explain her negative relationship with her belly.
Michael tells Mr. Dunning that the interested subjects aren’t what he expected for his film. They discuss the issue, and Dunning encourages Michael to follow the direction that the universe is sending him in.
The narrative shifts back to the past. A year into Michael’s foster care with the Woodbines, Judy and Charles announce that they’d like to adopt Michael. They explain that the court might not honor their petition but wanted to inform Michael of their plans and desires. Michael is confused, as he thought that he’d eventually return home to his biological parents. He realizes that home is with the Woodbines but still feels upset.
A few months later, the Woodbines explain that the adoption has gone through. The Costas ended up agreeing to the arrangement because they wanted Michael to have a happy home. Michael gets upset when he learns that Thomas got to return home to their parents. He closes himself in his room and cries.
Charles comes to sit with Michael, offering to let him see the Costas to ask about the situation if he likes. Michael insists that he doesn’t want to see them if they don’t want him home.
Not long later, Charles gives Michael a letter from the Costas. A furious, hurt Michael tears the letter up and flushes it down the toilet at school.
In the opening sections of Michael Without Apology, the protagonist’s foray into college compels him to start confronting The Ongoing Struggle for Self-Acceptance. Michael is 19 in the narrative present but has spent most of his life avoiding his traumatic past and hiding his associated physical scars. Meeting and working with his new film professor, Mr. Dunning, helps him realize that self-acceptance is challenging but entirely possible. Michael’s dialogues with Dunning convey his private insecurities and struggles with accepting himself and his body. When Michael apologizes for noticing Dunning’s scarred appearance, Dunning urges him “not to go through life being sorry” because it is a sign of self-effacement (5). He wants Michael to claim his voice and identity without fear or shame.
Since Michael is so taken by Mr. Dunning, he starts to implement his advice in his daily life. In Chapter 4, for example, he tells his mother over dinner, “When you say scars are something we shouldn’t be talking about because they’re not happy enough, you’re talking about me. How do you think that makes me feel?” (42). Michael is owning who he is and what he’s gone through. He is trying to be “direct and fairly brave” about his identity (42). He wants to claim his experiences, and he makes early strides in doing so in this safe familial context. He is preparing to claim who he is in a more public context—his documentary—but must practice self-acceptance in predictable settings first.
Mr. Dunning’s character is an archetypal guide who immediately takes Michael under his wing and invests in his creative, academic, and personal challenges, introducing the theme of Community and Friends as a Source of Strength. Even before Dunning begins to offer Michael advice on life, Michael feels “drawn to the energy of this man” because he has never been “so directly seen” (6). Dunning doesn’t judge Michael for arriving at class early, showing him his scars, staying after class, or opening a conversation on scars. Dunning has an intense personality, but he is also caring, perceptive, and direct. His character offers Michael the safety and encouragement he needs to begin confronting his trauma in a safe setting. Dunning’s class also initiates Michael’s creative endeavors, as his relationship with his own scars inspires Michael’s idea to tell stories about others’ scars. In these ways, Michael’s film class and film professor offer him necessary outlets to process what happened to him in his childhood and to move forward.
These chapters introduce scars as a primary narrative motif. Michael has always thought about scars only in a literal manner, defining them as marks left behind on the body after a serious physical injury. When he starts working on his documentary, Here I Am—Get Used to It, his surprising subjects challenge him to redefine scarring as a whole, initiating his experience of Healing From Trauma via Artistic Creation. Initially, Michael is disappointed by the answers he receives to his ad, as his respondents are “all people who have bodies that are pretty ordinary. They’re not scarred or disfigured at all,” and the “things they’re worried about are things [Michael would] be happy to have” (57). Michael regards his subjects in this way because he has limited what “scarring” means to the corporeal. Mr. Dunning helps him see that people can have problems on the inside as well as the outside—emotional scars and insecurities that can also affect their self-esteem.
The more allusions to scars and scarring that appear on the page, the more nuanced Michael’s understanding of them becomes. Scars gain symbolic resonance in turn, becoming an extended metaphor for physical, emotional, and psychological trauma. Rex Aronfeld feels traumatized by how his body has changed since he was an Olympian. He struggles to let go of his lost youth and waning strength. Freddie has been traumatized by the bullying he’s faced regarding his skinny physique since he was young. Tanya has been emotionally scarred by the media, always comparing her belly to airbrushed images of women’s bellies in magazines and advertisements. Just hearing his volunteers’ stories over the phone compels Michael to reevaluate his own trauma and thus his own scars.



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