Content Warning: This section of the guide includes discussion of sexual content, sexual harassment, and child sexual abuse.
At the end of the school year, Griffin prepares for his exams. He feels prepared but becomes confused while taking them. He wonders if it’s because they’re held in the wrestling gym. After finishing, he cleans out his locker and tells himself he’ll do better next year.
Griffin and his friends all work during the summer. In July, Griffin returns to The Nuclear Family set. Between shoots, Griffin works out at the gym with Shel, where he runs into Vince one day. In the steam room afterward, Shel asks about Amanda. His advice makes Griffin realize how little he knows about love and sex.
One day after Shel leaves on his tour, Lily takes Griffin out to lunch. Griffin asks about her dating history. Although she is surprised, Lily opens up, revealing that she’s always loved Shel the most. Griffin feels bad for her in light of Shel’s story about Millie and wonders if she’s lonely. The conversation shifts to their apartment fire in 1973. Lily offers an alternate version of the story, revealing that Griffin was hiding, but Oren was searching for the cat, who ended up dying. Over the following days, Griffin wonders what it means that he can’t remember “something so fundamental” about himself (377).
The Hurts travel to Philadelphia to see one of Shel’s Sam and Sara shows. Afterward, Shel and Lynn get into an argument that Griffin doesn’t understand.
Later in July, Griffin celebrates Amanda’s birthday with her. He buys her perfume, and they go to the movies and out for ice cream. She invites him to stay over at her house so that they can watch the royal wedding of Charles and Diana in the morning. They hang out in Amanda’s room. Griffin feels content until Dolores screams from the other room. She stabbed her hand with a letter opener. He and Amanda shepherd her to the hospital. They run into one of Dolores’s friends, and Griffin goes home.
Later, in college, Griffin will process his trauma more overtly with Elliott. At 15, however, he is still trying to make sense of his experiences. After leaving Amanda at the hospital, he lies awake worrying. In the morning, he calls Amanda, and she assures him that she and Dolores are fine. That afternoon, Lily takes him to see Elliott. Griffin talks about acting instead of opening up about Amanda. Elliott reminds him he doesn’t have to act just because he’s good at it.
Griffin and Lily run into Naomi on the street after his appointment. She is affectionate and invites the Hurts to their beach house. Griffin feels uncomfortable. That afternoon, he lies in bed feeling tense and confused about Naomi.
Griffin, Oren, and Lily go to Philadelphia to see another Sam and Sara show. There they meet Shel’s co-star Katie. Griffin immediately recognizes her as the woman he saw Shel with months before. He also notices Lily’s coldness toward Katie. That night, his parents fight, and they’re still angry in the morning.
At home, Griffin and Oren talk about their parents’ being upset. Oren reveals that he heard Shel talking to Katie on the phone one night. He then says he’s going to his friend’s house. Griffin accuses him of abandoning him; Oren argues that Griffin always abandons him, like he did during the fire.
The next night, Lily leaves Griffin home alone. He calls Amanda and discovers that she’s in Westhampton with her dad. He calls her there and suggests they meet up because Lily is going to nearby Montauk to see Al.
In Montauk, Griffin convinces Lily and Al to let him take the train to Westhampton. He calls Amanda, who’s surprised he’s coming. In Westhampton, Amanda’s dad and new wife Sylvia pick him up from the station. Amanda is distant when he gets to her house. Embarrassed by her behavior, her dad gives Griffin a bike so he can ride to the beach with Amanda and her friend. However, the girls abandon Griffin shortly after arriving. He bikes around town and goes to another beach alone. Back at the house, Griffin eats with Amanda’s parents. Finally, Amanda returns, asking to go out with friends that night. Her dad suggests Griffin drive her.
Griffin feigns confidence with Amanda’s dad’s stick shift car. He escorts her and Claire around town, determined to make sure they’re safe. When he and Amanda return home later, Griffin wants to say something meaningful, but Amanda is tipsy and dismisses herself to bed.
In the morning, Griffin calls Al, asking to come home. He tells Griffin to be ready by four o’clock. That afternoon, Griffin is shocked when his ride turns out to be the Shah family. Naomi explains he’ll be staying with them. Later, Naomi steals Griffin away so they can talk. Griffin bursts out crying, and Naomi comforts him. They take a drive, pull over, kiss, and have sex. Afterward, they walk on the beach.
In August, Griffin takes refuge in his dressing room at 30 Rock. Sometimes Oren visits, but they haven’t seen each other as much since their parents’ separation and their fight about the fire. One day, Lily calls him and says she’s going to Virginia. While she’s there, he’ll be staying with the Shahs and commuting to New York for shoots.
Griffin moves into the Shahs’ home in Great Neck. He and Naomi resume their secret affair. Sometimes she drives him into the city and attends his shoots. They’re almost caught two times. Once, they’re having sex at Shel’s studio when Oren stops over. Another time, they’re at Sam’s office when Sam finds them. Although they’re not kissing, they’re so close that Sam deduces what’s going on. That night, Griffin listens to the couple fight.
Over the following days, Griffin starts spending more time with Sam. He worries Sam will confront him, but Sam is kind and generous. One day, Griffin opens up to Sam about Amanda. Sam gives him romantic advice and then teaches him to properly drive stick shift. Meanwhile, Naomi stops sneaking into Griffin’s bed, but one night Griffin finds her crying on the stairs. She kisses him, apologizing for everything.
Griffin wishes the summer would end. Naomi and Sam are still fighting. One night, Sam shoves Naomi, closing her finger in the doorjamb and cutting off her fingertip. Panicked, Griffin drives Sam’s car back to Manhattan.
In September, Griffin’s family finds their way back together. When Oren returns home, the brothers catch up about their summers, although Griffin doesn’t tell Oren about Naomi. One night, Lily tells Griffin that Naomi and Sam have separated.
Griffin finishes his final weeks with The Nuclear Family while Shel finishes his Sam and Sara performances. After one show, the Hurts go out with the cast and read newspaper reviews of the play aloud. Shel is pleased that he gets a favorable line. Not long after, the lead actor drops out, and Shel takes his place. During the subsequent performance, Griffin watches Lily watch Shel and realizes how much she loves him.
In the fall, school starts. Damiano approaches Griffin about playing the lead in the school play. He wants Griffin to commit before Take Two premiers and he starts getting bigger roles. Later, Griffin goes to Hornbeam’s house to watch the producer’s cut of Take Two in his private theater. Afterward, Hornbeam offers him another role in a film he’s shooting in Paris in November. Griffin promises to think about it but throws up afterward.
The following week, Amanda invites Griffin over. They haven’t seen each other since Westhampton. Griffin invites her to the Take Two premier and suggests she dump Rob and be with him instead. Afterward, Griffin and Shel have dinner together, and Griffin asks his father’s advice about Amanda. Shel suggests that if the friendship is too painful, he shouldn’t keep seeing her. Griffin tells Shel he doesn’t want to keep acting, and to Griffin’s surprise, Shel acquiesces. At school the next day, he tells Damiano that he’s not doing the play. That afternoon, he runs into Naomi, who gives him a griffin figurine.
The next time Griffin sees her, it’s 1992, and they’re at Elliott’s memorial service. They end up sharing a car, and Naomi is annoyed when Griffin engages with their driver more than her.
Back in the present, Griffin goes to see Amanda. They take a walk, and Griffin tells her that they can’t be friends anymore because it’s too painful. He rides his bike through the city, studying the sights and reflecting on life in Manhattan.
In the final chapters of Playworld, Griffin’s academic, athletic, theatrical, romantic, and sexual experiences lead him to new discoveries about himself. Throughout the entirety of the novel, Griffin has been caught between his amorphous desires and the entrapping expectations of those around him. His entrapment becomes increasingly acute in Part 2 when his parents separate, and he’s forced to move in with Naomi, thus reigniting their abusive relationship. Stuck on Long Island with a different family and without his friends and relatives, Griffin is forced to reflect on his circumstances in new ways and seize control of his life for the first time.
The scenes set on Long Island immerse Griffin in unfamiliar environments and change how he sees himself and his life. At the same time, Griffin continues Navigating Challenges in a Fast-Paced Environment despite his physical relocation. In the months preceding the summer vacation, Griffin is steeped in his Manhattan lifestyle: He’s juggling school, sports, the play, and his film shoots. When the school year ends, Griffin heads to Westhampton for a casual weekend away (meant to maintain his connection with Amanda over the break) and ends up incidentally caught in situations he didn’t choose for himself. Both his time with Amanda and with the Shahs are symbolic of Griffin’s entrapment. With the Wests, Griffin is isolated and alone. Although physically close to Amanda, Griffin feels entirely out of place. Of his time in Westhampton, Griffin says that “if you’d asked any random member on that strand to pick out the one person who did not belong, they’d have scanned that scene for less than ten seconds and spotted me” (415). Amanda’s avoidant, removed behavior augments Griffin’s discomfort and further alienates him from reality. His parents have just split up, and even he and Oren aren’t in communication. He’s therefore familially, geographically, and socially unmoored. His circumstances don’t improve when his mother arranges for him to spend the remainder of the summer break with the Shahs. In this setting, Griffin is trapped between Naomi and Sam. Sam treats him as a son, taking him under his wing, giving him advice, and teaching him to drive. Meanwhile, Naomi sneaks into his room and engages him in a sexual relationship—an entanglement Griffin can’t extricate himself from while living under the Shahs’ roof. These dynamics render Griffin powerless.
Griffin’s decision to take Sam’s car and drive back to Manhattan is symbolic of his reclamation of autonomy, control, and independence. For years, adults have been “the ocean in which [Griffin has] sw[u]m” (462). He has given in to Shel’s, Lily’s, Brent’s, Kepplemen’s, Damiano’s, Elliott’s, and Hornbeam’s demands because he’s been taught not to question adult authority. In turn, he’s learned not to trust himself, not to listen to his heart and mind, and therefore not to exercise his agency. When he makes “the drive into the city” alone (464), he is taking control of his life. The way he describes this solo drive conveys the newfound sense of calm he feels: He says that the “peace and quiet that attends the solo commuter’s trip” gives him “the time […] to collect [his] thoughts” (464). Instead of obsessing over what happened at the Shahs’, Griffin studies his surroundings, marveling at the skyline and how “the city [seems] ever more wondrous than when seen from afar” (464). His descriptive language and meditative tone in this passage show how Griffin is changing. He is both liberating himself and exacting control for the first time—both of which grant him a new perspective.
Griffin’s solo drive back to the city affords him the courage to stand up for himself in other ways, too. Most notably, he summons the courage to turn down Hornbeam’s offer, open up about his disinterest in acting to Shel, and end his relationships with Naomi and Amanda. Throughout the novel, Griffin has allowed others to dictate the course of his life for him. His more definitive actions at the novel’s end are new for Griffin because they originate from his desire and need. In making choices that benefit him, Griffin comes of age.



Unlock all 51 pages of this Study Guide
Get in-depth, chapter-by-chapter summaries and analysis from our literary experts.