The Acorn People

This section shows how all the campers, not only Ron’s group, bond on several occasions. Mr. Bradshaw makes the parents’ visit to camp difficult and uncomfortable for everyone, visitors included. Aaron tries to make light of Mr. Bradshaw’s assignment to label everyone; the extent to which being labeled dominates his life and the lives of the other campers isn’t lost on him. When he encourages his campmates to humorously label absolutely everything, the sarcasm implicit in his actions is lost on their camp administrator. Mr. Bradshaw’s humorlessness is apparent in his decision that everyone will watch a video on water safety, making even a movie night restrictive rather than fun. However, the symbolism of the water ballet in this movie (wherein people move in synchronicity, as a united force) returns later in the narrative, and Ron’s focus on it foreshadows its importance. Surprisingly, Mrs. Nelson rescues the evening in a comedic moment when she has been drinking; even in her inebriation, however, she is motivated to remove the labels that Mr. Bradshaw recommended. The children celebrate this the next day, showing how much the labels impacted them. Ron remarks, “It was as if [Mrs. Nelson] possessed some kind of magic. Well, maybe she did. After all, she stripped those labels off all of us. She gave us back the chance to be children. To dream and play” (54). This is also a moment wherein Ron realizes that everyone has hidden depths, including the army nurse who had, until this moment, engaged with the campers only by treating cuts, scrapes, and minor illnesses and by offering the girls lipstick.

The delight with her actions inspires the children to branch out further, planning an event many have never attended: a dance, a common rite of passage for young adults. Their motivation is key in demonstrating how crucial positive, encouraging guidance can be for children with disabilities who are still learning their place in the world; the standards set by adults can often shape how children see their future and what they’re capable of. Once the dance begins, the kids are shy, but it only takes one counselor starting a square dance (which involves shouting instructions, aiding those who are blind and can’t follow visual examples) to inspire them to begin dancing. This kicks off a series of dances that Ron describes as akin to common group dances, altered to accommodate the campers’ disabilities. This scene further develops the theme of Redefining the Meaning of “Ability” because the children wouldn’t be considered able to do the typical dances; however, with accommodation, they can participate just like anyone else, adding their own look and style to a dance.

The night culminates in Mrs. Nelson and Aaron being named the “Queen” and “King” of Camp Wiggins—the former for her good deeds and the latter for his kindness and friendliness throughout camp thus far. It’s a touching decision and one that proves overwhelming for Aaron, whom Ron initially described as being unable to keep friends due to the smell from his urine bag. Ron is surprised when Aaron begins crying, unsure how to process the sheer delight of being admired by others for once. Aaron asks, “But I’m so happy, why am I crying? […] Do kings cry?” (60). Overcome that others recognize him as a leader, and uncertain whether a masculine figure of royalty ought to show emotion, Aaron asks an existential question and then one reflecting gender dynamics, showing just how normal he is. He is burdened by big questions about emotion and loneliness but also preoccupied with acting like a “man.” Ron quickly assures him that kings do cry, putting these fears to rest. When the campers end the night by singing “Kumbaya” throughout the camp, it demonstrates how close they have all become, united in their quest for fun and freedom uninhibited by their disabilities. Ron feels elevated by “[h]earing [their] singular voice held in harmony by the voices of those [they] love. The feeling of belonging not just to oneself but to the entire universe” (62). This emphasis on oneness shows how united all people are: Their abilities do not separate them; rather, their differences unite them.

Their elation can’t last, though. The end of camp looms over them, even though it’s days away, showing that their experiences thus far have been so impactful and positive that the mere threat of these experiences ending is almost too much to deal with for many campers. Ron describes how many children return to the same withdrawn despondency they had on the day they arrived, as if emotionally preparing for how they must operate in their regular life: excluded, disregarded, and dehumanized. Mr. Bradshaw only emphasizes this when he states that the camp must be clean and orderly days before the parents arrive.

Once again, Mrs. Nelson shows a passion for helping the children experience the same things as other kids, including theater and dance. More than this, she recognizes their need to feel not only included but also prized. In response to her plan to get reporters to cover their upcoming water ballet, Ron remarks, “Film. Reporters. These kids had never been news. Most had been family secrets. They had been observers. Now they had the chance to be performers” (65). Many used to be hidden away by those who see them, much like Ron saw them in the first chapter, as a burden, as if their mere presence were both upsetting and frightening. Now, they will be celebrated. Mrs. Nelson thematically represents The Transformative Power of Community as she strives to be a friend and inspiration to the children and make them feel important, while offering them opportunities to build relationships with each other. Her idea for a water ballet allows them to collaborate on a project, try new things, and ultimately build a community wherein they each feel valued, even if their time together will soon come to an end.