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Peter Stokes is in the fifth grade, and his English teacher, Mrs. Klein, wants her students to tell a “true and real” story (1), so Peter writes about his grandpa. His little sister, Jennifer, tells him to put Pac-Man and Wonder Woman in his story. She wears a Pac-Man cap and a Superman T-shirt. She also suggests including horses or a “magic fairy.” Peter rejects her ideas. His story is about him and his grandpa. Jennifer says it sounds dumb. Peter says it’ll be great, but he doesn’t know where to start. Jenny says it should start with her. She discovered before Peter that Grandpa was going to live with their family.
Peter likes to read books with short chapters, so his story will feature tiny chapters.
Returning to the story, Jennifer goes into Peter’s room, and he warns her not to sit in his rocking chair. She rocks too hard in it, causing the arm to pop out. Peter’s mom was going to throw out the rocking chair, but Peter saved it. His dad promises to glue the arm, but that hasn’t happened.
Jennifer has news: Grandpa Jack is going to move in with them. He lives in Florida, and he’s lonely and sad: His wife (Peter and Jennifer’s grandma) died, and they’re supposed to lift his spirits.
The news comes with a secret: Grandpa’s room won’t be in the third-floor guest room—that’ll be Peter’s new room. Grandpa will take over Peter’s current room.
Peter loves his room—it’s his. No one else in his family has ever occupied the space. He has lived in it for all 10 years of his life. His crib was once in the corner. His bed is there now, and there are bookshelves above his headboard. He also has toy cabinets, a carpet, a poster of Hank Aaron hitting his 715th home run, and shoeboxes full of baseball cards. He knows how the sun lights up his room, and, at night, he moves around fine—he knows where everything is, and he knows its sounds. There is nothing scary about his room.
Peter’s dad, Arthur, is an accountant, so he works with money—calculating how much people have, advising people on what to do with it, and helping people pay their taxes. During “Tax Time,” Arthur is busy. He comes home late and spends a lot of time in his basement office.
Peter and his family have dinner, and during dessert, Peter’s mom drops the news: Grandpa Jack is moving in. Jenny is happy. Grandpa always gives her candy on her birthday. She can’t wait to show Grandpa her ballet moves.
Peter pretends to be happy and brings up the room situation. Arthur says Grandpa has a bad leg, and they don’t want to make him walk up two flights of stairs. Besides, the bathroom on the third floor doesn’t have a shower. Grandpa would have to walk down to shower. Peter suggests putting a shower in the third-floor bathroom. His dad shoots down that idea, so Peter must surrender his room.
Peter protests. He screams no, and he suggests Jenny gives up her room. His mom calls Jenny a “baby,” though Jenny says she’s not a baby. Either way, his mom wants Jenny closer to her room.
Peter concludes that the situation isn’t fair. His dad says Grandpa’s life isn’t fair—life in general isn’t fair. His mom stays positive; maybe Peter will like it on the third floor. Peter doesn’t think so. He leaves the table and cries in his room.
Reflecting on Chapter 4, Peter thinks about how long it took him to write it: Five days. Peter can’t fathom how people write long books. It must take them their entire lives.
Returning to the story, Peter is sad. He thinks about how parents can make their kids do things they don’t want. Aside from the room, Peter’s mom makes him take piano lessons. Peter wishes he could take baseball lessons instead. Maybe he wouldn’t strike out so much.
Peter and his dad talk in his room. Peter says the situation “stinks,” and his dad agrees, but if Peter maintains his negative attitude, things won’t get better. His dad wants Peter to give his new room a chance. As Peter doesn’t have a choice, Arthur doesn’t want to discuss the matter further.
Peter makes a promise: When he becomes a parent, he won’t make his child do anything they don’t want to do. He then makes a few exceptions: He’d make his child brush their teeth and eat their vegetables, and he wouldn’t let them run across a busy street, play with poison or matches, or skip school—Peter realizes these issues are related to his hypothetical child’s health, safety, and education.
Peter has another observation about his writing: His sentences can get rather lengthy—he’ll try and keep them short.
Back to the story: His parents move things—baseball cards, board games, books, trophies, and posters—from his second-floor room to his new third-floor room. The move lasts multiple days. As more things leave Peter’s room, the less it feels like his. The night before Grandpa arrives, they move his bed upstairs.
Arthur asks Peter if he’s okay, and Peter promises not to cry. His dad tells him growing up involves doing things that he doesn’t want to do. Peter restates his hatred for his new room. His dad understands, but he tells Peter not to tell Grandpa—it’ll make him feel bad. Peter and his dad hug, but he still feels horrible.
After kissing his mom goodnight, Peter goes to his new room on the third floor. It’s scary: The staircase is narrow and creaky, and there’s not much light. The hallway is dark, and the empty rooms look like dangerous caves. Peter knows there’s no such thing as a boogeyman, but he’s on edge. In his room, the sounds and light faze him, and he remembers what his mom sometimes says, “Be still, my heart” (47).
Peter’s fear turns into anger. He doesn’t know why he’s the only person sacrificing for Grandpa. He thinks about John Paul Jones, a famous naval captain who helped the United States defeat the British in the Revolutionary War. Paul has a book about sea battles, and under Jones’s picture are the words “I have just begun to fight!” (48).
When authors write novels, they usually create a fictional world that is separate from the real world. The characters who inhabit the book are part of that fictional world, so they don’t show an awareness of being creations of the writer’s imagination or of being in a book. They also don’t show any awareness of the reader. That boundary between the world of the novel and the world of the reader or audience is called the “fourth wall,” though it’s not a real wall.
Robert Kimmel Smith uses a different technique in The War with Grandpa: Instead of maintaining a clear boundary between the world of the novel and the world of the reader, Peter crosses this boundary—breaks the fourth wall—by seeming aware of the book the reader is holding—because Peter is supposedly writing it to fulfill his teacher’s assignment for a “real and true” story. He also refers to the writing process itself (chapter length and divisions, for example) as if they are his own creations. Peter is writing his story in the first person (using the pronoun “I” to convey the story as he experiences it) and using direct address to break the fourth wall (speaking directly to his audience and crossing the boundary between the story world and the real world). So, even though the readers know Robert Kimmel Smith wrote the book, his techniques of first-person point of view, direct address, and breaking the fourth wall make it seem as though Peter is the author of a “real and true” story that he’s telling the reader. In these ways, Smith effectively uses literary techniques to engage and involve young readers in the story.
These elements point out that writing a book isn’t an easy process. After completing a few sentences, Peter admits, “I can see I’m doing terrible already” (13). Aside from curtailing long sentences, Peter also worries about chapter length. A writer has to keep track of many elements, and it can be stressful.
Despite the tough task of writing, Peter maintains a humorous tone. He’s witty, like when he calls his sister “a walking billboard” (14), and his sister adds to the humor through irony. In other words, what she says twists normal expectations. After Jennifer tells Peter that Grandpa will take over his room, she says, “I can’t tell you. That’s the secret” (21). The irony is that she already told him—it’s no longer a secret.
The room symbolizes Peter’s territory—it’s his country, and he uses imagery to give the reader a vivid portrayal of its geography, or layout. The reader can see his bed, the bookshelves, the Hank Aaron poster, and so on—like they’re in the room. Peter’s rocking chair symbolizes vulnerability. Like Peter, the rocking chair is in a precarious situation. It’s liable to break if the person sitting in it doesn’t treat it gently. The room switch makes Peter feel like his world is falling apart.
Peter also uses imagery to show his parents moving everything from his second-floor room to his new room on the third floor. The reader can watch Arthur and Sally take Peter’s things and put them in a new, unwanted location. In the context of the story, Peter is displaced and oppressed. As his parents are forcing him to move, his parents symbolize the oppressors.
Smith uses dialogue to illustrate the conflict between Peter and his parents. Over dessert, they talk about what’s going to happen when Grandpa arrives. Dialogue gives the reader a chance to hear other voices aside from the voice of Peter, the narrator. It opens the story to different perspectives. The reader can hear the pragmatic voice of Peter’s dad, the worried voice of Peter’s mom, and the self-centered and willful voice of his little sister.
The contentious dessert links to the book’s main themes: Conflict Within Families, The Difficulty of Change, and Poor Communication Versus Effective Communication. Before Grandpa arrives, Peter is already quarreling with his family. The fight has to do with change—Peter must switch rooms. Poor communication exacerbates the conflict and the difficult change—his parents didn’t include him in the decision-making process. They decided he had to change rooms and then imposed their decision on him.
The irony continues when Peter declares, “When I grow up and have a kid I will never make him do anything he really does not want to” (37). Peter subverts his promise when he lists exceptions. Peter can be hyperbolic (using exaggeration not meant to be taken literally), but his overdramatic tone is part of the humor. Smith juxtaposes (places side by side) the humor with serious issues. Moving rooms isn’t a joke—and neither is Grandpa’s situation. The book is silly, but it’s also sincere.
The reference to John Paul Jones and his motto foreshadows or previews what will happen. Jones fought for American liberty against the British, and soon, Peter will fight for his rights against his grandpa.



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