51 pages 1 hour read

Playworld

Fiction | Novel | Adult | Published in 2025

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Part 2, Chapters 1-6Chapter Summaries & Analyses

Part 2 Summary: “The Reagan Administration”

Part 2, Chapter 1 Summary: “The Swimsuit Issue”

Content Warning: This section of the guide includes discussion of violence and child abuse.

In February of 1981, Griffin is 15 years old, Reagan has just been inaugurated, and wrestling is winding down. At dinner one night, Shel tells the family he’s taking a part in Abe’s new musical, Sam and Sara. After spring rehearsals, he’ll be going “on the road in the summer” and expects Griffin and Oren to help Lily in his absence (215). Griffin barely responds and retrospectively wonders if his distraction stemmed from his improved diet. Meanwhile, his body has been changing, and he’s felt more self-conscious than ever. He is also distracted by imagining falling in love with his dream girl.

When Shel starts rehearsals, Griffin understands how important this role is to him. He’s been an actor and a singer for years and has always longed to get into the movies. He’s mostly been singing commercial jingles of late, so this part is significant for personal and financial reasons.

Meanwhile, Oren starts complaining that the family never gets to go on vacation. One night, he begs Shel and Lily to take them to Captiva.

Part 2, Chapter 2 Summary: “Rawhide Down”

After wrestling ends in March, Griffin starts auditioning again. Meanwhile, Shel constantly reminds him that he has to keep acting to help with finances. One day, Griffin complains to Elliott about his acting career. Elliott recounts Lincoln’s assassination, reminding Griffin to find “a language for [his] life” (238). Griffin doesn’t understand.

For spring break, the Hurts vacation in Captiva. Shortly after arriving, Griffin sees a girl his age who intrigues him. He runs into Tanner, too, and tells him and Oren about the girl, who they say is Regina Goodman. Griffin hopes he can spend time with her and often watches her play tennis. 

After a bad sunburn, Griffin is incapacitated. He’s miserable until he receives a letter from Regina inviting him to take a swim. When Griffin meets up with her, the girl insists that she’s named Meredith, not Regina, and she didn’t write the note. Griffin confronts Oren and Tanner, who wrote the note as a prank. To get back at Oren, Griffin throws him off the dock.

After returning home, Griffin hangs out with Cliff. While watching television together one day, they hear reports of an attempted presidential assassination. Everyone is in an uproar. Watching the news, Griffin remembers what Elliott said about Lincoln’s assassination.

Part 2, Chapter 3 Summary: “Take Two”

In April, Brent informs Griffin that the director Alan Hornbeam wants to work with him on his new movie Take Two. They meet and read lines together. Griffin immediately inhabits his role as Bernie, the son of Hornbeam’s main character, Konig. Hornbeam is impressed and gives him the part. 

Afterward, Griffin notices that the nearby girls’ school, Nightingale-Bamford, is getting out across the street. He sees a girl he thinks is attractive. The two take the bus home together and, after recognizing him from The Nuclear Family, she asks for Griffin’s autograph. Griffin is shy and barely engages her. When they get off the bus, the girl introduces herself as Amanda West and gives Griffin her number.

At home, Griffin and his family discuss his upcoming role in Take Two. In bed that night, Griffin tells Oren about meeting Amanda, but Oren barely responds. Restless, Griffin takes the elevator up to the roof and stares out at the city, thinking about Amanda and feeling lonely.

Part 2, Chapter 4 Summary: “Dungeons & Dragons”

At the shoot on Monday, Griffin is distracted and keeps flubbing his lines. At the day’s end, he looks outside, hoping to see Amanda leaving school. Meanwhile, he imagines all the things they might do together. That night, he calls Amanda from his closet, but his family keeps yelling in the background. Before saying goodbye, Griffin invites Amanda to watch him film on Friday.

The next day, Hornbeam scolds Griffin for being distracted and playing his part poorly. He explains Freytag’s pyramid, a storytelling structure, and tasks Griffin with taking the script home and organizing his lines according to Freytag’s pyramid. Griffin does so and is proud of himself when Hornbeam congratulates him at the next shoot. 

However, Griffin soon realizes he’s behind in school. Meanwhile, he runs lines with Shel, who wants him to take liberties with the script that Griffin argues Hornbeam won’t like. Offended, Shel storms out.

On Friday, Amanda comes to the set. Hornbeam realizes she and Griffin are friends and invites her to be an extra in one of the scenes. On the bus ride home, Amanda invites Griffin to babysit with her the following week.

That night, Griffin and his family attend Shel’s Sam and Sara rehearsal. Afterward, the family goes out for Chinese food. The next day, Griffin attends detention, where he and a boy named Rob have to organize books in a basement room. That afternoon, he returns to the set before babysitting with Amanda. Griffin enjoys himself until Amanda reveals that she is dating Rob.

Part 2, Chapter 5 Summary: “There Is No Try”

Griffin feels miserable after learning that Amanda has a boyfriend. He channels his emotions into Take Two, much to Hornbeam’s delight. In the meantime, he studies Rob to understand what Amanda likes about him. One day after school, he joins Rob and a group of girls under the stairs where they smoke. He listens to their conversation and is surprised when Rob includes him. Then Damiano (the high school drama instructor) joins them for a cigarette. Before leaving, he makes Griffin smoke a cigarette. Griffin pretends he’s a regular smoker but vomits immediately after he leaves.

Griffin continues hanging out with Amanda. While babysitting with her one night, she curls up against him. He feels happy and sad at the same time. In the meantime, Griffin starts rehearsing for the high school play, attending detention, and shooting Take Two. One night, Amanda calls and asks if he’ll come to dinner with her and her father. His parents are thrilled and insist he dress up. 

At Amanda’s, Griffin meets Dolores West, Amanda’s mother. Dolores’s negative comments about Rob make Griffin uncomfortable. Over dinner afterward, Griffin tries engaging Amanda’s father, who is an English professor. Amanda holds Griffin’s hand under the table.

The next week, Griffin performs in the school play, and Amanda attends. Griffin feels self-conscious for the first time in his acting career and notices how disappointed Shel seems. Afterward, Shel drives Griffin and Amanda home, insisting that Griffin walk her up to her apartment. They get stuck in the elevator, and when it starts functioning again, Amanda kisses his cheek and tells him he’s talented. Back in the car, Griffin asks Shel about his first love; Shel proposes they go for a drive.

Part 2, Chapter 6 Summary: “Voiceover”

Shel tells Griffin about the first time he fell in love. It was 1952, and Shel was 19 years old. He fell for a budding actor named Millie Van Bourne, who lived with her sisters Glenda and Maxine. Shel spent a lot of time with them and was enamored by Millie. 

That summer, he was drafted into the Navy to serve in the Korean War. While he was overseas, he and Millie kept in touch via letter. Sometimes, Shel called Millie, but soon her sisters informed him that she’d fallen for someone else. Throughout the rest of his time in Korea, Shel tried to get over Millie, and a photography assignment helped him channel his heartbreak.

Shortly after returning to New York, Shel ran into Millie on the street. She invited him to her apartment, and they began seeing each other regularly. One day, Millie’s husband entered the apartment while Millie and Shel were together. (Shel hadn’t known she was married.) Confused and afraid, Shel left. 

When he met up with Millie later, she explained that she’d thought she was in love with her husband, but he began exploiting her after they married. The relationship had driven her away from her sisters, and she was trapped. Shel promised to help her escape, suggesting they run away to California together. However, men associated with Millie’s husband attacked and threatened Shel the next day. Determined to help Millie, Shel returned to her apartment the day after the attack, but she was gone, and the space was empty. He tells Griffin he never saw her again. The story is sad, but it helps Griffin understand his misery over Amanda.

Part 2, Chapters 1-6 Analysis

In the opening chapters of Part 2, Griffin’s accelerating acting career develops the novel’s explorations of the Dichotomy Between Public Image and Private Reality. In Part 1, Griffin’s acting career remains largely peripheral to his academic, wrestling, and social pursuits. In Part 2, however, the end of Griffin’s wrestling season ushers him back into the world of acting and inspires new challenges in his coming-of-age journey. His new role in Hornbeam’s movie, Take Two, is particularly disruptive to Griffin’s quest for self-actualization because he has little interest in being a full-time actor. The role is allegedly a dream role with a talented, influential director, but Griffin is compromising his desires and needs by signing the Take Two contract. “You could grow up with him,” his agent Brent reminds Griffin when he tells him about the Hornbeam part, “You would be made” (260). Griffin’s response to the opportunity reveals that he is uninterested in making a life out of acting but has no real control over the issue. He is therefore ushered back into a vocational realm that forces him to subdivide his identity. While on set, he is one person (made to channel his emotions into his character), and off set, he is another person (made to conceal his true emotions to please those around him). These aspects of Griffin’s life as a child star show how fame, publicity, and financial pressures at a young age might compromise the individual’s developing sense of self.

One of Griffin’s main obstacles to discovering who he wants to be on his own terms is the fact that the adults in his life have prescribed who he is for him. His complex relationships with his parents, teachers, coaches, agent, and director illustrate the Influence of Adult Relationships on Adolescent Development. For example, Shel wants Griffin to devote his life to acting and refuses to listen when Griffin tells him he wants to stop. Damiano wants him to devote himself to the school play and threatens Griffin if he doesn’t participate (forcing him to smoke the cigarette in front of his peers). Even Griffin’s therapist Elliott’s guidance is amorphous, oblique, and ultimately unhelpful. When Griffin tries explaining his distaste for acting, Elliott launches into a rant about Lincoln’s assassination without explaining why or offering Griffin any direct advice for navigating his personal challenges. Meanwhile, while Lily’s desires are more abstract, she also fails to protect Griffin. At times, Griffin feels that she has “rente[d] some sort of veil to reveal her true face” and soon realizes “that in [his] family’s food chain, [Shel is] her apex, and Oren and [he] are at the bottom” (236). Griffin can’t rely on his mother because she’s loyal to Shel (and his wishes for Griffin) first. Without his mother’s support, Griffin remains caught between his adolescent desire for freedom and his authority figures’ demands for his life. As a result, his sense of self remains slippery and undefined. His self-discovery journey is so meandering because Griffin is trying to survive his external challenges and navigate his internal questions without care, comfort, support, or true counsel.

Griffin’s burgeoning relationship with Amanda West introduces Griffin to new emotional challenges and questions, many of which he seeks to understand via the adults in his life. At the start of Part 2, 15-year-old Griffin’s body and mind are changing. He feels simultaneously “agitated and astir” and “distracted and dreamy” (215). Meanwhile, he’s growing taller, and his features are developing. These pubescent changes catalyze Griffin’s newfound desperation to fall in love and his infatuation with and attachment to Amanda. Although Amanda is dating Rob and stringing Griffin along, his relationship with her opens him to a new world of experience and feeling. In Chapter 5, for example, when he and Amanda are babysitting, they find themselves sharing an intimate moment. Being physically proximal to Amanda elicits inarticulable and dichotomous feelings in Griffin: “She was very close, very far, very still; I was very still, very happy, very sad” (314). Because he’s never felt something like this before, Griffin goes to his father for advice. He does gain perspective on love from Shel’s subsequent story about falling for Millie, but this scene between the father and son in Chapter 6 shows that Griffin’s entire reality remains defined by his relationships with adults. He doesn’t go to Cliff or Tanner for romantic advice but instead seeks instruction from Elliott and Shel. He has been taught that adult experience is superior to adolescent experience, a hierarchy the novel subtextually suggests can be psychologically dangerous for developing hearts and minds. Griffin has been taught to trust adults over himself and, as a result, struggles to claim autonomy over his body and to exercise agency within his life.

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