Content Warning: This section of the guide includes discussion of addiction and bullying as well as grief due to the loss of immediate family members (father and sister).

“But I’m collecting so many boxes at this point that I worry about the day I won’t have room for any more. I don’t have endless storage, like a big fancy house. My storage space is more like one of those hoarder houses on this TV show Mom watches. And like the hoarder houses on TV, my insides keep getting more and more cluttered and unconformable and stuffed to bursting.”

Jolene’s boxes are metaphorical; she refers here to the little boxes of worry she tries to pack away when she feels the “car-crash feeling” (9) and other anxious emotions. This interior monologue demonstrates how Jo attempts to bottle up her feelings, having no availability of helpful resources or parental support. Her comment about not having a “big fancy house” also indirectly mirrors her socioeconomic situation; she and her mother live in a small apartment. Jo’s boxes, described through this imagery at the start of the book, provide a foundation for character change and the development of the theme of Personal Growth Through Adversity.

“I run out the automatic doors, the librarian calling after me. The hot air hits me like a smoking frying pan, but I push through. There’s a fire department around here somewhere, but I can’t remember which street.”

Jolene’s interior monologue relays her intensity and panic after witnessing Addie’s crash. The reader is brought along in a moment-by-moment sequence that comprises her indecision and struggle with the best course of action. The simile regarding the hot air is one of many consistent clues on the setting’s intense temperature; the climate contributes directly to the conflict, as Jo knows how difficult it will be for Addie to survive, alone and potentially injured, in the desert outside Phoenix.

“So I know what will happen if someone listens to me, really listens to me, and comes here. All they’ll care about is Mom’s pill bottles. And no one will care about actually helping Mom. Or helping Addie.”

For Jo, the conflict regarding saving Addie is compounded by her fears for her mother’s health and her need to keep her mother’s addiction secret. Jo shows with this line that she assumes any authorities seeing her mother’s behavior and their living conditions will likely remove Jo from the home. Later, Jo reveals that she experienced foster care already when her Aunt Mallory abandoned her during Jo’s mother’s hospitalization following the car accident.

“You should make your mom take you. Oh, I gotta go. Time for a girls’ day out.”

Backstory details are revealed through Jolene and Addie’s direct message conversations. Irony exists in this line from Addie, who, not knowing about Jo’s troubles, offhandedly mentions Jo’s mother taking her on a mom-daughter outing to a museum or the air show. Addie does not have access to these exciting city adventures but does not know that they are equally inaccessible to Jo because of her mother’s addiction.

“Grandpa doesn’t have a cell phone. No internet or computer either, so you need to look up the number for me. Unless you want to wait while I use the phone book.”

Marty’s stress on the last phrase indicates that she thinks this old method of looking up a phone number is archaic. Jolene feels trapped and helpless in Marty’s grandfather’s home as a result and resolves to leave. Additionally, the juxtaposition of Grandpa’s little need for technology contrasts with the idea of technological tools that could be very useful in a desert search, such as GPS locators. In this way, the theme of The Impact of Technology on Modern Quests is developed.

“Addie’s my friend […] And I don’t have many friends.”

Strong juxtaposition exists in Jo’s answers to many of Marty’s questions on the bus, which are fabrications, lies, or evasive half-truths, compared to her response here as Marty prepares to sleep at her grandfather’s mobile home. When Marty wants to know why finding Addie is important, Jo replies with painful honesty. This represents how Jo considers her friendship with Addie to be a respected gift. Ironically, Addie is Jo’s only friend even though the two girls have not met in person.

“I try to figure out how long it will take me to get to Alamo Lake if I can ride a bike ten miles per hour. I’m not great at math, but I can divide eighty miles by ten. Eight hours. That would put me at Alamo Lake by about eight in the morning. It won’t be so blazing hot yet, and I can still get to Addie before the hottest part of the day.”

Jo’s attempt to predict a potential arrival time at Alamo Lake juxtaposes with her recent admission that she has no proper planning. This significant moment represents rational thinking and forethought that Jo did not demonstrate in her panicky actions leaving Phoenix and Marty’s grandfather’s trailer. While the lines show more logical thinking, however, her reasoning does not account for taking breaks, bike disrepair, or other obstacles on the road, showing that Jo still has far to go in terms of maturity.

“It’s a quiet moment, and I think again about Lois Pryce, wondering if she ever felt this light-headed, if her hands ever got this sweaty, if she ever gasped for air. She was probably brave all the time, unlike me.”

This juxtaposition between Jo’s physical and mental condition and Lois Pryce’s draws the reader’s attention to Jo’s overall health and safety while traveling alone. It also demonstrates that Jo is attuned to her physical symptoms that manifest as a result of fear. This “quiet moment” precedes the roaring semi-truck that causes Jo’s bike accident. Lois Pryce, one of several strong women whose names appear as references to cultural history, motorcycled from Alaska to Argentina.

“My mind circles back to Mom, her words popping into my head: I have enough to deal with right now.”

Situational irony heightens the suspense of Jo’s long, dark walk to Wenden. Jo is struggling to stay safe while saving the life of her friend when she recalls her mother’s words. Jo’s mother cannot “deal” with any conflict in her condition—even her daughter’s needs; this is a clear juxtaposition to Jo’s actions, which, while spontaneous and unrealistic, are selfless and forward-moving.

“Yeah, everything might be harder, and nothing will be handed to you like people who get to go to fancy private schools and have cussing college friends and Teslas with a big fat red cussing bow in the driveway when they turn sixteen, but that doesn’t mean it’s impossible.”

Marty conveys her point that while college and career plans might be challenging for Jo to carry out, they are certainly still a realistic possibility. The word “cussing” is used as a euphemism for actual profanity, which demonstrates Marty’s acknowledgment and concern for Jo’s youth.Marty conveys her point that while college and career plans might be challenging for Jo to carry out, they are certainly still a realistic possibility. The word “cussing” is used as a euphemism for actual profanity, which demonstrates Marty’s acknowledgment and concern for Jo’s youth.

“Addie will be in a wash. Right at a bend, I clearly see the trail that leads to the wash after the mud canyon. If we follow that trail, then follow the wash, we should run right into Addie without having to trek through thick desert.”

 In an important discovery in the rising action, Jo finds a map of the Alamo Lake region on the wall of the Flipside Café and is thrilled to see that her hand-drawn map needs only a few adjustments. The effect of this discovery is confirmation to her of the likeliest location of Addie’s crash. These lines also show a juxtaposition between Jo’s earlier progress forward (based on little planning) and her current determination of a specific path to get to Addie. Most of all, these lines demonstrate Jo’s confidence, an example of the theme of Believing in Oneself Despite Others’ Doubts.

“We’ll still have to get back, Jolene. […] Unless you want to be rescued, too. Which means the authorities will be involved and then your mom will have to be involved […] I know you don’t want that.”

Marty’s lines highlight the literary technique of subtext and carry a subtle ultimatum; though it is not clearly stated in Jo’s first-person viewpoint, the subtext shows that Marty has determined that Jo’s mother needs help. As she and Jo reach the point of no return on their desert quest without finding Addie, Marty uses this strong suspicion as an ultimatum, promising the trouble Jo fears unless she agrees to turn back.

“Actually it would be better if it hit your head. […] You have the hardest head of anyone I’ve ever met in my life. Nothing is cracking that skull.”

Marty’s lines offer some comic relief in a serious survival situation; they also employ the metaphor of a “hard head” for being stubborn and hyperbole with the superlative form (“hardest”) and use of “ever” and “never.” In the mud canyon, where chunks of dried mud may fall on them, Marty implies that Jo’s stubbornness is significant and that little can be done to deter her from a set path.

“Then all those stacked little boxes that have cluttered up my insides finally topple over and burst open.”

The extended metaphor of Jo’s “little boxes” for her worries and anxieties returns in a moment of discovery in the rising action. Instead of finding Addie, Jo discovers a crucial fact about herself: Her need to help Addie is strongly connected to her need to help her mother. That she finds helping Addie in the desert after a crash more logical and potentially successful than helping her mother speaks to the overwhelming turmoil, shame, and complexity she feels when considering her mother’s condition. Jo’s emotional release, a step toward healing, contributes to the theme of Personal Growth Through Adversity.

 “And next time you need help with something, you can call for me.”

Jo’s line to Addie in a direct message conversation from three days before Addie crashes her ultralight foreshadows the accident and Jo’s reaction to seeing it happen. The direct message conversations throughout the novel support the theme of The Impact of Technology on Modern Quests in that they offer a way for Jo to “participate” in Addie’s adventures by connecting personally before and after her flights. The author uses the direct messages from the days and weeks before Addie’s accident in a way that adds meaning and significance to the real-time narrative—arguably more so than if all direct message conversations had preceded Chapter One.

“No, you just need wings.”

In the moments after Jo finds Addie, Jo’s demeanor changes from defensive and bitter to resilient and hopeful. After discouragement from her mother, the police, the sheriff’s and ranger’s offices, and Marty regarding whether Addie crashed, finding her friend changes Jo instantly. This sharp arc in Jo’s character development is represented in these calming words to Addie regarding the idea of not needing legs to fly and helps to develop the theme of Personal Growth Through Adversity.

“I know this area better than anyone. This will be an easier way back.”

An understated theme of teamwork emanates from the text as each of the three girls brings different experiences and knowledge to combat their conflicts while in the desert. Addie’s confidence in her knowledge of the surrounding area never falters despite her pain and Marty’s doubtful questions. Her self-assured tone helps to develop the theme of Believing in Oneself Despite Others’ Doubts.

“Ynéz Mexía traveled all over South America, along the entire Amazon River, and she constantly slept outdoors.”

Jo begins to take on the role of optimist and positive supporter during the difficult, dangerous task of rescuing Addie. Her historical reference to Ynéz Mexía is intended to bolster Marty’s and Addie’s spirits as they rest, waiting for darkness. The line also belies any pessimism Jo displays earlier in the novel regarding the adventure of life; despite her earlier claims, the notion of possibility is to her a key idea in looking ahead.

“And I wonder how it’s possible for someone to be so brave and so scared at the same time.”

The novel’s outstanding lesson is one of courage. As the last several chapters begin to wrap up the plot, this lesson appears in a variety of ways such as Jo’s mother’s acceptance of treatment for her addiction and Jo’s courage in facing a new middle school. As the ambulance drives away, this line of Jo’s interior monologue serves to introduce her takeaways regarding courage, but the author does so subtly, as the line conveys Jo’s opinion of Addie, not of herself. Additionally, finding and displaying courage is one way to demonstrate Personal Growth Through Adversity.

“But it feels good to cry with Marty’s mom.”

The notion of “feels good to cry” seems paradoxical, but the good feeling comes from Jo’s emotions spilling free instead of being confined and controlled. Jo’s reaction to Mrs. Peterson’s hug in the café foreshadows the emotional release she experiences as her mother decides to attend treatment.

“Marty turns to her mom. Her throat moves, like she’s swallowing a lot. ‘We need to tell her about Lucy, Mom,’ she finally says, her voice breaking.”

In a crucial discovery before the second climax of the novel, Marty emotionally broaches the subject of her sister who overdosed. Marty’s desire to be a doctor and her curiously intuitive questions throughout the novel are explained by the backstory details revealed by Mrs. Peterson. Learning Lucy’s story prompts Jo to bravely confront her mother; this cause-and-effect drives the plot throughline from rising action to climax.

“Then do it […] Throw them all in the toilet.”

Jo stands up to her mother in front of Marty and Mrs. Peterson in the novel’s climactic scene. Jo’s mother claims she can stop taking oxycodone any time, but falters in the face of this challenge from Jo; this event is the highest point of suspense, as Jo waits to confirm whether her suspicions about addiction are correct. As a result of Jo’s brave action in the climax, her mother determines help is the best course forward and enters treatment in the falling action of the novel. The moment demonstrates strength and poise in Jo not observable in earlier parts of the novel and helps to develop the theme of Personal Growth Through Adversity.

“‘Rock bottom for me was being found dead at the bottom of a flight of stairs I’d fallen down after shooting heroin laced with fentanyl. […] It feels impossible while you’re living it,’ he said. ‘But’s possible to break free.’”

Despite the novel’s label as a middle grade read, the author reveals realistic details to heighten the impact of drug use and reveal the importance of Jo’s mother’s treatment. These details, while potentially sensitive, show verisimilitude and lend authenticity to the novel. They also demonstrate how modern middle grade novels grapple with serious, timely issues in ways that convey factual information balanced with hope and forward progress. These lines, for example, represent a story Jo hears in the therapy circle at her mother’s treatment facility; the imagery is graphic, but the message and setting regard hope and healing.

“But at least I won’t be going through all the hard stuff alone anymore.”

In the novel’s last direct message conversation between Addie, Jo, and Marty, Jo’s tone regarding her mother’s addiction recovery is positive, realistic, and appreciative. Hyperbole and colloquial language with the phrase “all the hard stuff” remind the reader that Jo is a preteen despite her need to step into a parenting role, tending to her parent. The positivity of the line calls attention to the drastic change in Jo’s attitude; before, she felt alone and trapped, but since her mother’s acceptance of help, Jo is much more upbeat and hopeful. Her more resilient tone helps convey the theme of Personal Growth Through Adversity.