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Tina FeyA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Fey spends the summer after 11th grade working at Summer Showtime, a kids’ theater program that ends up being “a haven for gay teens” (25). Heartbroken when the boyfriend who’d convinced her to work there breaks up with her “to date a hot blond dancer girl” (27), she finds solace in hanging out “doing nothing” with brothers Tim and Tristan, gay brothers from a nearby Catholic school, and “twenty-five-year-old lesbians” (29) Karen, an improv teacher, and Sharon, a scenery painter. The friends stay up late playing games, watching movies, and making nachos, and by the end of the summer, Fey has put the breakup behind her.
In 12th grade she listens in horror as her health teacher advises the class “how to spot and avoid homosexuals” (32) who lure kids with music and candy. When correcting him after class produces no response, she realizes “that my school life and my Showtime life were separate” (32).
Fey works at Summer Showtime the following summer and serves as assistant director to Sharon’s brother Sean, a visiting director from New York; she convinces him not to cast the girl her boyfriend had left her for, an act she now condemns as “the third worst kind of female behavior” (38). One night at a party, Sean flirts with Richard, a Summer Showtime alum Fey finds “cheesy and gross” (39). Fey makes snide remarks in an attempt to prevent Sean “from hooking up with someone regrettable” (39). The next day, she is devastated to learn her friends believe her behavior was the result of the fact that she has a crush on Sean. Fey, who does not have a crush on Sean, realizes that she “had been using [her] gay friends as props" (40). She remarks: "They were always supposed to be funny and entertain me and praise me and listen to my problems, and their life was supposed to be a secret that no one wanted to hear about” (40). Feeling like the health teacher she’d lectured the year before, she reflects that “[w]e can’t expect our gay friends to always be single, celibate, and arriving early with the nacho fixin’s,” adding, “[a]nd we really need to let these people get married already” (40). She ponders the struggles of her gay friends and praises Summer Showtime for providing “a place where they belonged” (41).
Fey describes her father Don Fey as a “strong father figure” who “looks like Clint Eastwood,” “dresses well,” “looks like he’s ‘somebody’” (43), and who inspires awe and respect from passersby on the street. Once, in a deserted airport parking lot, two men approach him, and he prepares himself to be hassled; however, the men compliment him instead. A Korean War veteran, former Philadelphia fireman, and “Goldwater Republican” (45) who disapproves of “Alan Alda’s bleeding-heart liberal propaganda” (46), he intimidates Fey with his stern expression and amuses neighborhood kids with his swearing at Phillies games. Although he grew up in West Philadelphia with a diverse group of friends, Don Fey has “pre-Norman Lear racial attitudes” (45) in which apprehension about one’s bike being stolen by black West Philly kids, for example, is not racism but rather experience.
Don Fey pronounces things either “defective” or “inexcusable”—after all, “[w]as it too much to expect the rest of the world to […] pay attention to details?” (48). Fey recalls an incident in which, frustrated by the “defective” (48) rug shampooer he’d rented, he takes Fey to return it at Pathmark and leaves her by herself in the store while he drives back home for the bottle of shampooer she’d failed to bring. She considers how her daughter at six will be less afraid of her than she was of her father at 18 and wonders how she can give to her daughter “the gift of anxiety” that her father gave her, stating that kids “need to be a little afraid of what will happen if they lose the top of their Grizzly Adams thermos” (50).
Like others in “the Silent Generation” (50), Fey’s father prioritizes value over brand loyalty. He tends to her after her face is slashed with the stoicism and “swift calm of a veteran and an ex-fireman” (50). When in his presence, other powerful men “stand down” (51), and Fey understands that they view her differently after meeting him. Of all her colleagues, Colin Quinn is the most “direct,” stating bluntly that her father “doesn’t fucking play games” (51).
At University of Virginia, Fey, “a wide-hipped, sarcastic Greek girl with short hair that’s permed on top,” feels out of place among “the sorority girls with their long blond ponytails and hoop earrings” (53). Unlucky with boys, she is excited when an architecture student she calls “handsome Robert Wuhl”—or "HRW" (54)—seems to take an interest in her. The two spend most of their time kissing in his car at night; Fey observes that the secrecy of their encounters should have been “a red flag” (55). She isn’t disappointed that he “claimed to have some ethical/religious reasons for not going all the way”; had he wanted to have sex, she would have been “terrified” (55). HRW sometimes brings dates other than Fey to drama department parties, and one time he takes Fey to the mall so that he can buy a present for another girl. He is amused by how much she eats, and she hopes “her ability to eat like one of the guys” (56) will inspire him to take her as his girlfriend.
HRW asks Fey to climb Old Rag Mountain with him one night, and Fey believes “that [they] were in this for the romance” even though HRW’s grumpy roommate joins them. Fey finds climbing difficult but enjoyable, and HRW frequently runs ahead. At one point, he falls off the mountain; he is banged up but otherwise unhurt. When they reach the summit, they rest for a while, Fey looking forward to “funny business” (59). However, HRW talks wistfully to Fey about a girl he likes, whom he’d taken up the mountain just two days before.
Although disappointed, Fey “couldn’t help but be excited about the fact that [she] had climbed a mountain” (59). She adds that exercise machines should promise sex at the end of a workout, for “people will perform superhuman feats for even the faint hope of that” (60).
In these chapters, Fey navigates the waters of popularity and love while she attempts to fit in. She looks back on her awkwardness and naïveté with a wiser eye; she does not shrink from the embarrassment of her mishaps but rather casts them as necessary hurdles on her forward path toward maturity and awareness.
In “Delaware County Summer Showtime!” and “Climbing Old Rag Mountain,” Fey recounts some of her youthful mistakes and misinterpretations. She describes how she sabotages “the little blondie who had ‘stolen’ [her] boyfriend” (28), convincing the director not to cast her in a role. Later that summer, she attempts to intervene in her friend Sean’s seducing of a man she doesn’t like. Once at University of Virginia, she attaches herself to an architectural student—"Handsome Robert Wuhl," or "HRW" (54)—with whom she engaged in “[s]ecret make-out time” at night and in out-of-the-way places, not seeing this secrecy for the “red flag” (55) that it is—nor does she blink when he takes her to shop for another girl’s present.
However, these chapters end with valuable and unexpected lessons, making clear the message that stumbling is necessary for growth. Looking back, Fey condemns her act of “girl-on-girl sabotage” (37), calling it “the third worst kind of female behavior” (38). After being chastised for interfering with Sean’s romance, she realizes that she “had been using [her] gay friends as props” whose own lives were “supposed to be a secret that no one wanted to hear about” (40). Fey learns that, although she has stood in theory for the equal rights of her gay friends—she does, after all, inform her homophobic health teacher that “[g]ay people were made that way by God” (40)—she needs to live the lesson. Similarly, when Fey herself is used as a prop by Handsome Robert Wuhl, she comes away from the experience not disappointed that she’s been rejected but “excited about the fact that [she] had climbed a mountain” (59), something she hadn’t realized she could do. In this way, the clumsy self-centeredness of youth leads to valuable lessons that we take with us as we embark on new experiences. By ending these two chapters with important lessons—she writes of her appreciation for Larry Wentzler, who created a safe haven for marginalized teens, and of her newly acquired knowledge that she has the power to climb great heights—she concludes on positive and hopeful note.
In contrast is her father, Don Fey, the epitome of surety and adulthood. She establishes his formidability early in the chapter, where she compares him to Clint Eastwood, saying that he “looks like he’s ‘somebody’” (43). His very presence elicits awe in those who meet him. Fey describes his high expectations—for her, for Pathmark, for America. Even her referring to him by his full name, a gesture of formality and respect, reaffirms his strength and importance. Her strategic placement of this chapter—it falls between two chapters in which Fey describes her own youthful bumbling—shows her respect for the fact that he suffers from no such awkwardness or self-doubt, suggesting perhaps she herself aspires to achieve this confidence, to bestow on her own daughter “[t]he gift an anxiety” (50) he gave her.