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41 pages 1 hour read

Judy Blume

Fudge-a-Mania

Fiction | Novel | Middle Grade | Published in 1990

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Themes

The Trials of Approaching Adolescence

The protagonist of the story, Peter Hatcher, is approaching adolescence along with his peers, Sheila Tubman and Jimmy Fargo. They have just finished sixth grade and are all on the verge of major changes in their lives, and each has their own reaction to these changes.

The narrative depicts the process of maturation among the friends as being bumpy and uneven. Jimmy Fargo seems most at ease with the idea of growing up, although he doesn’t consider matters too deeply. Still, he has no issue being around Sheila once he sees how ordinary she is, and it takes Peter much longer to warm up to the idea despite being there first. Sheila, in contrast to Peter and Jimmy, seems to want to show the extent of her maturity. She offers to take care of Fudge, which she succeeds at, but she also frequently berates Peter for acting immature and props herself up as the most grown-up of the group. At times, she mirrors her older sister Libby and even Peter’s mother when she acts disapprovingly.

Peter’s reaction to adolescence is the most complex, as he exhibits irritation, nervousness, jealousy, awkwardness, and anger. He feels that by growing up, he is going to lose his freedom and that his life will only become more and more stressful: “Being a baby is so easy, I thought. Riding around on Dad’s shoulders, knowing he’d never let you fall. And doing and saying whatever you please, without worrying about what the other guy will think (67). Peter often takes his anger out on his siblings and on Sheila. He is sometimes rude to them, teases them, or isolates himself from the group when he cannot cope with his emotional state, such as when Sheila and Jimmy start teasing him about Isobel.

Throughout the narrative, Peter displays moments of maturity interspersed with more childlike behavior. Peter’s crush on Isobel—his first—is an example of how he is growing up, whether he wants to or not. Peter shows maturity early on when he takes Fudge out to find Uncle Feather, taking charge of the situation and using problem-solving and resourcefulness to help his younger brother. At the same time, Peter’s immaturity is frequently evident, such as when he describes Sheila as having cooties and when he pushes Tootsie away in a moment of anger. Peter’s grandmother offers understanding toward Peter in these moments of low character, as she knows that he is attempting to cope with the changes he is experiencing. She knows what he’s thinking without him saying so and is always ready with a hug or words of wisdom to remind him that life will keep throwing challenges at him and that he must find ways to deal with them. By the end of the novel, Peter shows that he is capable of doing so, as he learns to accept disappointment and adjusts his attitude toward Sheila.

Navigating Chaotic Family Life

Navigating a family life that often feels chaotic is a major aspect of the Hatcher family dynamic and is part of what propels Peter and his peers toward adolescence as they learn to grapple with the unexpected, the fearsome, and the unfamiliar. Peter’s family chaos is evident from the novel’s opening pages, when five-year-old Fudge proudly announces that he plans to marry Sheila Tubman and Peter repeatedly pretends to faint in shock of Fudge’s latest news, all while their younger sister Tootsie dances around their feet. The next chapter highlights Fudge’s ridiculous questions, such as when he asks the waiter if he has cooties. Before the family even leaves for Maine, Jimmy remarks on how long a week with Peter’s family can seem. The drive to Maine is overwhelming for Peter as he has no choice but to spend 10 hours crammed in a car with his siblings and their pets. In depicting the Hatchers as a family that mostly embraces the noise and unexpected behaviors happening around them, Blume normalizes the messes, mistakes, curiosity, and boisterous behavior of children.

While these aspects of childhood stand in contrast with the older children’s growing awareness of new responsibilities and standards of behavior, Grandma’s playful spirit and accepting demeanor demonstrate that one can become mature without abandoning fun. Peter tries to rebel against the chaos at first, but soon finds it easier to just become part of it instead. This is symbolized by the moment that Mitzi and Fudge start spinning in circles, covered in mud and yelling about “Fudge-a-mania.” Peter joins them, and the group is momentarily lectured by Libby, who screams, “This is all your fault, Peter! Chaos follows you and your family” (64). Libby’s comment highlights that the Hatchers are the only family on the trip with young children—Fudge and Tootsie—who, along with Mitzi, are the sources of many of the antics depicted. Once Jimmy and his father arrive and the house is more crowded than ever, Blume depicts such chaos as an opportunity to learn tolerance: All three families must coexist and get along despite the cramped spaces and major differences in lifestyle, habits, and attitudes, which ultimately brings them together. This change begins to show itself primarily when they take a trip out the ocean on the boat and each support one another through it. When Grandma and Buzzy Senior are married, it truly solidifies the Tubmans and Hatchers as one family. At the same time, Tootsie humorously becomes an artistic partner to Mr. Fargo, bringing the Fargos into the mix as well. Even though the story ends, the chaos is sure to continue, but the Hatchers are depicted as well-equipped to handle it.

The Importance of Levity

The Hatcher family knows the importance of levity, as their family is often surrounded by chaos and small misfortunes that require them to see the brighter side and to look at each situation with humor and a lighter attitude. As he approaches adolescence and gains awareness, Peter finds it difficult to see the world through this lens, often taking teasing quite harshly, becoming irritated at his brother for being himself, and seeing small losses as major setbacks. This attitude, and an inability to roll with things as they happen, leads to Peter’s personal displeasure and irritation over things that are beyond his control. Peter does have a humorous side, but it often presents itself in the form of sarcasm or teasing his brother or Sheila: “Someone should tell the Guiness Book of World Records about her, I thought. Since she’s the world’s leading expert on everything (110). Sheila is another character who does not take most things lightly, instead reacting defensively and making sure to put Peter and Fudge in their places. She takes the world seriously, a trait Peter sees as unlikeable. However, he does not recognize that the parts of Sheila he most dislikes are reflections of his own flaws.

By the end of the novel and three weeks in Maine among three very different families, however, Peter finally learns the importance of levity and finds the ability to press forward despite his earlier dissatisfaction with everything around him. Grandma, in contrast to Peter and Sheila, is particularly keen on living with levity and regularly reinforces this both in her actions and words. When things go wrong, Grandma points out that this is just a part of life: “Where is it written that life is fair?” (80). When everyone else on the boat panics, Grandma sees the way through the situation. When Grandma wants to marry Buzzy Senior, she simply does so, not wanting to waste a day of her life. Like his grandmother, Fudge goes with life as it comes to him. He is curious and enthusiastic, and life is like one big, silly, joyous game for him. Fudge is a major source of humor in the family, and his precocious nature ensures that his family regularly reminds themselves to take things lightly. One such instance is when Fudge asks the waiter at the restaurant if he has cooties, which could have been humiliating, but everyone instead takes it in stride, knowing that is just Fudge’s way. Mr. Fargo, too, presents a lesson in levity when he incorporates Tootsie’s footsteps into his painting, finding creative inspiration in a child’s mistake.

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