Fifteen-year-old Clayton Wheeler knows he’s different from most other guys. He prefers comic books to sports and likes Wonder Woman, which, according to his despicable stepfather, James, makes him a “sissy.” He’s a regular target for bullies—specifically, jocks who bombard him with homophobic slurs. Clayton isn’t openly gay; he knows what and whom he likes, but he seems to be the only boy who feels this way in his California town. He’s reunited with Derek Barlow, an old friend whose family, after moving to New York several years earlier, has returned. Derek isn’t quite the same boy Clayton once knew. He’s the one who got Clayton into comic books, but now he’s on the football team, hobnobbing with the same guys who bully Clayton. Nonetheless, the closeness the two shared hasn’t entirely dissipated, and Derek and Clayton start hanging out again. This unfortunately cuts into Clayton’s time with his loyal friends and fellow nerds, the fashion-obsessed Ronee Jones and aspiring comic-book artist Alister McNamara. While Clayton hopes that his relationship with Derek can become something much more, he also worries about coming out to the people he loves. Will his mother be happy for him, or is she too busy with his toddler half brother? Will he find the right words to tell Ronee and Alister, and, if so, how will they react when they learn he’s gay?
Peeples’ multilayered characters give this earnest story real depth. Ronee, for example, is a delightfully “bossy” girl who takes guff from no one, but there’s no doubt she’s hurt when bullies mock her for her vitiligo. Similarly, while Clayton’s mom seems oblivious to things her son is going through, she has troubles of her own, thanks in large part to James. The romance between Clayton and Derek unfolds organically; they’ve known each other for years, so it’s understandable that they would reconnect quickly, but there’s still the question of whether Derek feels the same way Clayton does, or if he’s willing to act on it. This often-gloomy narrative puts Clayton through the emotional wringer—he often dreads being at home (with his mother and stepfather constantly arguing), and at other times, home is his only refuge. There’s a welcome reprieve in the form of Betty Hernandez, who works at the local 7-Eleven where Clayton buys his comic books. She’s someone he can always confide in, a tenderhearted woman who only grows more engaging as the story rolls along. Clayton gradually comes to terms with the cards he’s been dealt, and his confidence surges. The author drops ’80s pop-culture nods and healthy servings of nostalgia throughout the story, as in this description of Ronee’s bedroom: “There’s not an inch of bare wall—or ceiling—left anywhere in her room. Fashion magazine spreads, comic book covers, movie posters, and other images of every shape and size overlap in all directions…one big, continually evolving, colossal collage.”