51 pages • 1 hour read
Gordon KormanA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Gordon Korman uses foreshadowing extensively. This device is a manner of subtly advising the reader to watch for something ahead in the narrative that is related to a current comment or observation. Often in Framed, foreshadowing is meant to imply that a character is incorrect or let the reader become prepared for the unexpected.
For example, after being consigned to house arrest and denied interaction with his posse, a depressed Griffin decides his friends have abandoned him. This foreshadows the quick arrival of Savannah’s monkey, Cleo, who hands Griffin a note telling him to come to the basement, where he finds his entire group of friends. On another occasion, Griffin pats his PEMA device, expressing gratitude that Melissa has set it up so he can leave his home without alerting the police. This foreshadows the moment when Griffin’s mother resets the home monitor, alerting the police that Griffin has left his home.
Irony may be defined as a statement or a reality that reveals a truth that is the opposite of what has been expected or stated. Often, in literature, irony reveals hypocrisy or double standards. Many consider irony to be the highest form of humor, making it ironic that Korman uses irony so often in a novel intended for middle school readers.
One consistent use of irony in the narrative is the fashion in which adult authority figures—particularly Dr. Egan and Celia, the principal and the newspaper columnist—consistently warn youth against the influence of bad actors. They say they do not want young people to be led astray by bad examples, but they are chastising bright, highly moral young people who consistently try to do the right thing even when it requires sacrifice on their part. The unexpected twist, or irony, is that Dr. Egan and Celia are the ones spreading malice and leading people in a wrong direction. Readers may find that the most ironic statement in the novel is made by Griffin, who supports the principal’s extremely farfetched—but accurate—statement of how the missing ring was found by saying, “You can’t make this stuff up” (224). His words are not only a comment on the validity of a seemingly absurd explanation by the principal but also Korman’s subtle expression that the wild, entertaining narrative is, in fact, made up.
Rather than writing in the first person or simply following one character and writing in third-person point of view, Korman subtly writes from the omniscient narrator’s point of view, which means the narrator has access to the thoughts and motivations of each character. He devotes the majority of the story to Griffin, as if watching over his shoulder to narrate what’s happening. As the omniscient narrator, however, the author has a few moments in which he departs from Griffin to describe the narrative from the perspective of Ben, Savannah, and other members of Griffin’s posse. On one occasion he departs from the viewpoint of the middle schoolers to describe the fretful scene of Griffin’s parents waiting to meet their attorney and recognizing in astonishment that Griffin has duped them to get them out of the house. This allows Korman to express the panic and anger the parents feel as they rush home, dreading whatever new trouble Griffin may be causing. While omniscient narration gives authors wide latitude in describing the thoughts and actions of various characters, Korman uses it judiciously, allowing the rationale and intentions of many characters to remain hidden from the reader, thus building suspense and mystery.
By Gordon Korman