Wondrous Water Wisdom

There are people who would much rather be in or on water than any other place.  Depending on the nearness of their homes to water and the seasons of the year, if there is an opportunity to enjoy water, they will take it.  When they are swimming, diving, kayaking, canoeing, paddleboarding, fishing, or sailing, they become one with the water and its inhabitants.  Many times, these activities are done in solitude or with a partner.  There is little spoken conversation, but there is an almost inexplicable bonding between an individual and water or between individuals and each other and their shared experiences in or on water.

There was once a man, a seaman, who had such a relationship with water. He knew water was to be treated with the utmost respect for its vital function in the continuation of all life.  He, like others who chose to observe, knew water revealed life lessons in unexpected ways.  Swashby and the Sea (Houghton Mifflin Harcourt, May 5, 2020) written by Beth Ferry with illustrations by Juana Martinez-Neal is a story of interrupted solitude, intervention by a close companion and the surprising results.

CAPTAIN SWASHBY loved the sea.

She, the sea, had spent many years with Captain Swashby.  She knew him better than he knew himself.  For his retirement, Captain Swashby settled in a small home on the edge of the sea.  With the sea at his side, he lacked for nothing.  He loved the silence.

All was well until the intrusion.  To Captain Swashby's dismay, a little girl and her grandmother settled in the vacant home next door.  It was no longer quiet.  Their beach gear was scattered across the sand.  Captain Swashby did not want neighbors.  He left them a message written in the sand.  The sea went to work.  The remaining letters spelled SING.

This word was the only invitation the little girl needed.  She sang and sang and sang.  She asked Captain Swashby what he wanted her to do next.  His unfriendly reply written in the sand was again altered.  When the little girl, with her granny nearby, attempted to do as he (the sea) requested, Captain Swashby clarified how to correctly make a starfish wish.  Their invitation for tea was spurned and a third message was left on the beach.

Each time he wrote a message, the sea erased some of the letters.  When the young neighbor attempted to respond, Captain Swashby couldn't stop pointing out the correct way to complete a task.  He approached and grumpily retreated, like waves washing on the beach.

Finally, the sea intervened in a manner not to be ignored.  Without thinking, Captain Swashby acted.  For the little girl, her granny and Captain Swashby, their lives by the sea shifted and the sea was satisfied.


When Beth Ferry presents Captain Swashby to readers, she does so with the use of alliteration and repetition. (This continues throughout the narrative, also.)  It's a gentle cadence, perfectly suited to the shock this seaman is about to receive.  Comedy is introduced in the contrast between this man who prefers seclusion to the togetherness offered by his new neighbors.

Having the sea act as a bridge between the two by washing away letters from his demands is a superb technique.  It's a subtle reminder of how friends can assist us in forming new, perhaps lasting, connections.  Here is a passage.

Swashby battened down the hatches,
hid when the doorbell rang, and fed their
oatmeal cookies to the gulls.
He didn't need neighbors.
He didn't want neighbors.
Neighbors were nosy,
a nuisance,
annoying.


You can almost feel the mist of sea spray and taste the salt in the air when you look at the open dust jacket.  The scene extends flap edge to flap edge.  On the left, back, flap edge sea glass, a wide-eyed blue crab and a baby seagull are placed around the descriptive text about Beth Ferry and Juana Martinez-Neal.  The sea shown behind the little girl and Captain Swashby on the front travels over the spine and across the entire back portion.  A yellow pail floats in the water in the upper, left-hand area of the sea.  The little girl and Captain Swashby on the front are carefully appraising each other, hints of smiles on both of their faces.  On the front flap a seagull holds a starfish in its beak near another yellow pail. 

On the book case, now resting higher and surrounded by sand is Swashby's boat.  It spans from back to front, left to right.  The lower portion of the boat bleeds off the bottom edge.  A seagull is perched on the stern.  A blue crab is resting on the bow.  The title is written in the sand on the right, above the boat.  Beth Ferry's and Juana Martinez-Neal's names are on the front of the boat.

Two tight and unfolding swirls of shades of turquoise cover the opening and closing endpapers, like waves.  On the title page, with his back to us, Swashby is painting a number on his boat.  Items from the sea, a piece of driftwood, seaweed, a starfish, and a curious crab are on the sand.  A yellow pail is next to the boat.

These illustrations by Juana Martinez-Neal rendered

in acrylics, colored pencils, and graphite on hand-textured paper

are double-page pictures replete with delicate details and charm.  Juana Martinez-Neal combines soft textures with bolder colors to place emphasis on those elements which enhance the narrative.  This is seen in the initial distinction between Swashby and the little girl and her granny. It's apparent in the stuffed toy cat left sitting on the edge of Swashby's boat as the little girl walks on his dock.  A conch shells is placed near the little girl as she sings.  Sailboats pattern the fabric of the chair Swashby sits in on his porch.  And Swashby's heart tattoo labeled El Ma . . . declares his true love.

The wide, circular glasses on the little girl, the bushy eyebrows and full beard on Swashby and the beaded jewelry worn by Granny are signature characteristics endearing readers to each of them.  As Juana Martinez-Neal depicts the abandon the little girl displays with everything she does, Swashby's determination at avoidance, but also his desire at perfection, and Granny's steady generosity, our knowledge of them grows.  They may not know it, but we watch through Juana Martinez-Neal's artwork as the sea becomes the center around which their lives revolve and intertwine.

One of my many, many favorite illustrations is when the sea washes away the letters in Captain Swashby's first message leaving SING.  Gently curving toward the sea through the sand is the wooden deck, moving from the foreground on the right, crossing the gutter and ending before the letters and water on the left.  Seaweed is scattered on the sand, as well as several seashells.  On the right, close to readers is the little girl.  Her right foot is on the deck and her left foot is kicked up in the air.  Her left arm and hand are extended up in joy.  In her right hand she carries a yellow pail.  Her eyes are closed behind her glasses.  Her mouth is open as she sings.  Her soft hair frames her face like a cloud.  In a word, this is bliss.


The longer you are out-of-doors, the more you realize it influences you; sometimes in ways you find extraordinary.  Swashby and the Sea written by Beth Ferry with illustrations by Juana Martinez-Neal is a story of wise waves, and the forming of unlikely friendships.  It is a story of song, sand, seagulls, and starfish wrapped in teatime on towels.  This book is a storytime treasure, meant to be shared. Children will love the rhythm of the words and so will the adults who read them.  I highly recommend this for your personal and professional collections.

To learn more about Beth Ferry and Juana Martinez-Neal and their other work, please follow the links attached to their names to access their websites.  Juana Martinez-Neal has interior images from this book displayed on her website.  Beth Ferry has accounts on Instagram and Twitter.  Juana Martinez-Neal has accounts on Facebook, Instagram and Twitter.  The cover reveal for this book is hosted by Elizabeth Bird, Collection Development Manager of the Evanston Public Library system, at A Fuse #8 Production, School Library Journal.  Both Juana Martinez-Neal and Beth Ferry are interviewed about this book.  Beth Ferry is interviewed at PictureBookBuilders about this title and her work.

Seeking Across The Seas

Have you ever wondered what it would be like to be the first human to set foot on a particular place on this planet?  Time and time again when out walking in the woods, climbing a mountain or strolling along a lake shore, I have found myself speculating on how something still beautiful today was thousands and thousands of years ago.  Were the plant and animal populations more varied and plentiful?  Was this particular place higher, lower or even under water?  Did the first person come alone or were there many together?  Recorded human history and the work of scientists in many fields can answer some of these questions.

By definition an explorer is one who travels in search of geographical or scientific information. (Merriam-Webster)  Almost five hundred years ago a Portuguese explorer left the shores of Spain in 1519.  He had the support of the then King of Spain, Charles I.  His task was to find a western route to the Spice Islands.  His name was Ferdinand Magellan.  Leo Dog of the Sea 1519-1521 (Peachtree Publishers, April 1, 2017) written by Alison Hart with illustrations by Michael G. Montgomery is a story of that voyage narrated by one of its passengers.

Sanlucar de Barrameda, Spain
August 1519
Rato! a gruff voice hollers as a toe nudges my ribs.  Steward points to the dark corner.  A furry ball, its naked tail twitching, scurries along the ship's wall.  A chunk of bread is clamped in its mouth.

A dog of unknown origins and breed is making his home aboard a ship called the Trinidad as their resident ratter.  It is his fourth sea journey.  As he wanders around the ship, being prepared to set sail, we are introduced to the Steward, Hernando the barber, various crew members performing specific tasks, Diego, Dias, Vasco, Pigafetta, a writer documenting the trip and a homeless child hiding in the dog's secret nest below deck.  Before the cry to raise the anchor is given Captain General Ferdinand Magellan, his slave Enrique, and Gonzalo Gomez de Espinosa, master-at-arms survey the crew.  Four other ships will sail with them, the San Antonio, Concepcion, Victoria and Santiago.

The start of the trip is plagued with suffering from months of constant storms; sharks follow hoping someone will fall overboard.  A captured shark for food, another sudden storm, Marco, the stowaway saved by Leo, the dog, twice and St. Elmo's fire provide nonstop action.  A calm, windless days, follow those storms, but the men are anything but untroubled. Mutiny! It's averted but tensions are rising.

Reluctantly leaving the warmer weather in Brazil, the voyage turns south along the coast of South America as the search for a break in the land continues.  There must be a way through the continent rather than the turbulent voyage around the tip.  Magellan is determined to make this discovery at all costs.  Rationing begins again, ships are battered, and the Santiago is lost at sea.  What of those men?  A severe lesson is taught so others will not even think of mutiny.

There is joy and dread at same time upon making it through the land to see the Pacific Ocean (which Magellan names); the first Europeans believed to have completed this discovery.  This is a huge unknown with no knowledge of how long it will take to find the Spice Islands.  Surviving storms in already weakened vessels is an issue.  Food and water supplies are diminishing.  Members of the crew are wasting away with an unknown sickness; high numbers are being buried at sea.

Down to three ships readers along with crew members are wondering how residents native to the islands, if they reach them, will receive them.  They are also starting to consider how their Captain will approach the island occupants.  The events move quickly to several horrific decisions; too many lives are lost.  Will the remaining ships and crew ever see home and Spain again?  Pigafetta, Marco and Leo the Brave, a tried-and-true trio of friends, will guide readers through arduous events.


Accurate details woven into the narrative reveal the time-consuming and meticulous research conducted by author Alison Hart.  We not only learn about incidents relative to this voyage but also about life at sea in general.  Dialogue further introduces us to the personalities of the crew members adding realism and increasing the tension; both moving the story forward completely captivating readers.  Told from the dog's point of view adds sensory elements making the experience far richer.  The entire book is designed like a journal with chapters titled by place names and dates.  Here are several passages.

"How long is the journey, do you think? Dias asks.
"Who knows? Magellan has ordered provisions for a long year." Diego smiles mysteriously as he leans forward.  "For truth, I have heard whispers that this voyage is guaranteed to be like no other."
Excited murmurs travel from sailor to sailor.  I prick up my ears.
For a moment I forget about my empty belly.  The air seems to tingle.  My whiskers vibrate.
Jumping from the shadows, I place my paws on the railing.  The bowsprit points like an arrow toward the horizon.  Waves crash against the bow below me.  
Above me in the foremast, I hear sailors call to each other.
The strong wind flaps my ears.  I stare out at the vast, churning sea---and wonder at the adventures ahead.

A chunk of goose falls by Faleiro's feet and I quickly snap it up.
Suddenly Espinosa sees me.  His eyes grow dark, as if I am some enemy.  "Dirty dog!" Seizing me by the scruff of the neck, he holds me up.  "You dare to steal our guests' food?"
I snarl and squirm, but I cannot get away.
Pigafetta stops writing.  "Please forgive Leo's intrusion," he tells Espinosa in his calm voice.  "He is a curious dog."
"Leo!  The ratter has a name?" Espinosa scoffs.  I bare my teeth at him and he laughs.  "Perhaps his name should be called Shark Food.  I will toss him into the sea once and for all."
The water of Port Saint Julian is so cold that at least I will die instantly.


The front cover of the dust jacket (I am working with an ARC.) skillfully depicts a frequent position of Leo as the crew sets forth with every landing.  It was rendered in oil on canvas board.  Throughout the book illustrator Michael G. Montgomery has drawn an image for each chapter. These pencil illustrations are intricately detailed.

Each pictures depicts a particularly important happening.  We see Leo saving Marco from falling overboard during a storm, the ship sailing out into the Pacific Ocean for the first time and Pigafetta crying for help after falling overboard.  Montgomery takes us back in time.

One of my favorite illustrations is during one of the horrendous storms.  Marco is clinging to a beam as the ship lists.  He is holding Leo with his other arm after the dog just saved his life.  You can feel the rain pelting their skin and fur as the wind howls and the waves tip the ship.  You know the boy and the dog could slide into the raging sea at any moment.


For top-notch historical fiction Leo Dog of the Sea 1519-1521 written by Alison Hart with illustrations by Michael G. Montgomery is an excellent choice.  There is extensive back matter at the conclusion of the book.  Alison Hart talks about what happened to the expedition after the book finishes, about the character Leo, the officers and crew, hardships of the voyage, conditions of the ships, mutinies, the unknown, and discovering new cultures.  She includes a bibliography of sources and books for further reading.

To discover more about Alison Hart and Michael G. Montgomery and their other work (this is their fourth collaboration in the Dog Chronicles) please visit their websites by following the links attached to their names.  At the publisher's website you can read an excerpt, use a teacher's guide and view a Q & A with the author.

Please visit these other bloggers participating in the tour.
March 27-Kid Lit Reviews
March 28-Librarian's Quest
March 29-Good Reads with Ronna
March 30-Boys to Books
March 31-Ms. Yingling Reads