The emblematic images that complement the subtopic headlines abridge the distinct subjects in each of the sections. The images upsurge the reader’s responsiveness for they amplify the headers. A child reader’s responsiveness is likely to be elevated by the images that are assimilated in the text. Accordingly, Creech outshines in capitalizing on satisfactory reader-involvement.
Sharon Creech’s methodology of apportioning the book into subclasses crafts unity which diminishes misperception that would have been unavoidable had there not been portions. The structure is ideal for beginning readers as they would ,with no distress, shift from one subtopic to the next without perplexing themselves. Moreover, the portions are fragments which countersign the all-inclusive implementation of ‘wandering’ which is correspondent to a linear ladder that evolve throughout the novel.
The mundane vocabulary engaged in the text makes this source ideal for fledgling readers. Besides, simple sentences are principally employed throughout the text. The straightforwardness of the wording and sentences endorses suave reading from the inauguration to the termination. In cases where there are flashbacks within the primarily linear structure, Creech switches slickly to the past.
Sophie expounds, “And so I told them about the waves calling me and the rolling sea and the open sky, and when I finished, they pretty much yawned and said, “What-ev-er” and “You could die out there,” and “If you don’t come back, can I have that red jacket of yours?” I figured they were probably never going to accept my adventure, and I was just going to have to go without their understanding why I wanted to go.” Sophie does not discard her fascination with seafaring after her friends allude to the prospect of her vanishing at sea. Customarily, a youngster of Sophie’s age would be petrified about bereavement. However, Sophie undertakes the navigating for she is a model unswayable risk-taker. Sophie’s risk taking is ironic in view of her stage; nevertheless, the irony accentuates Sophie’s appetite for navigating.
Sophie is benevolently compassionate towards marine life: “Dock and Cody have just caught two bluefish. Success! But I didn’t like watching Cody club and gut them. We’re all going to have to do this, though. It’s one of the rules. It’s my turn next, and I don’t want to do it. But the bluffs of Block Island are in sight, and the bluefish is filleted for lunch, and I am hungry. ..” Although Sophie is an enthusiastic sailor, she does not delight in the gutting of marine life such as fish which is the mere staple of seafarers’ sustenance. Hunger is the unreserved hampering dynamic that obliges her to ingest the fish. If there were a substitute nutriment, Sophie would have selected for it. Creech’s representation of Sophie relates to Eco-feminism whereby Sophie incarnates the feminist who are unreservedly conscious of the ecosystem.
Creech delves into gender equality. Sophie is cognizant of gender equivalence.Sophie elucidates, “Yesterday, Frank’s wife told me, “You’re a brave soul to be sailing!” and “You’re a brave soul to be with all of those men!” She asked me if they actually let me do any of the sailing. “It’s a struggle,” I said. “They don’t really want to—” “I figured that you’d just be doing the cooking and cleaning.” “No way!” I said. “That’s Cody’s job!” It isn’t really Cody’s job. We’re all supposed to take turns, although Brian usually gets out of it, and Cody does like doing it more than the rest of us.” Sophie’s empathic rejoinder concerning the splitting of chores at the boat conjectures that she is a fresh feminist who would not sanction the males in the boat to overstrain her with the accountabilities such as ‘cooking and cleaning’ because she is female.
