Set in 1912 with an impending global conflict, twelve-year-old Marina is the daughter of a Naval Commander and a long-absent mother, so is often left on her own. The book opens with Marina up a plane tree in a leafy London suburb contemplating imminent boarding school. Yet, bound within Marina’s daydreaming and watery metaphors, is the inexorable pull of the sea, and before long Marina is swapping one train for another and heading to Portsmouth to stow away on her father’s ship.
But as with so many stories, all is not what it seems. In any way. This 1912 is a slightly alternate reality, with the enemy of the British the fictional Mordavians, and a battle over codes, transmitters and missing ships being waged near the fictional town of Svengejar near the very real Sea of Murmansk. By cleverly mixing reality with fiction, Constable creates a tangible landscape for her story, and makes sure that mentions of sea beasts and mermaids don’t feel as far removed as they should.
Much of the novel takes place aboard The Sea Witch, where Marina’s father is the captain. Discovered by the crew, Marina quickly earns her place on board, looking after the dogs who will eventually pull the sleds when the ship docks in the Arctic Circle. As well as painting an intriguing picture of life on board a ship, complete with sailors’ superstitions, roles and responsibilities, ropes and rigging, there’s also the tension of imminent war, codes and code-breaking, and the mysteriousness of her father’s real role in the conflict.
By basing her book half in reality and half not, Constable sets up some wonderful tension in her characters; the reader having to guess who is speaking the truth, and who not. Near the beginning, Marina makes fast friends on the train with a Miss Smith, whom she admires for her feminist outlook, her insistence that women are just as good as men. This modern sensibility takes a battering on the ship, where Marina is referred to as ‘Boy, 2nd class,’ as girls do not feature as seamen. But her respect and admiration for Miss Smith doggedly follow her through the story, and by the end her feminist beliefs are restored, although she learns that even the bravest feminist can be on the wrong side.
The main tension in the book though, is not Marina’s seafaring adventure, or the end quest to save her father, but more her understanding of where fantasy meets reality, and the true understanding of why her mother disappeared. This is most clearly borne out in the very frightening and gripping dream/memory sequence at the end of chapter three, as Marina’s earliest memory seems to be that of being nearly drowned in the bath. From this sprout ongoing hints as to who Marina’s mother really is. By the end, the book’s plot – filled with double lives, spies, and codes – bends to encompass a fantasy realm too.
For readers of this age group, there is solace to be found in reading of a girl’s search for greater independence, not just in knowing who she is and where she comes from, but mainly in where she is going as she makes the leap from childhood to adulthood, understanding the premise that not all adults are to be believed and that challenging them can reap its own rewards.
This is a far from watery novel – in fact like the dark shape that follows Marina’s quest across the seas – it has real bite. The characters are well-formed – Miss Smith rather glamorously reminiscent of shades of Mrs Coulter – and the messages behind the story strong and well thought-out. But it is the imagery of the sea and what lies beneath that leaves lingering visions in the mind: the power of a storm, the surging dance of the waves, and the ever-changing colours of the water above the darkness below.
For 9+ years.
With thanks to Nina Douglas and Chicken House publishers for my review copy. Catch up with the rest of the blog tour below. And you can buy your own copy here.