57 pages 1 hour read

Boy Overboard

Fiction | Novel | Middle Grade | Published in 2002

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Symbols & Motifs

The Landmine

Content Warning: This section of the guide includes discussion of racism and gender discrimination.

Boy Overboard opens on a war-scarred desert landscape that includes many hazards to its residents, like minefields. Jamal, the book’s 11-year-old narrator, implies that this is how his friend Yusuf lost his leg, and in the first scene, Jamal’s impulsive sister, Bibi, runs into a minefield and steps on a mine. Desperately, Jamal and Yusuf urge her to remain absolutely still—a difficult task for the high-strung Bibi—since the device will only detonate if she lifts her foot. In this scene, the deadly mine serves as a symbol for Bibi herself, whose hair-trigger impulsiveness, which Jamal struggles to control, poses a danger to herself and her family. Loud, boisterous, and rebellious, Bibi persists in dressing like a boy and playing soccer outside, both serious violations of the Taliban’s despotic restrictions on feminine behavior. She also hurls rocks at trucks and army tanks while using coarse language. Later in the book, her assault (with bites and kicks) on a sailor gets her thrown into the sea, and when pirates invade the refugee boat, Omar must wrestle her to the ground to prevent her from attacking them, which would have had terrible consequences for the children. Her explosions are sometimes spurred by love as well as by her fiery temper but are no less dangerous: After Jamal has freed her from the mine by carefully setting his own foot on the trigger, she spontaneously jumps on him in a wild embrace. In this dangerous, misogynistic setting, fraught with minefields both literal and figurative, the ungovernable Bibi herself is like a ticking timebomb.

Soccer

The sport of soccer (“football” to most of the world, including Afghanistan), Jamal and Bibi’s passion, doubles as a symbol for the way outcasts like themselves are treated, both in Afghanistan and during their flight—as well as for the large-scale political exploitation of immigration itself. First, the Taliban government “kicks” the family to the curb by blowing up their house; next, its soldiers drag Jamal’s mother into a large football stadium to be publicly executed as mass entertainment for the same crowds that used to cheer soccer games. In the refugee camp, corrupt police officers extort a hefty bribe from Jamal’s father and then dump the family into the tender mercies of a shady smuggling ring, who in turn demand another $100 from their helpless passengers before delivering them into the hands of pirates. After being buffeted by storms and almost drowned, the family and the other immigrants are rescued by an Australian warship, which drops them into the limbo of a refugee camp on a small island since the newly elected Australian government has been swept into power on an anti-immigration platform. In Australia, immigrants have become a “political football,” just a state-level reprise of how Jamal’s helpless family has been kicked back and forth from one greedy and/or despotic faction to another.

Ancestors

In Boy Overboard, Jamal prides himself on an illustrious heritage, believing himself descended on one side from “fierce brave desert warriors” and on the other from “honest, hard-working bakers” (12). Thus, his lineage combines honesty, public service, and a hardy work ethic with toughness, resilience, and courage. As members of a bullied ethnic minority in an unstable, war-torn nation, tales of powerful or virtuous ancestors serve as daily bread for Jamal and his family, a source of pride and comfort that gives them hope for the future. Jamal and Bibi’s optimism and dreams of sports stardom may derive, at least partly, from this ancient wellspring of self-esteem. Conversely, the “gloomy” orphan Omar admits descent from a line of thieves, one of whom “had his hands chopped off” as punishment for stealing (172), which could factor into his own pessimism and darker impulses, as when he tries to steal Jamal’s soccer ball. Jamal also suffers a crisis of confidence when he discovers that the family heirloom, a jewel-encrusted candlestick that has been passed down through his mother’s family for hundreds of years, has been sold to buy them passage abroad. As a physical embodiment of the family’s precious continuity with their ancestors, the candlestick was a sort of magical talisman that the family believed kept them safe. With this loss, Jamal’s optimism begins to flag. However, when the refugee boat starts taking on water after a storm, Jamal invokes the ancestors on his other side—his father’s baker forbears—for their relentless work ethic, which gives him strength while bailing out water: “They didn’t stop and I’m not going to either” (148).

Water

Water emerges as a powerful motif in Boy Overboard, embodying both peril and possibility. Throughout the novel, water serves as a literal and figurative obstacle on the family’s journey, an unpredictable force that threatens to consume them yet also represents the potential for renewal and escape.

Early in the novel, water is notably absent from their home in Afghanistan, a dry, war-ravaged desert landscape filled with dust and landmines. This lack of water highlights the harshness of their daily lives and the scarcity that defines their world. However, as they flee their country, water becomes an ever-present and dangerous element. The vast sea separates them from both danger and safety, yet it also places them in mortal peril—first as they are packed onto an unseaworthy boat and later when they are abandoned by smugglers. The ocean, rather than a hopeful passage, becomes an indifferent and hostile force, emphasizing their vulnerability as refugees.

The moment when Bibi is thrown into the water by the sailor is particularly symbolic. Bibi, fiery and full of defiance, is literally submerged—her rebellion against authority is punished by near drowning. Yet Jamal instinctively jumps in after her, reinforcing the novel’s central theme of family unity and sacrifice. Their struggle to resurface is a moment of transformation, foreshadowing their continued fight for survival. Later, during the storm, the rising water in the refugee boat becomes a test of resilience, forcing Jamal to channel the endurance of his baker ancestors as he bails out the encroaching waves.

In the final chapters, the ocean delivers the siblings to what they believe is Australia, only for them to learn that they have arrived at a refugee camp on an island—water now serving as a barrier, keeping them in limbo. In this way, water mirrors their uncertain fate: It carries the promise of a new life but also the constant threat of being swept away.

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