The Black Stallion

by Walter Farley

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Setting

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The exotic opening setting plays a crucial role in developing both the theme and characters. Alec is introduced in a scenario that highlights his ability to be self-reliant. He is a passenger on the steamer Drake, bound for the Gulf of Aden and the Red Sea. Alec is making his solo return to New York after visiting his Uncle Ralph in India. The first appearance of the Black Stallion is set against a backdrop reminiscent of the Arabian Nights. Alec's steamer stops at a small Arabian port to board the stallion. This location creates an air of mystery surrounding the stallion and hints at the "strange understanding" that soon forms between him and Alec.

The initial third of the novel is characterized by scenes of ships at sea, exotic ports, and outdoor settings, as Alec and the stallion continue their journey to New York. These outdoor settings are essential for conveying the stallion's larger-than-life presence. They also showcase Alec's bravery and resolve when their ship is destroyed in a storm. Alec is cast into the sea with the stallion, who swims tirelessly. They eventually reach a deserted island, where the stallion once again proves to be an extraordinary life-saving companion. The island is pivotal because it is where Alec cements his bond with the Black Stallion.

On the island, Alec confronts the untamed nature of both the stallion and the environment. The island is small, about two miles in circumference, and mostly barren. The sparse trees and bushes offer little shelter. Readers might question the presence of a snake for the stallion to kill, given the island's apparent lack of wildlife. The landscape features an empty bird's nest and a hollow turtle shell. Sand, scorching heat, and patches of burnt grass also define the island. These elements create an ideal backdrop for Alec's display of courageous self-reliance, as he must use his resourcefulness to find food and shelter. Those familiar with Daniel Defoe's character Robinson Crusoe will see Alec as a literary descendant.

The island's natural setting delves into the theme of interdependence between humans and animals. Even the wildest creatures are vulnerable and need human assistance, and the stallion must respond to Alec's attempts to help in order to survive. The value of education is also emphasized, as Alec is compelled to remember what he learned in high school about the edible qualities of a type of seaweed known as carragheen.

The island experience, which spans nineteen days in September, adds a timeless and somewhat mythical dimension to the story. Otherwise, the novel evokes a more leisurely historical period. Alec arrives on the island after spending weeks at sea. Modern readers, used to air travel, will note that Alec took four weeks by ship to reach India initially. Back in the United States, trains are the primary mode of transportation. Alec takes a train near the novel's end to reach Chicago.

Upon Alec's return home, the story unfolds primarily in or around the New York City suburb of Flushing. This setting marks a transition toward greater realism, although Alec's unique bond with the wild stallion remains unchanged. In 1941, Flushing is characterized by open fields, contrasting with the bustling parts of the larger metropolitan area. The Ramsay family's home is a standard middle-class residence, featuring a kitchen, bedrooms, and a living room equipped with shaded lamps and cozy furniture. Alec's personal space is adorned with "familiar high school banners hanging on the walls."

Just two blocks away from the Ramsay residence lies the dilapidated Halleran estate, where Alec and the stallion spend much of their time. The Halleran house...

(This entire section contains 651 words.)

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serves as a lodging for tourists, but beyond it, a gravel road leads to a barn and field. These facilities are where Alec houses and trains the stallion. Additional training sessions take place at night at the nearby Belmont track, which is the original venue, not the renovated version that exists today.

Style and Technique

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Farley uses a range of techniques to maintain the reader's focus on the relationship between Alec and The Black Stallion. These techniques include repetition, the use of superlatives in both narrative and dialogue, the integration of symbolic and mythic elements, and recurring color and contrast motifs. The story balances exotic features with familiar settings and details. The novel contains thrilling adventures, such as Alec surviving a shipwreck, swimming for his life, enduring a harsh island, and riding a wild stallion.

The stallion makes its entrance during an action-packed scene, enhanced by third-person narration from Alec's perspective. Alec observes a group of frantic Arabs and hears a whistle that is "shrill, loud, clear, unlike anything he had ever heard before." He sees a "mighty black horse" rearing and striking the air with its forelegs. The horse continues to scream, rear, bolt, and plunge. Once confined to its stall on the ship, the horse kicks the wood with its legs, sending it flying. A similar action scene unfolds during quarantine in New York, reinforcing the stallion's powerful nature.

The storm scene that wrecks Alec's ship is packed with drama and suspense. It begins with the ship lurching at night, throwing Alec to the floor. Farley engages the senses—sight, hearing, touch—to create excitement. Alec sees lightning, hears shouts, and feels his face hot and sticky with blood after a sharp impact that shakes the ship and stuns him. The subsequent struggle with the waves leaves Alec and the Black on the island, creating a stark contrast. Alec notices the stillness—"no birds, no animals, no sounds"—which heightens the mystique surrounding the castaways.

Superlatives help maintain this mystique. Farley introduces the stallion in a unique setting with dramatic action, describing it as "a giant of a horse" with a head that is "beautiful, savage, splendid." The stallion is also portrayed as "wild," "ruthless," and "powerful." Farley hints at the stallion's mysterious origins by noting it is "too big to be pure Arabian." Alec's perspective enhances the repetitive description: "a wild stallion—unbroken, such as he had read and dreamed about!" The repeated use of vivid descriptive words and synonyms evokes wonder and sustains this perception throughout the story.

The way characters react in dialogue is a powerful tool that Farley uses to shape the reader's understanding of the stallion. A sea captain remarks, "He's too wild," while a police officer observes, "He's a beauty." Alec's mother expresses her fear by saying the Black is "dangerous." Alec's friend Whiff gives a typical reaction: "Boy, he's the biggest horse I ever did see and what a mean look!" Dialogue further emphasizes the unique bond between Alec and the Black. A ship's captain finds it "almost uncanny" how Alec manages with "a wild beast like that, a killer." Sailor Pat agrees that their relationship is "one of the strangest things" he's ever witnessed. Henry notes that Alec and the Black engage in the "strangest" game.

Characters also describe the Black as a "devil." The stallion embodies symbolism and myth. Early in the story, the stallion seems to appear "as if by magic" to the rescue ship's crew after they hear "an inhuman scream." The stallion's presence also seems to inspire cooperation from those who might otherwise hinder Alec's plans. Alec's pursuit of the stallion at sea is reminiscent of myth and legend, evoking the chase after a symbolic white whale in Herman Melville's Moby Dick.

Furthermore, Alec is fixated on a stallion he never formally names, referring to it only as the Black. The color black, which absorbs all light, adds to the air of mystery and symbolism that Farley creates. He also uses other colors purposefully. Stablemate Napoleon is gray, a neutral color that has a "quieting effect" on the Black. The match-race horses, red Cyclone and chestnut-gold Sun Raider, stand out brightly against the Black. Farley uses the stark contrast of black and white as a recurring motif to highlight the stallion and related themes. Alec initially perceives the horse in terms of black and white, with the Black's eyes hidden by a white scarf. On the island, Alec sees the stallion beside a boulder, "as if an artist had painted the Black on white stone."

The contrast between black and white ties into the theme of nature's darker side opposing youthful innocence, which must evolve. Alec frequently wears white, standing out against the Black's dark coat. This is evident in a scene at Belmont, where Alec loses control of his mount, who runs "wild and free." Clinging to the Black, his white shirt "stands out vividly" against the black body. In another scene two nights later, Alec maintains control while wearing a black sweater. Guided by the white fence, he lets the stallion run until they become a "black blur." The Black slows down upon seeing the calming "gray form" of Napoleon.

Farley effectively uses contrasting settings, ranging from exotic to ordinary locations. He balances the Black's remarkable traits by juxtaposing them with ordinary tack elements. Details related to racing enhance realism, such as Henry's collection of silver trophies, newspaper articles, and jockey attire. Slower-paced scenes provide a counterbalance to the more dramatic ones, yet Farley consistently maintains elements that spark mystery and excitement. He weaves a suspenseful anticipation for a letter about the Black into chapters where Alec's life "became as regular as a time clock."

Farley builds anticipation for the climactic match race in several ways. Before the race occurs, he creates intrigue by keeping the Black's participation known to only a select few. Those not in the loop continually speculate about the identity of the "mystery horse." Farley also describes preparations in a way that emphasizes Alec's challenges in managing the Black. In a rare departure from Alec's perspective, Farley heightens the race's excitement by using the viewpoint of a sports commentator. This technique allows for a recap of the Black's formidable qualities. "That boy sure can stick on a horse. What a struggle is going on out there, folks!" Farley cleverly shortens the governor's post-race speech by showing Alec's distraction as he spots his parents with Henry, causing him to miss parts of it. "The governor kept talking.... Finally the governor was through."

Historical Context

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Farley's keen understanding of young readers' needs is a significant reason for the enduring charm of The Black Stallion. The novel's fast-paced narrative leaves little room for boredom, culminating in an exciting finale. The story revolves around the familiar desire for a pet, with Alec, the protagonist, successfully becoming the owner of a champion horse. Alec is an appealing character because he earns the approval and respect that young people crave from their peers, parents, and adults in general. Although the 1941 novel contains a few outdated social views, Farley's overall positive portrayal makes them less significant.

Farley shows particular insight into the emotional growth he depicts. Within the unique bond with an animal, Farley creates a nurturing environment where Alec can "try his wings" and develop self-assurance. No authority figure hinders Alec's journey with the Black, symbolizing adult responsibility and freedom. His parents, in particular, allow him to keep a horse known for being untamable. This approach skillfully addresses the teenage desire for freedom and the temptation to rebel by engaging with danger. Despite early scenes highlighting the stallion's lethal potential, Farley ultimately contains the risk within the bounds of competitive sports.

Farley subtly addresses teenage rebellion by involving Alec in a mild conspiracy. Alec sneaks out while his parents sleep to visit the racetrack with his friend Henry, a mature and supportive adult who acts as a mentor. Farley gently portrays teenage independence by showing Alec interacting with respectful and approving adults, like sportswriters and racetrack professionals. Alec is rarely seen with his peers, as the focus is on his journey to adulthood. However, it's clear that Alec has school friends who admire him.

Many young people find the educational process unappealing, and Farley seldom depicts Alec at school. Nonetheless, his approach remains positive. Alec is portrayed as a dedicated student. His only act of defiance at school is running down the hall despite being told to stop by an authority figure. Henry considers education vital for Alec. "We'll show your folks that you can raise a champion racehorse and get good marks at the same time!" The relationship between Alec and Henry is significant for the positive message it conveys about respect and the exchange of knowledge between generations. Alec benefits greatly from Henry's mentorship and friendship, while Henry experiences renewed youth as Alec steps into the role of a successful jockey.

Henry reflects on raising two daughters who seemingly could not follow in his professional path. The 1941 novel is noteworthy for its scarcity of female characters. When evaluated by contemporary standards of gender equality, Mrs. Ramsay may seem both subordinate and a minor character. She is conventionally portrayed as a homemaker, serving griddle cakes and sausages. "I'll have to tell your father," she warns, if Alec neglects his studies. Her solo trip to visit her sister in Chicago appears to signify an era of distinct and complementary roles for men and women.

Farley's depiction of family life originates from a period when most parents remained together. Teenagers like Alec earned their allowances by working at home rather than receiving wages from external jobs. Despite this, the portrayal remains quite positive. The Black Stallion is a thoughtful novel that emphasizes enduring human values. Alec is a universally appealing character who perseveres to achieve his dream. He astonishes family, friends, and the nation by succeeding at something that—as Henry tells Mr. Ramsay—"no one else in the world can do!"

Bibliography

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"Farley, Walter." In Contemporary Authors New Revision Series, vol. 84. Detroit: Gale Group, 2000. This source provides a positive summary of critical reviews, along with personal information and a list of Farley's books and awards.

"Farley, Walter." In Something about the Author, vol. 43. Detroit: Gale Research, 1986. This biographical overview features notable quotes from Farley regarding his life, work, and intentions.

The Black Stallion http://www.theblackstallion.com. February 2, 2001. This is a valuable resource for information on Farley's biography, as well as details about The Black Stallion book, series, and film.

Walter Farley Literary Landmark http://www.venice-florida.com/community/education/farley.htm. February 2, 2001. This site provides an overview of Farley's life and his significance to the Venice Public Library and young adult literature.

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