of vocabulary that might puzzle even a seasoned scholar. Yet, his captivating descriptions, concise yet rich character portrayals, and his knack for evoking the ocean's allure without succumbing to sentimentality, have cementedThe Dark Frigate and its distinctly modern anti-hero, Philip Marsham, as enduring classics across generations.

In a rather sly manner, Hawes unveils his disdain for racial and ethnic bias by placing prejudiced comments into the mouths of his most unpleasant characters. Among them, a seedy group of pirates cruelly taunts Jacob, who is Jewish, while an insensitive, flamboyantly dressed "gentleman" aboard the Sybil utters a derogatory racial slur. Many readers might argue that such remarks would have been better left out of the narrative entirely.

Class prejudice subtly weaves through the contrast drawn between Philip's two love interests: the pragmatic and self-interested Nell Entick, and the enigmatic Anne Bristol, daughter of Sir John, who is painted with the brush of ethereal refinement. Nonetheless, The Dark Frigate shows little bias based on class or gender. Hawes depicts women, like their male counterparts, as prisoners of their circumstances; Nell's lack of romanticism is born out of necessity. Moreover, no character is elevated above another solely based on social standing. Each societal tier harbors both commendable and contemptible individuals. Foremost among Hawes's criticisms is a lack of empathy for others. He also conscientiously presents a balanced view of the religious turmoil of the mid-1600s, championing characters genuinely devoted to their beliefs. Jacob's faith is respected, while the cowardice and hypocrisy of the Christian pirate Martin Barwick are laid bare.

The brutality in some scenes of The Dark Frigate is stark and unsettling. The forceful feeding of the cook for minor infractions and the horrific torture of Will Canty—enacted while Philip, above deck, wonders aloud about their actions—are both emotionally taxing and verge on the revolting. These scenes, however, align with Hawes's commitment to realism, and are never gratuitous. The violence serves as a stark reminder that pirates were not whimsical Halloween caricatures, but rather, vile and menacing figures who plundered, tortured, and killed to satisfy their desires.

The Dark Frigate marked Charles Boardman Hawes' third foray into the world of maritime tales for young audiences. His debut, The Mutineers, spins the yarn of young Benjamin Lathrop, a sixteen-year-old adventurer who embarks on a voyage to China. Along the way, he weathers numerous trials and tribulations, eventually returning to the comforting embrace of his waiting family. In The Great Quest, his sophomore effort, Hawes weaves a gripping narrative around twenty-year-old Josiah Woods, a passenger aboard a ship laden with a grim cargo of slaves.

Throughout his initial stories, Hawes paints a vivid picture of tyrannical ship captains, suggesting the sea's life is a rugged, unforgiving existence compared to the serenity of land. These narratives often conclude with the protagonists finding a semblance of tranquility. However, by the time he penned the more ambiguous The Dark Frigate, Hawes had broken away from traditional romantic sea novel tropes, using the harshness of nautical life as an allegory for the harsh realities of existence on solid ground.

Gary, Dorothea Cable (Hawes). "Biographical Note." In Newbery Medal Books, 1922-1955. Boston: Horn Book, 1955. Within this heartfelt biographical sketch penned by Hawes's widow well after his passing, one can discover a handful of intriguing insights, though it is somewhat lacking in concrete facts. This volume also features her "Acceptance Paper for Her Husband" upon receiving the Newbery Award.

Duffus, Robert L. "Under a Full Suit of Canvas: Four Books of Whalers and Windjammers, Harpooners and Shantymen." New York Times Book Review (November 16, 1924): 5. A captivating review of "Whafing," one of Hawes's compelling works for adults, this piece quotes Hawes musing about the tendency to romanticize the high seas.

Hines, Jack. "With Scuppers Forever Running Blood: The Dark Frigate by Charles Boardman Hawes (Boston: The Atlantic Monthly Press, 1923)." New York Times Book Review (November 11, 1923): 5. Contemporary critic Jack Hines laments the lack of romantic flair in The Dark Frigate. He critiques Hawes for leaving the story unresolved and holds him responsible for the grisly demise of Captain Candle.

Kelly, R. Gordon, "American Boy—The Open Road." In Children's Periodicals of the United States. Historical Guides to the World's Periodicals and Newspapers Series. Westport, CT: Greenwood Press, 1984. This intriguing article highlights Hawes's influential role as an associate editor and contributor to The Open Road, emphasizing his earnest belief in the moral duty of writing for young boys. The bibliography provides a guide to the issues of The Open Road available at the Library of Congress.

Kirkpatrick, D. L., ed. Twentieth-Century Children's Writers. 2d ed. New York: St. Martin's Press, 1983. This entry on Hawes includes summaries and critiques of his trio of significant novels, casting him in an unfavorable light when compared to the illustrious Robert Louis Stevenson.

Meigs, Cornelia, ed. A Critical History of Children's Literature. New York: Macmillan, 1969. In a chapter titled "Childhood's Golden Era: Introductory Survey," Hawes's literary contributions are examined within their historical context. Part 4, "Adventure in the Past," offers both biographical details and analytical perspectives on Hawes's seafaring tales.

Ward, Martha E., and Dorothy A. Marquardt. Authors of Books for Young People. New York: Scarecrow Press, 1964. Presents a concise biography of Hawes, touching upon his work with Open Road magazine.