33 pages • 1-hour read
Leroy Ninker Saddles Up
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Symbols & Motifs
Moon
Throughout her narrative, DiCamillo positions the moon as a symbol of guidance and nurture. When Leroy first returns home with Maybelline, he wonders what to do, briefly closing his eyes—“what he [sees is] Patty LeMarque. Her face [is] as big as the moon, and her mouth [is] opening and closing, and opening and closing” (45). Leroy remembers Patty’s advice about Maybelline, represented by the opening and closing of her mouth. By comparing her face to the moon, he links her role as mentor to the nighttime orb. Later, deciding not to leave Maybelline alone, Leroy curls up to sleep at her feet. While he dozes, he dreams that “the moon was looking down at [him] and Maybelline, and it was smiling at them” (50). Leroy’s image of the moon smiling and looking down upon them reinforces its symbolic significance as a nurturing guardian. DiCamillo also highlights this symbolism in moments when the moon is notably absent. For example, after Maybelline bolts during the storm and Leroy cannot find her, DiCamillo notes: “In the darkness, the horse went one way. And the cowboy, alas, went the other” (67). The darkness emphasizes not just the setting—nighttime during a storm—but also the lack of guidance. Without anyone or anything looking out for them, Leroy and Maybelline wander in opposite directions. In both its presence and absence, the moon represents the guidance and nurturing support that Leroy and Maybelline need.
Weather
DiCamillo positions weather as a visible manifestation of Leroy’s and Maybelline’s emotions. For example, the sun and blue skies reflect the characters’ happiness, contentment, and hope while storms and rain mirror their panic and fear. When Leroy first mounts Maybelline, “right away [he] notice[s] that the world [is] different from the top of a horse. The colors [are] deeper. The sun [shines] brighter. The birds [sing] more sweetly” (24). Sitting in the saddle signifies Leroy’s dream of being a cowboy—he feels elated that he has a horse, so the beauty of the natural world, specifically the bright sun and vibrant colors, reflects his happiness. However, when a storm rages, both Leroy and Maybelline experience panic and fear. When Maybelline discovers that she’s alone, DiCamillo describes her emotional state, saying: “Terrible things were happening! Thunder was crashing! Lightning was flashing! And worst of all […] Maybelline was utterly, absolutely alone” (54). In addition to the negative connotations of words like “terrible” and “crashing,” the exclamation points emphasize the intensity of Maybelline’s negative feelings. DiCamillo underscores Maybelline’s isolation—her biggest fear—through the weather, which reflects her terror. Similarly, the increased intensity of the rain amplifies Leroy’s fear that Maybelline is gone, like a racing heartbeat that accompanies panic. DiCamillo describes Leroy’s panic and the ferocity of the storm in tandem, symbolically conflating the two: “The rain came down hard and fast. The lightning flashed, revealing a horseless world” (57). As Leroy’s fear escalates, DiCamillo notes that “the wind blew harder,” emphasizing the image of Leroy’s negative emotions as swirling and out of control. In contrast, at dawn, with calmer skies and a rising sun, Leroy feels hopeful when he spots a hoofprint in the mud: “In the pink and hopeful light of dawn, Leroy notice[s] something in the dirt. He [bends] down and trace[s] the shape that [is] imprinted in the mud. His heart thump[s] inside of him” (69). His elevated heart rate evidences his optimistic anticipation.
Toast
Toast, Mercy Watson’s favorite food, symbolizes togetherness and serves as a motif for the theme The Need for Friendship and Community. DiCamillo introduces the motif when Stella asks Leroy and Maybelline, “Have you ever had toast with a great deal of butter on it? It’s very good” (82). Moments later, Mrs. Watson’s invitation links the food to community and companionship. As she walks onto her porch with Mercy, she tells Leroy and his horse, “‘You must both come inside and have toast’” (83). The invitation is not merely for a tasty breakfast, but to join the Watson family at their table. The word “must” implies that joining them inside is as wonderful as the food itself—a concept Van Dusen reinforces in the picture on the following pages showing Mr. and Mrs. Watson, Mercy, Stella and Frank Endicott, Leroy, and Maybelline all sitting together at a table enjoying a stack of toast. As in the Mercy Watson series and other Tales of Deckawoo Drive, toast is eaten not alone, but among family and friends, representing togetherness and emphasizing the necessity of companionship.
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