Capture The Flag

One of the novel’s two deuteragonists, José also has a mother who is a member of the Silver Jaguar Society, which has given him a deep respect for history and The Need to Protect Artifacts that Shape Understanding of the Past. For José, these artifacts are books and famous quotations—the primary tools that he uses to navigate and make sense of the world. For him, there is no problem that words cannot solve—a belief that’s driven him to preserve the ones he values most highly for himself: “He held up a black-and-white marble notebook with Wisdom of the World written in messy red marker on the front. ‘I kind of collect quotes, the way people collect baseball cards and stuff’” (20). While Anna and Henry initially scoff at José’s love of books as a useless escape, his reading has taught him to think creatively, value diverse perspectives, and understand that physical strength is not the only way to be strong. José’s favorite quotations and books—including Harry Potter and the Goblet of Fire and Harriet the Spy—demonstrate an admiration for adventure, critical thinking, and intrigue. Messner also uses these literary allusions to foreshadow the concept of young people taking matters into their own hands and taking action in ways the adults around them cannot.

Messner portrays José as the group’s strategic thinker and problem-solver. While Anna and Henry embrace action and instinct, José addresses practical concerns. He recognizes the opportunity to rescue Sinan while the whole airport is asleep and provides practical reassurance for following the baggage conveyor belt: “In theory, the chute will be angled so the luggage items will have a stable landing [...]. That means we should have a pretty stable landing, too” (109). Like his thinking, José’s language is formal and adult-sounding, modeled on the books and quotations he reads. His knack for combining theoretical knowledge and practical problem-solving comes together to save the day in multiple instances, including his idea to use face powder and shampoo to deter Snake-Arm’s pursuit and when his books help him rescue Anna and Henry. Because his friends have urged him to stop lugging the “useless” books around, Messner develops irony when these simple objects become defensive tools through the power of creative thinking.

The novel’s other deuteragonist is Henry, who is also related to a member of the Silver Jaguar Society; however, he doesn’t know this at first and simply dismisses his Aunt Lucinda’s passion for history as “painful to be around” (11). As he does with most people, Henry initially makes an effort to remain detached from Anna and José. His efforts to immerse himself in the video games on his SuperGamePrism-5000 represent this detachment, as he places a physical barrier between himself and the world. His defensiveness is also apparent in his use of the adjective “stupid” to describe the things he finds upsetting but is powerless to change: his mother’s death from “stupid cancer,” his father’s decision to marry “stupid Bethany,” and an impending move from Vermont to “stupid Boston” (10-11). Because of his sense of powerlessness, Henry is the most vocal of the three main characters in his opposition to investigating the flag’s disappearance.

Even after the epiphany that Aunt Lucinda is in the Society, Henry only grudgingly helps Anna and José in their investigation. His passing comments about how their efforts relate to the adventures in his video games illustrate his desire to keep things at arm’s length. Only after they meet Sinan, whom Henry sees as a little brother figure (similar to the neighbor he will soon have to leave behind) does he become engaged in the effort for real. As Henry comes to understand what the flag represents, and what will happen to Sinan and his parents if they’re unable to solve its disappearance, he recognizes the importance of the work done by the Silver Jaguar Society. In this way, Henry’s journey represents The Development of Civic Responsibility. Henry is ultimately the character responsible for the theft’s resolution when, instead of passively playing his video games, he uses his GamePrism actively to record Snickerbottom’s confession. As he saves the day by delivering his friends and the video to the police on the tarmac, his character arc from detached observer to engaged participant is fulfilled.

Sinan is eight years old and has a Turkish father and Pakistani mother who are members of the orchestra Sounds for a Small Planet. Because English is not his primary language, Sinan struggles with idioms and figures of speech. His notebook filled with literal drawings of figurative language demonstrates his willingness to learn, think about how other people see the world, and understand American language and culture. It is Sinan who points out the flaw in Henry’s conclusion that Snake-Arm wants to assassinate Snickerbottom so he can be president, asking, “Are you not in the habit of electing your president by voting?” (76). His interjection emphasizes Henry’s lack of civic engagement but also illustrates the value of different perspectives.

Hammurabi, Sinan’s pet poodle, “is named for an ancient king who united countries and built many things” (50). The original Hammurabi was the King of Babylon and famous for what came to be called Hammurabi’s Code, the first known set of written laws in the ancient world, but as Sinan points out, “our Hammurabi would rather chew things apart” (51). Goofy and oversized, Sinan’s Hammurabi loves squeaky toys and stealing people’s food. The dog’s name is an example of antiphrasis or using an opposite name for humorous or ironic effect reinforced by Hammurabi’s antics, which also provide a layer of comic relief to the narrative. However, the naming of the dog also hints that Sinan and his parents respect history, culture, and the rule of law. This indirect characterization contradicts the accusation of Sinan’s parents as the perpetrators who stole the flag, framing such a thing as contrary to their motivations.

As a pair, Sinan and Hammurabi provide both light-hearted moments and motivation for the main characters. Hammurabi’s imprisonment in baggage claim and Sinan’s decision to rescue him are the inciting incidents for their adventure on the baggage conveyor belt, which ultimately helps them solve the mystery.

As a senator running for president, Snickerbottom initially commands Anna’s respect and a measure of awe. However, Snickerbottom’s scheme to steal the flag and frame the orchestra makes him the novel’s antagonist, a role that becomes apparent when his folksy demeanor is revealed to be a sham and his theft of the flag is exposed. While this reversal is a surprise to Anna and the other kids, Messner provides plenty of hints and foreshadowing to indicate that Snickerbottom is not what he seems. Even the name Snickerbottom relies on connotation to suggest he’s not a figure to be taken seriously, someone low and sneaky at whom others might laugh.

Throughout, there are humorous aspects to Messner’s presentation of the character, including his own hyperbolic language. When Anna sees him at the airport, he’s introduced as “a man with wavy dark brown hair and a white cowboy hat with a sky blue band that stretche[s] around the rim. Tucked under the band every few inches [is] a Tootsie Roll—one of the big ones that rich families [give] out at Halloween” (21). Snickerbottom projects a larger-than-life persona through his exaggerated clothing and grooming habits—for example, the shampoo, powder, and hairspray that Anna and José use to defend themselves are his. His reactions to the kids and to Hammurabi—“Get back, ya overgrown froufrou pup!” (52) —provide humor and demonstrate a stereotypical adult refusal to take young people seriously, but the words he speaks to crowds carry a more sinister tone. When Snickerbottom uses phrases like “enemies of America” his word choice and efforts to scapegoat the orchestra demonstrate a fear-based form of politics rooted in racism and xenophobia.

When Snickerbottom’s plot is revealed, the scheme itself exemplifies his belief that a carefully crafted public persona is more important than substance or character. Through his efforts to frame the orchestra, and through Anna’s belief that he must be a good guy because he’s a senator, Snickerbottom represents The Danger of Assumptions and Prejudices.

Claude Pickersgill is the descendant of Mary Pickersgill, seamstress of the Star-Spangled Banner. As her descendant, he is a member of the Silver Jaguar Society and “is extremely committed to the flag” (224). He is at first known to Anna, Henry, and José only as Snake-Arm, due to the “tattoo of a curled-up black snake that looked like it was about to strike” (46). Because this tattoo bears a passing resemblance to one Anna sees on Vincent Goosen, Anna jumps to the conclusion that he is a member of the art theft ring known as the Serpentine Princes. However, Claude’s tattoo is revealed to represent his love of snakes and his hobby of herpetology. The fact that the kids fear Snake-Arm and injure him badly in their efforts to escape him shows the danger of their assumptions, a lesson they learn when he comes to their aid during the novel’s climax.

Pickersgill’s tattoo, the moniker Snake-Arm, and the fact that he is most often seen chasing them through the baggage area also connect him with the symbol of the baggage conveyor belt. Notably, the words “snaky” or “snaking” are often used to describe the confusing path of the conveyor belt, suggesting that it, like Pickersgill, leads the kids in unpredictable and surprising directions.