׉?ׁB!בCט 7 7u׉׉	 7cassandra://YOFV8pDDxG0LjdFk3QL_q5aurtSbaU_1phqYxNlpN_I`׉	 7cassandra://G8GP9N7dk5Tbg21Q0MADYjd140nC964pFhnkxnzPU78$`]׉	 7cassandra://GLmLxisXjf0P4PydRws38noUzIBoXFIi9n3xcel9s8Ya`̺ ׉	 7cassandra://9caYIFrgdcP_f_BNKJxiynqaucjc9O3xQwWIvW1BDbIo͠`+>&Vט   7u׈   RA  ׈E`+>&V׉E +SOPHIE VAN DER STAP
THE GIRL AND
THE SHARK
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`m ׉	 7cassandra://JKHTa7ViYsZ-l5yQNWxPzBCZ3zjASnv8gF4snBujoxEC͠`+>&Vט K 7u׉׉	 7cassandra://8XY6U1g83y-T7MNG644xc4qJGnaJKbUEviiZOvYFwq0c` ׉	 7cassandra://g7SRpQzY952IZe7APQokJ6HokwHuSx_j-lRGcromIoEa` ]׉	 7cassandra://WkrWZwYc-Ayndrh5RqooAvJAqx2gd5jVFBfK59B9DRM` ̺ ׉	 7cassandra://d1WPgPoCjWZ8-D1RdtcEWd8Mlni3b64ZibhiGt8n1Vw ͠`+>&V׉E}Sophie van der Stap
(1983) is a Du tch
wri ter. She recei ved
i nternational
acc l aim for her
book The Gi rl Wi th
Ni ne Wigs. The book was adapted
i nto a movie and Al ibaba is in
the process of maki ng a Chi nese
remake. Origi nal ly a novel i s t , she
is cur rent ly fi nal i zi ng her fi r s t
chi ldren’s book, Shark Heroes .
The Gi rl And The Shark is the
f i r st story in a series of booklet s
abou t endangered sea animal s ,
and the threats they are faci ng .
Col l aborati ng wi th Sea Shepherd ,
an i nternational , non -prof i t mari ne
conser vation organi z ation , hal f of
the proceeds are donated to thei r
cause .
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`m `+>&V׉E +THE GIRL AND
THE SHARK
SOPHIE VAN DER STAP
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are no words, no chatter or banter, but you’d be wrong
to think that the ocean doesn’t speak. It does speak, in
a language of bangs and echoes. Beneath the surface
she’s free: she has no weight, no age, no name. Her body
is reduced to a mass of functions. It breathes, it sees, it
touches, it floats. When she achieves perfect buoyancy,
there’s no gravity and no judgment, and somehow the
two seem related.
The caves do not speak. The caves swallow. They swallow
everything around her, they swallow and swallow and
swallow, until there’s nothing left but her and an immense
silence, daunting in its immensity, sated in its hunger.
Enveloped in stillness, her past sinks into oblivion as she
floats in a timeless embrace. She does not know if she’s
the one who forgets or if it’s the caves who do.
The first time, the silence choked her. But when she
resurfaced, she felt replenished. Ever since, she has
gravitated to the caves time and again. As a trained diver
she’s used to diving alone. Above the surface, together
is better than alone, but beneath the surface alone is
better than together: on her own she can dissolve in the
world around her, and be nothing, or everything.
In the cave she sits down on the seafloor. A shark
appears. She does not move. He circles her several
times, then swims towards her and lies down next to her
in the sand. She rests her hand on his head, pets him. Far
away, above the surface, her life floats on the mirror of
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they say that she’s strong, that she has shark skin. But
they don’t know that words are so much sharper than
teeth.
A red wooden box sits on a bookshelf somewhere above
the surface, its lid open. It’s overflowing with hooks,
some big, some small, all rusty. Every hook is a life saved,
a life she knows. The box is so chock-full that she can
hardly wedge any new ones in there. She adds her latest
find to the collection and gets in the shower. The shower
primarily serves as a transition between ocean and land.
It’s not about washing off the sea so much as immersing
herself in water for one last time before falling asleep.
The hook was jammed deep inside the shark’s mouth. It
was the third time she had to remove a hook from the
shark she named Foggy Eye. The first time Foggy Eye
had come to her was two days af ter she had removed a
hook from the mouth of Grandma, one of the first sharks
she got to know. Foggy Eye had appeared together with
Grandma, as if Grandma was leading Foggy Eye to her.
When she swam past the new shark, she looked right into
its foggy eye. The shark’s mouth and lef t-side gills were
covered in a nasty infection. That hook must have been
stuck in there for a long time.
The girl went to work immediately. She fed the other
׉	 7cassandra://nw7Jd28Jaz6Wwy438MQoL1m3EPtk-e-lpbdUgP-kwGA`̺ `+>&V׉Egsharks and studied the new shark’s behavior. She wasn’t
eating and she lay in the sand, only a few feet away. The
girl sat next to her in the sand, petted her, stayed with
her. Then, in a quick movement she reached her arm into
the shark’s mouth and felt the hook. It was large and
had a fishing lure, a little yellow fish, attached to it. She
pulled once. The shark with the foggy eye pulled back
and swam away.
She checked her air and waited, some of her sharks still
circling her, drawing wider and wider circles, until finally
they vanished out of sight. The new shark stayed with
her and put her head in her lap. She reached into her
mouth a second time but again was unable to remove
the hook. The shark with the foggy eye disappeared into
the dark.
A shark’s eye is like the surface of the ocean: endless and
unfathomable. Foggy Eye kept on returning, putting her
head in the girl’s lap, until one day, the girl successfully
removed the hook that was jammed deep into the
shark’s flesh. Now sometimes when she raises herself up
from the seafloor, the shark will lift up with her, resting
between the girl’s hands. A small eternity passes. She
doesn’t know whether it’s the shark who decides on
this unexpected embrace or whether it is her. It doesn’t
matter: in a world where words are absent, they seem
fundamentally unnecessary. They all have a face and
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– and Foggy Eye. They’ve all been named af ter their
distinguishing physical features and character traits.
Grandma is her first shark, her first hook. She’s always
the first shark to appear. But today she’s nowhere to
be seen. The girl is surprised and looks around trying to
find her.
Back on the boat she takes off the chainmail suit she
wears on top of her wetsuit while feeding her sharks,
and lies down on the deck. She spends her surface
interval with her feet dangling in the water and her face
warmed by the sun. When she goes back in with a new
tank she swims to Ben’s Cave. She swims through shoals
of little black fish, hearing echoes of howling whales in
the distance.
She’s a young woman who spends most of her days out at
sea. Some days she dives four, five times. The time spent
on the rocking boat is to get ready, wait out surface
intervals, get some sustenance. She only heads back to
shore as a way of guaranteeing her return to the ocean.
On land people call her the Shark Girl. Some use fancier
descriptions like Shark Dancer or Shark Whisperer.
To her it’s all the same. It tells her what she already
knew: that the sharks know her and the people don’t.
The people talk about her with the fearful looks of
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b׉	 7cassandra://ckYiLn1XoSRrf6Z3fRPklE6djQ-uwFXPiq2bL5b05Wk"i`׉	 7cassandra://VY6Tudg5GZ3mhFNsEdMzOssqNdhI27u75y3rEF19Vxg	`m ׉	 7cassandra://mlkAmoznFoebMEiSVrglsYeDri7JIRvWsK-JU8KD8Z0K͠`,>&Vט K 7u׉׉	 7cassandra://R_vc11TQp5qY4-J_b-3SHPT72Ui9qUfD6_V8s3iWcPg `׉	 7cassandra://-iaYoRreHm98TtPST_WktwkpuvOBtjI-nWO8LS3wUPQ?`]׉	 7cassandra://YsZlBZJkpL__m_t5NlA3Ll9q0l9FqsZwOeXmjj3ZrH4`̺ ׉	 7cassandra://2zOd9go1s6GCzfu9gTfyH9KKavbqq0L1iv92cI46rzkX͠`,>&V׉EfCri s tina Zenato
A profes sional
di ver si nce 1994,
Cri s ti na is an ocean
and cave ex plorer,
shark behaviori s t ,
photographer, speaker, wri ter and
conser vationi s t, known for her
speci al rel ationship wi th a group
of local Caribbean Reef sharks
and for her pas sion promoti ng
the protec tion of all sharks in the
wor ld .
Cri s ti na was induc ted in the Women
Di vers Hall of Fame, The Explorer s
Cl ub and the Ocean Ar ti s ts Societ y
and is a recipient of numerous
awards and accol ades .
AUTH
The G
fasci
my p
a lang
and m
But I
supp
the li
hers.
Nor c
the l
open
It’s m
great
heart
Soph
May 2
׉	 7cassandra://VY6Tudg5GZ3mhFNsEdMzOssqNdhI27u75y3rEF19Vxg	`m `+>&V׉E[HOR’ S NOTE
Girl And The Shark is a work of fiction. It was born of my
ination with the silent depths of the sea, its creatures, and
passion for language. In this story I have tried to verbalize
nguage that has no words, that lies behind the eyes, solemn
mysterious.
I could not have written this story without the generous
port of Cristina Zenato, a girl who does exist, and who saved
lives of many sharks. The red wooden box in this story is
s. The sharks described, including their names, are hers.
could I have written this story without the existence of
larger community of shark conservationists whose work,
nness and intelligence I’ve come to admire so much.
my hope that this little story will help contribute to their
at cause, which truly should be one that is close to all of our
rts, as our very existence depends on it.
hie van der Stap
2019
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