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7. The Boy in the Boat

George Hannah

[Verse 1] Now, did you ever hear the story 'bout that boy in a boatDon't wear no shoes or no overcoatBroad told me that it happened like thisHe love to dive and also to fishHe went roaming in that shallow boatWith his head hardly rising and his eyes hard to copeFace is all wrinkled and his breath smells like soapTalking about that boy in the boat [Verse 2]When you see two women walking hand in handJust look 'em over and try to understandThey'll go to those parties, have the lights down lowOnly those parties where women can goYou think I'm lying, just ask Tack AnnTook many a broad from many a manFace is still wrinkled and his breath smells like soapStill talkin' 'bout that boy in the boat [Verse 3]Now, back in the year, tooty-twoA lot of these dames ain't got nothin' to doUncle Sam thought he'd give 'em a fighting chancePacked up all the men and sent 'em on to FranceSent 'em over there, those Germans to huntSo the women at home could try out all their new stuntsHis face is all wrinkled and his breath smells like soapI'm talking bout the boy in the boat

  • Verse 1

    The "boy in the boat" is a vivid euphemism for the clitoris, with the "shallow boat" referencing its anatomical position beneath the clitoral hood. The "boy" is characterized as playful and exploratory, "diving" and "fishing" in the shallow waters, presenting acts of intimacy and exploration as both adventurous and mundane. The boy’s lack of "shoes" and "overcoat" implies a state of vulnerability and intimacy, suggesting that the clitoris, unencumbered by external coverings, exists in its natural form as a source of raw, physical pleasure. The absence of these items also implies accessibility, further emphasizing the directness and immediacy of the sexual metaphor.
    The description of the "face all wrinkled" could be interpreted as a playful nod to the texture of the clitoral hood or the surrounding anatomy. The "breath smells like soap" might evoke a sense of cleanliness or preparation, alluding to the physical rituals associated with intimacy. This juxtaposition of raw, visceral imagery with cleanliness humanizes the metaphor, making it simultaneously provocative and familiar. Together, these descriptions demystify and celebrate female anatomy, in line with the blues tradition of using everyday language to address taboo topics.

  • Verse 2

    Part I
    This verse explicitly ties the metaphor of the "boy in the boat" to lesbian relationships, using it as a symbolic anchor for intimacy and sexual autonomy between women. The imagery of women "walking hand in hand" highlights both solidarity and romantic desire, evoking the hidden but thriving queer subcultures of the 1920s. These "lights down low" gatherings represent safe, private spaces where women could explore their relationships and desires without the constraints of a heteronormative society. Such spaces were inherently acts of resistance, defying societal expectations and aligning with the Harlem Renaissance’s broader emphasis on self-expression, identity reclamation, and defiance of oppressive norms.
    The mention of Tack Ann, a figure who "took many a broad from many a man," directly challenges traditional gender dynamics, presenting her as a disruptor of male dominance in romantic and sexual spheres. Tack Ann’s success in "taking" women away from men mirrors the symbolic centrality of the "boy in the boat" in lesbian relationships, positioning the clitoris as a source of empowerment and mutual pleasure. This connection reframes the "boy in the boat" not only as a physical metaphor but also as a symbol of liberation and the reclamation of women’s agency within queer intimacy.

  • Verse 2

    • Part II
    The recurring phrase "breath smells like soap" deepens this connection by highlighting the duality of preparation and secrecy in these relationships. Soap, associated with cleansing and purity, juxtaposes the societal stigmas surrounding queer relationships during this period, where discretion was often necessary to navigate oppressive societal norms. In this context, the "soap" becomes a metaphor for the care and deliberation involved in nurturing these relationships, while also subverting the moralistic lens through which such connections were often judged. By reclaiming these acts as natural and affirming, the lyric elevates lesbian relationships as a celebration of autonomy and the freedom to define intimacy on one’s own terms.

  • Verse 3

    This verse situates the song’s themes within the historical context of World War I. With "Uncle Sam" sending men "to France" to fight, women found themselves in a unique position of autonomy. The phrase "try out all their new stunts" humorously suggests that women, left without male partners, began exploring same-sex intimacy, finding connection and companionship in each other. The metaphor of the "boy in the boat" underscores this newfound intimacy, positioning the clitoris as a symbol of self-discovery and mutual pleasure among women. In a time of upheaval, when traditional gender dynamics were disrupted, women embraced the freedom to explore relationships outside the heteronormative framework.