Atlantic: A Vast Ocean of a Million Stories. Simon Winchester

saga of a mélange of peoples and parallels, of diverging languages and customs, of mixtures of acts and events, achievements and discoveries, of confusions and contests. It is a tricky tale to tell. Simple chronology might suit very well the story of the making of the physical sea itself - but the details of the human experience are scarcely so amenable.

      For how would it be possible to knit together the experience of, say, a Liberian fisherman with that of an atomic submariner on patrol off Iceland? Or to link the life of an amethyst miner on the shores of Namibia with that of the American director of Man of Aran; to write of the captain of a British Airways Boeing and of an ice-patrol ship off the coast of South Georgia; or to connect the long-dead sea-painter Winslow Homer with a wide-eyed Guantanamo detainee from western China, swimming for the first time in the Atlantic Ocean off Bermuda? How best create a sensible structure from all this strange and multicoloured variety?

      For a long time that remained a puzzle. I wanted so much to write the story of the ocean. But what and where was the structure? I was, as they say, all at sea.

      Except that one day, gazing down at the rolling waters, I thought: if the ocean had a life, might not mankind’s relationship with it have some kind of a life about it also? After all, fossils and finds from digs show that this relationship had a particular moment of birth. It will have a likely moment of death, as well - even the most determined optimist will have to admit that an end to human existence is in sight, that in a few thousand, or maybe a few tens of thousands of years, humanity will be finished, and this aspect of the story will be over, too.

      So yes, to corral the life of this human relationship with the sea, and place it within the context of the much more straightforward life of the ocean itself - this might indeed be possible as biography, too. But then there were the details, churning and daunting and devilish. The tide of human history was so filled with facts and incidents and characters and tones of subtle shading, that it might be near impossible to swim against it.

      But in the end, and out of the blue, I was tossed a quite unexpected lifebelt - and by that most non-maritime of rescuers, William Shakespeare.

      • • •

      For many years I had carried with me on tedious plane journeys (and indeed had with me as we passed above the waters of Flem ish Cap that recent time) a well-thumbed copy of Seven Ages, an anthology of poetry that was assembled in the early 1990s by a former British foreign secretary, David Owen. He had arranged his chosen poems in seven discrete sections, to illustrate each of the seven stages of man’s life that are listed so famously in the “All the world’s a stage …” speech in As You Like It. And I was reading Owen’s book one day when I realised that this very same structure also happened to offer me just what I needed for this human aspect of the Atlantic story: a proper framework for the book I planned to write, a stage setting that would transmute all the themes of ocean life into players, progressing from infancy to senescence, so that all could be permitted to play their parts in turn.

      The Ages are those we remember, if scantily, from childhood, and are listed in Jacques’s all too famously gloomy monologue:

       At first the infant, Mewling and puking in the nurse’s arms; And then the whining school-boy, with his satchel, And shining morning face, creeping like snail Unwillingly to school. And then the lover, Sighing like furnace, with a woeful ballad Made to his mistress’ eyebrow. Then a soldier, Full of strange oaths, and bearded like the pard, Jealous in honour, sudden and quick in quarrel, Seeking the bubble reputation Even in the cannon’s mouth. And then the justice, In fair round belly with good capon lin’d, With eyes severe and beard of formal cut, Full of wise saws and modern instances; And so he plays his part. The sixth age shifts Into the lean and slipper’d pantaloon, With spectacles on nose and pouch on side; His youthful hose, well sav’d, a world too wide For his shrunk shank; and his big manly voice, Turning again toward childish treble, pipes And whistles in his sound. Last scene of all, That ends this strange eventful history, Is second childishness and mere oblivion; Sans teeth, sans eyes, sans taste, sans everything.

      Infant; School-boy; Lover; Soldier; Justice; Slipper’d Pantaloon; and Second Childishness. It seemed, all of a sudden, just about the ideal. Pinioned within these seven categories, the stages of our relationship with the ocean could be made quite manageable.

      I could examine in the First Age, for example, the stirrings of humankind’s initial childlike interest in the sea. In the Second, I could examine how that initial curiosity evolved into the scholarly disciplines, of exploration, education, and learning - and in this as in all the other Ages I could explore the history of that learning, so that each Age would become a chronology in and of itself. I could then become captivated in the Third Age — that of the lover- by the story of humankind’s love affairs, by way of the art, poetry, architecture, or prose that this sea has inspired over the centuries.

      In the Fourth Age - that of the soldier -1 could tell of the arguments and conflicts that have so often roiled the ocean, of how the force of arms over the years has compelled migration or fostered seaborne crime, of how national navies have reacted, how individual battles have been fought, and how Atlantic heroes have been born.

      In the Fifth Age - that of the well-fed Justice -I could describe how the sea eventually became a sea of laws and commerce, and how tramp steamers and liners and submarine cables and jet aircraft then crossed and recrossed it in an infinite patchwork designed for the attainment of profit and comfort. In the Sixth Age, that dominated by the fatigue and tedium of the pantaloon, I could reflect upon the ways that man has recently wearied of the great sea, has come to take it for granted, to become careless of its special needs and to deal with it improvidently. And in the Seventh and final Age — the Age that ends with Shakespeare’s immemorial sans teeth, sans eyes, sans taste, sans everything — I could imagine the ways by which this much-overlooked and perhaps vengeful ocean might one day strike back, reverting to type, reverting to the primal nature of what it always was.

      Alluring as this all might seem, however, there was something else. First I had to make the frame, to construct the proscenium arch, to attempt to place the long human drama within the very much longer physical context. Only when that had been achieved, and by leave of the enormous natural forces that had made the ocean in the first place, could I try to begin to unveil and recount the human stories. Only then could I attempt to tell something of the ocean’s hundreds of millions of years of life, and of the scores of thousands of its middle years during which the men and women who made up its community would eventually go out onstage, and by their own lights, each perform their unique, and uniquely Atlantic, roles.

      First — just how was the ocean made? How did it all begin?

       PROLOGUE: THE BEGINNINGS OF ITS GOINGS ON

       All the world’s a stage And all the men and women merely players: They have their exits and their entrances; And one man in his time plays many parts, His acts being seven ages.

      A big ocean - and the Atlantic is a very big ocean indeed - has the appearance of a settled permanence. Stand anywhere beside it, and stare across its swells towards the distant horizon, and you are swiftly lulled into the belief that it has been there forever. All who like the sea - and surely there can be precious few who do not - have a favoured place in which to stand and stare: for me it has long been the Faroe Islands, up in the far north Atlantic, where all is cold and wet and bleak. In its own challenging way, it is entirely beautiful.

      Eighteen islands, each one a sliver of black basalt frosted with gale-blown salt grass and tilted up alarmingly from east to west, make up this Atlantic outpost of the Kingdom of Denmark. Fifty-odd thousand