I signed up for the same courses in seamanship and navigation as my dad. I also joined a yacht club. We had already determined that we would not do the courses together. I suppose we knew enough about one another to know that doing so would have scuppered our intended voyage before departure from dry land. What we needed afloat was competence from one another, not first-hand evidence of its comic opposite. So we did the courses separately and, on top of this, I joined a yacht club in Whitstable where, at least in the volatile winter weather of February, I could sail in safe approximation of ocean-going conditions.
What Suzanne thought about all this, I honestly don’t know. I think she thought the rapprochement between myself and my father a good thing. I think she thought six months hence too long a distance away, at least at the outset, to fret unduly over. I suppose she assumed that we would possess at least a basic competence between the two of us when we finally embarked. The
Dark Echo
was a racing schooner, more than capable of covering the distance between
Southampton and New York in three weeks. And when all was said and done, the sea was a great deal safer in the age of satellite phones and sonic distress buoys than it had been eighty years before, in Spalding’s Roaring Twenties. She busied herself with research into the groundbreaking documentary series centred on Michael Collins and the Irish struggle for independence. And she kept any reservations she might have had about the venture to herself.
You might wonder where I found the time to indulge in this little jaunt with all the preparation it required and the money that was needed to fund the training. A generous allowance from my father would be any stranger’s fair assumption. But it would not be the truth. My dad was always generous with me. But I was always independent, particularly so after my mother’s sudden death. At both of the universities I attended, I worked for the college radio station, organising guest interviews and fund-raising drives and on-air competitions and so on. After my eventual graduation, I got a similar job working with a regional station in Kent, only now there was a salary involved. Next, I got a job at a London commercial station. If there was any career plan, it was probably to wind up working in radio programming for the BBC. I’ve always loved the power and potency of the spoken word and have always preferred radio to television because it frees the listener’s imagination somehow in a way that television, with its reliance on pictures and its terror of dead time, can never really replicate.
So there I was, fully intending to evolve over time into some Reithian figure of the twenty-first century. Except that fate intervened when I and a colleague at the London station dreamed up a game-show format we had the wit to copyright. The game became a huge airtime hit. The format translated effortlessly to television. And the game became a hit all over the world. It didn’t earn me the sort of wealth
my father had generated through business. But it did bring me enough money not to have to worry about where the mortgage payments were coming from for the flat for a couple of years.
I finally gave up full-time work two years ago. Retirement at thirty would, to be honest, have been a depressing prospect. But I had an ambition to write. In the last two years I’ve written and had published two children’s books. Sales have been modest, but they’ve earned a bit of praise. I like the challenge of writing for enigmatic little people with minds that are difficult to unlock. I can think of little more worthwhile for a writer of fiction than firing the imagination of a child. One not too distant day, I hope that Suzanne and I will have children of our own. Or perhaps, now, better altogether to say that one day I hoped we would. I hoped we would have children of our own. It’s only realistic, in the current circumstances, to put everything into the past tense. Harry Spalding’s baleful curse has imposed that necessity.
The
Dark Echo
’s reputation as an unlucky boat was vague to all of us. I’d heard something from my father when he’d first mentioned his interest in the vessel, but couldn’t even recall exactly what. When I challenged him on it, admittedly not very aggressively, he’d reclined in his club chair and said something about sailors and superstition, and had then gone back to the more compelling business of reviving his dead cigar. Even Suzanne was really no more forthcoming. She had heard of the boat, she said, in connection with some act of violence at some gathering in the late 1930s of casino gamblers off the coast of Cuba. But, gently pressed, she could not remember the name or the nationalities of the people involved, or even the port concerned. ‘Maybe that’s the curse of the
Dark Echo
,’ she said, joking. ‘Maybe it afflicts its victims with amnesia and they keep coming back for more.’ She pulled a ghoulish face and shook her hair like a banshee.
And incredible though it now seems to me, we both of us laughed.
The first mishap at Frank Hadley’s boatyard was mundane enough. The surviving portholes had been carefully removed. Those not beyond restoration were to be bathed in acid to remove the corrosive stains and then brought back by polishing to their original lustre. But first, the shattered fragments of glass needed to be chiselled out of them. Even this job was done fastidiously, though, because the porthole glass, each individual circular pane, would have to be moulded and cut and polished by a craftsman. It was important not to damage the soft brass housing while removing the tough glass chips and shards.
An apprentice glazier cut himself chiselling out porthole glass. Nobody thought anything of it. But the wound became infected. The boy developed a high temperature and was taken to hospital where his condition swiftly worsened. He was admitted. And then he was moved to a critical bed with a vicious case of septicaemia. He was young and strong, a Sunday footballer on the brink of a semi-professional career. But he did not look any kind of athlete when the ventilator was required for him in his hospital bed, his gashed hand a grotesque, swollen thing suspended above a body so stricken with paralysis that it could not breathe for itself.
The boy recovered. The swelling subsided and the infection receded. After a week, he was allowed home. But he did not return to his work on the portholes of the
Dark Echo
in the workshop of a glazier’s business subcontracted to Hadley’s boatyard. He telephoned his old boss and said that he would never cut glass again. Nor, he swore vehemently, would he ever again allow glass to cut him.
The second accident took place at the boatyard itself and was much more serious. A carpenter was planing a length of replacement deck planking. It was hardwood, of course,
high-grade teak sourced at great expense by my publicity-conscious father from a sustainable source. Either the wood hadn’t quite been seasoned properly and had retained sufficient moisture to stick under the blade, or there was a knot in the burr that had gone unnoticed. But the carpenter, of course, was using original tools. And fashioning hardwood, however skilled you are and however honed your tools, requires a degree of physical force. Either way, the blade of the plane shattered and a steel splinter pierced the carpenter’s eye. It was a nasty injury, an agonising disfiguration that cost him fifty per cent of his sight and would impair his ability to do high-spec work for the rest of his professional life.
So far, so unfortunate. But the third accident, a shocking tragedy, sort of put the seal on things. And this one happened with my father actually present at Frank Hadley’s boatyard.
They were pulling the root of the old main mast from its foundation at the centre of the hull, raising it clear of the superstructure through the deck. It was an operation a little akin to removing a rotten tooth. The mast itself was not rotten. But it was broken and beyond repair and had to be replaced. A crane had been positioned to pull the root cleanly out of the boat. Hawsers had been lashed to the mast laterally to keep it steady and stop it swinging dangerously once free of the hull. The last thing that was wanted was for it to become a sort of battering ram, smashing the craft it had so staunchly served for so long.
Somehow one of the hawsers was allowed to slacken and it looped around the arm of one of the men on the deck, severing the limb when it came under tension and tightened again as cleanly as a wire will cut cheese, just above the top of his biceps. Work was stopped immediately, of course. The emergency services were called and first aid
was swiftly administered by those present. Frank Hadley was a model employer and two of his people on the scene knew all about first aid and the recovery position. But the man with the severed arm writhed on the deck of my father’s boat until he died of shock after four or five terrible, gory minutes.
Work stopped. And it did not restart. My father was paying Frank Hadley very handsomely. And Hadley, a scrupulous employer as I’ve said, was paying his craftspeople very competitive rates. But nobody wanted to work on the
Dark Echo
after the fatality. Even when Hadley had personally swabbed her deck of the dead rigger’s blood, and police accident investigators had put away their biros after taking statements, even after the burial a full eight days later, there was no general desire to return to the project. It was the fourth week in February. All over the South of England, we were enduring record rainfall. There was a pump to keep the dock dry under the
Dark Echo
’s supine shape. She was wearing her shroud again, as if in solemn and dignified mourning for the most recent man to die aboard her. For something told me there had been predecessors – male and female, too – all mourned with the same measured, counterfeit decorum. But perhaps it was just the weather, making me gloomy, turning my own aspect as gloomy as that of the leaking sky.
I sat with my father in Frank Hadley’s office. Through the window behind him you could see the tarpaulin bulk of the boat in the rain. His yard was on an estuary, as they tended to be, a deep water channel scoured by a dredger through the silt to give the boats he worked on access to open water. In some senses everything was the same as at Bullen and Clore. There was the same pervasive salt smell and the same faint luminescence about the light, even in heavy cloud, that you only encounter on the coast. There
were the briny cobbles and the great tow ropes and chains and mooring rings. And, of course, there was the presence of the
Dark Echo
.
But, in significant ways, everything was in complete contrast to Bullen and Clore. The spacious office was a minimalist tribute to good taste and modernity. A cappuccino machine gurgled softly in the far corner. On the wall to our left, and Hadley’s right as he faced us from behind his desk, was a bank of LCD screens. They all showed the same series of images. Computer simulations of the hull of a Norse longship appeared in complex three-dimensional patterns. The whorls and ribs of its geometry, after a few moments of viewing, could have passed for an installation of abstract art.
‘We’re building a fleet of ships for a feature film,’ Hadley explained. ‘Well, what the audience will finally see will be a fleet. We’ll in fact build only one full and exact seaworthy replica. The rest will be interiors, odd detailed sections and CGI.’
Neither my father nor I offered a comment.
‘Still damned expensive.’
Again, neither of us replied to him.
Hadley stared at the simulations for a moment. ‘We can’t better what their engineers did a thousand years ago. Not with the materials available to them, we can’t, for all our microchips and megabytes. Form and function perfectly combined, the longship. It was a staggering feat of design and execution.’
Frank Hadley wore chinos and a pale-blue cotton shirt on a tall and youthfully slender frame. His iron-grey hair was finger-combed back carelessly from a side parting. He had a sparkly look, the twinkle of a ladies’ man. In that, he wasn’t so dissimilar from my father. But his face lacked the strength of character, the firmness of jaw, the star quality, if you will, that my father’s face had always
possessed in such apparent depth. In isolation he would have carried a certain male glamour. In the same room as my father, this was outshone. Comparing the two of them was like comparing Peter Lawford to Cary Grant.
My father said, ‘An unlucky vessel to a boatbuilder such as yourself is surely as the concept of a haunted house to a modern architect. It isn’t just an anachronism. It’s worse even than an absurdity. It’s an affront. An insult.’
Hadley dragged his eyes away from his bank of screens. But he would not meet my father’s gaze. He looked down at his hands, linked on the desk. ‘My thoughts on the matter are immaterial, Mr Stannard.’
‘Magnus, please,’ my father said.
‘Magnus, then. My thoughts on the subject of unlucky boats are really neither here nor there if I can’t get the men to come through the gate for their shift.’
‘Get different men.’
Hadley stood. He turned his back on us and looked out of the window at the view through the rain-bleared window, at the lowering sky and the sullen outline of my father’s prize, under its tarpaulin. ‘You were here when the fatality occurred, Magnus. You were watching the operation. I cannot find either engineer or accident investigator who can justify or explain to me why there should have been a fraction of slack in that rogue hawser.’
‘Rogue,’ my father repeated. He said the word in a neutral voice, as thought it were foreign and he was merely trying out the sound of it.
‘Yet despite the consistent and enormous tension it was under, it discovered the length and elasticity to loop around a man’s arm and severe it.’
‘Heavy engineering is dangerous work,’ my father said. ‘I understand a fund has been established at the yard for the poor fellow.’
‘It has.’
‘And I will contribute to it,’ my father said. ‘Generously.’
‘You saw his feet thrum on the deck, his dance of death in his own spreading pool of blood.’
‘It will be interesting to see how a man of your professional reputation deals with the tabloid press interpretation of this peasant witchcraft revival.’