The promise and the power of the ocean, a conduit for all history

A history of empire and civilisation is a history of the sea.

The Sea and Civilisation: a Maritime History of the World
Lincoln Paine
Atlantic Books, 784pp, £30

In the latest tempestuous weather to hit the British Isles, members of the public were warned not to walk near the sea. It was as if the mere sight of the crashing, spumy waves posed a malign, almost preternatural threat – a reminder that, for all our supposed dominion, the sea remains an uncontrol­lable power that might yet rise up against us. Yet it also served to underline our increasing disconnection from the sea and all it means.

Perhaps that explains a swelling cultural fascination with the subject. In the past 12 months we’ve had Nottingham Contemporary/Tate St Ives’s eclectic exhibition, “Aquatopia: the Imaginary of the Ocean Deep” and the National Maritime Museum’s “Turner and the Sea”; Penny Woolcock’s film and interactive website, From The Sea to the Land Beyond, with a soundtrack by British Sea Power; the forthcoming exhibition “From Ship to Shore: Art and the Lure of the Sea” in Southampton, and the artist Tania Kovats’s show “Oceans” at the Fruitmarket Gallery in Edinburgh. Along with books such as the marine biologist Callum Robert’s Ocean of Life; the naturalist Horatio Clare’s container-ship adventures, Down to the Sea in Ships; and a brilliant collection of critical essays from Royal College of Art students, As is the Sea, the horizon looks positively crowded with watery artefacts, texts and displays.

The US historian Lincoln Paine’s global history steams into view from across the Atlantic, a brilliantly researched and ambitious affirmation of the sea and civilisation. It begins with an arresting image: the earliest representation of watercraft in 6,000-year-old rock carvings of hunting scenes in Norway. Soon, we are following the extraordinary migrations of Oceania peoples in dugouts, using intuitive navigational skills that assessed wind and tide, the mere colour of the sea, or the “loom” of an island, the changing light that land cast in the sky long before it was visible on the horizon.

The Mediterranean – itself the relic of an ancient sea, the Tethys – bore witness to the first colonial sea empires. The legacies of the Phoenicians and Greeks remain in the ports that still ring the Mediterranean; Aristophanes’ fifth-century BC description of trading quays at Piraeus filled with “nets of onions, garlands and anchovies and flute-girls and black eyes” seems almost timeless.

With empire came conflict. The ascendency of Rome would have been impossible without mastery of the sea, an era of sail-and-oar-powered warships – triremes and quinqueremes – and tyrant-rulers such as the wonderfully-named Demetrius “the Besieger”. Demetrius encouraged an arms race of ever more bloated boats, powered by slaves – sometimes eight to an oar – and armed with catapults launching bolts, boulders and, as one “creative tactician” suggested, buckets of vipers and scorpions. More peaceable but equally overblown were mercantile ships such as the Syracusia, a precursor of an ocean-going liner – complete with first-class accommodation, decorated with mosaics and comprising a library, a gymnasium, baths, flower-bed-lined promenades and a chapel dedicated to Aphrodite.

Europe remained a maritime back­water until the Middle Ages. Paine writes that Viking depredations are exaggerated and they were far more concerned with trade; I’d never thought of the provenance of Norway as the “North Way”, a parallel to the “whale roads” of Anglo-Saxon poetry. But it took the monopolistic influence of the Hanseatic League to shift the focus firmly north by the mid-1300s. As well as bringing wealth to Lubeck, Hamburg and Copenhagen (“merchants’ harbour”), it also brought less welcome imports, such as the plague.

Paine is full of such illuminating facts. I was glad to read of my own hometown, Southampton, that it was England’s first naval base and shipbuilding port in 1420; and that in 1439, for instance, a Venetian great galley sailed from Southampton containing 2,783 cloths and 14,000 tons of tin. Yet each of the modern container ships that slip down Southampton Water every day contains more cargo than the total volume of trade carried to Venice during an entire year of the 15th century.

Paine forestalls any western bias with excellent chapters on Asian expansion. Long before the European age of navigation was enabled by the compass and the astrolabe, Chinese fleets of hundreds of ships and hundreds of thousands of sailors and soldiers were sailing to the Indian Ocean. Yet Zheng He’s seven expeditions under the Ming dynasty would be written out of its own history by the increasingly isolationist Chinese as “deceitful exaggerations of bizarre things”.

Such a withdrawal left the oceans open to figures such as Henry the Navigator. Although Henry – a Portuguese prince and grandson of John of Gaunt – never travelled further than Morocco, the power of his sponsorship extended Europe’s dominion; as did the voyages of Vasco da Gama, Pedro Álvares Cabral and Ferdinand Magellan.

Yet, so much of this was accidental. Christopher Columbus was alerted to new lands to the west by tales of strange flotsam drifting across the Atlantic – “in Galway, in Ireland, a man and a woman with miraculous form, pushed along by the storm on two logs” – and in the Azores, “the sea flung ashore two dead bodies, with broad faces and different in appearance from the Christians”. (Four centuries later, in 1877, the Ocean Notes for Ladies guide to sea-going etiquette would recommend that “a body washed ashore in good clothes, would receive more respect and kinder care than if dressed in those only fit for the rag bag”.)

As Rosalind Williams demonstrates in her recent book The Triumph of Human Empire (University of Chicago Press), the ocean was mare liberum until the 18th century, not subject to the sovereign claims that had carved up much of the terrestrial globe. Even in 1812, Byron could still write, in Childe Harold’s Pilgrimage, “Man marks the earth with ruin – his control/Stops with the shore . . .”

But then the world’s latest and greatest maritime power declared a three-mile nautical extension – the distance that a British cannonball could be shot – to assert its imperial rights. As Paine notes, the first commercial transatlantic service, in 1838, was greeted by the headline, “Annihilation of Space and Time”. Yet space and time were never more important. By the 20th century, a new empire, the US, had extended its coastal governance to 200 miles off its shores.

Now, even the waters under the rapidly melting Arctic ice cap are staked out by Russian flags, while European fishing fleets pillage the coasts of African countries. Piracy and slavery are still with us; perhaps more than ever, the sea is an arena of dispute, both above and below. New proposals have been made to mine recently discovered abyssal volcanic vents for rare earth metals. Meanwhile, off the British coast, cold-water reefs with 4,000 year old spires of coral are destroyed by trawlers.

Abused, ignored, trashed and transversed, the sea is a sink for all our sins. I’d like to think that Byron, my fellow open-water swimmer, had the last words – “Roll on, thou deep and dark blue Ocean – roll!/ Ten thousand fleets sweep over thee in vain”, but I fear that I’m indulging a romantic fantasy. “The sea held no promise for slaves, coolies, indentured servants, or the dispossessed”, Paine reminds us, and while it is “fickle and unforgiving, it is a fragile environment susceptible to human depredation on a scale unimaginable to our ancestors”. And yet, whose heart does not sing out when they see the sea? Our last resort, it still holds its promise and its power.

Philip Hoare’s “The Sea Inside” (Fourth Estate, £9.99) is published in paperback this month

All at sea: the container ship Rena, which ran aground in the Bay of Plenty, New Zealand in 2011. Photo: Polaris/Eyevine.

Philip Hoare’s books include Wilde’s Last Stand, England’s Lost Eden, and Spike IslandLeviathan or, The Whale won the Samuel Johnson Prize for 2009, and The Sea Inside was published in 2013. He is professor of creative writing at the University of Southampton, and co-curator of the Moby-Dick Big Read. His website is www.philiphoare.co.uk, and he is on Twitter @philipwhale.

This article first appeared in the 05 February 2014 issue of the New Statesman, Cameron the captive

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In defence of orientalism, the case against Twenty20, and why Ken should watch Son of Saul

My week, from Age Concern to anti-semitism.

Returning late from a party I never much wanted to go to, I leap up and down in the middle of the Harrow Road in the hope of flagging down a taxi, but the drivers don’t notice me. Either they’re haring down the fast lane or they’re too preoccupied cursing Uber to one another on their mobile phones. My father drove a black cab, so I have a deep loyalty to them. But there’s nothing like being left stranded in NW10 in the dead of night to make one reconsider one’s options. I just wish Uber wasn’t called Uber.

Just not cricket

Tired and irritable, I spend the next day watching sport on television – snooker, darts, cricket, anything I can find. But I won’t be following the Indian Premier League’s Twenty20 cricket again. It’s greedy, cynical, over-sponsored and naff. Whenever somebody hits a boundary, cheerleaders in cast-off gym kit previously worn by fourth-form Roedean girls wave tinsel mops.

Matches go to the final over where they’re decided in a thrashathon of sixes hit by mercenaries wielding bats as wide as shovels. Why, in that case, don’t both teams just play a final over each and dispense with the previous 19? I can’t wait for the elegant ennui of a five-day Test match.

Stop! Culture police!

I go to the Delacroix exhibition at the National Gallery to shake off the sensation of all-consuming kitsch. Immediately I realise I have always confused Delacroix with someone else but I can’t decide who. Maybe Jacques-Louis David. The show convincingly argues that Delacroix influenced every artist who came after him except Jeff Koons, who in that case must have been influenced by David. It’s turbulent, moody work, some of the best of it, again to my surprise, being religious painting with the religion taken out. Christ’s followers lamenting his death don’t appear to be expecting miracles. This is a man they loved, cruelly executed. The colours are the colours of insupportable grief.

I love the show but wish the curators hadn’t felt they must apologise for Delacroix finding the North Africans he painted “exotic”. Cultural studies jargon screams from the wall. You can hear the lecturer inveighing against the “appropriating colonial gaze” – John Berger and Edward Said taking all the fun out of marvelling at what’s foreign and desirable. I find myself wondering where they’d stand on the Roedean cheer-leaders of Mumbai.

Taking leave of the senses

My wife drags me to a play at Age Concern’s headquarters in Bloomsbury. When I see where she’s taking me I wonder if she plans to leave me there. The play is called Don’t Leave Me Now and is written by Brian Daniels. It is, to keep it simple, about the effects of dementia on the families and lovers of sufferers. I am not, in all honesty, expecting a good time. It is a reading only, the actors sitting in a long line like a board of examiners, and the audience hunched forward in the attitude of the professionally caring.  My wife is a therapist so this is her world.

Here, unlike in my study, an educated empathy prevails and no one is furious. I fear that art is going to get lost in good intention. But the play turns out to be subtly powerful, sympathetic and sharp, sad and funny; and hearing it read engages me as seeing it performed might not have done. Spared the spectacle of actors throwing their bodies around and singing about their dreams against a backdrop painted by a lesser, Les Mis version of Delacroix, you can concentrate on the words. And where dementia is the villain, words are priceless.

Mixing with the proles

In Bloomsbury again the next day for a bank holiday design and craft fair at Mary Ward House. I have a soft spot for craft fairs, having helped run a craft shop once, and I feel a kinship with the designers sitting bored behind their stalls, answering inane questions about kilns and receiving empty compliments. But it’s the venue that steals the show, a lovely Arts and Crafts house, founded in the 1890s by the novelist Mary Ward with the intention of enabling the wealthy and educated to live among the poor and introduce them to the consolations of beauty and knowledge. We’d call that patronising. We’re wrong. It’s a high ideal, to ease the burden of poverty and ignorance and, in Ward’s words, save us from “the darker, coarser temptations of our human road”.

An Oscar-winning argument for Zionism

Speaking of which, I am unable to empty my mind of Ken Livingstone and his apologists as I sit in the cinema and watch the just-released Academy Award-winning Son of Saul, a devastating film about one prisoner’s attempt to hold on to a vestige of humanity in a Nazi death camp. If you think you know of hell from Dante or Michelangelo, think again. The inferno bodied forth in Son of Saul is no theological apportioning of justice or deserts. It is the evisceration of meaning, the negation of every grand illusion about itself mankind has ever harboured. There has been a fashion, lately, to invoke Gaza as proof that the Holocaust is a lesson that Jews failed to learn – as though one cruelty drives out another, as though suffering is forfeit, and as though we, the observers, must choose between horrors.

I defy even Livingstone to watch this film, in which the Jews, once gassed, become “pieces” – Stücke – and not grasp the overwhelming case for a Jewish place of refuge. Zionism pre-dated the camps, and its fulfilment, if we can call it that, came too late for those millions reduced to the grey powder mountains the Sonderkommandos were tasked with sweeping away. It diminishes one’s sympathy for the Palestinian cause not a jot to recognise the arguments, in a world of dehumanising hate, for Zionism. Indeed, not to recognise those arguments is to embrace the moral insentience whose murderous consequence Son of Saul confronts with numbed horror. 

This article first appeared in the 05 May 2016 issue of the New Statesman, The longest hatred