The Frayed Atlantic Edge - David Gange

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for the previous generation of boatmen and boats. In the 1979 interview, he explained why he thought late nineteenth-century changes in sixareen construction magnified the storm’s impact. The heaviest and longest sixareens, he claimed, had lost their key advantage: the lithesomeness of the small Shetland boat. It was impossibly gruelling to prevent these boats being caught side-on to a rough sea. And when a boat plunged into troughs between waves (or ‘seas’ as the brothers always call them), even the best crews lacked time and strength to turn its helm upwards and make it what they called ‘sea loose’ for the next barrage. Andrew and Danny detailed the actions required of boatmen during the phases of a wave; they described main swells forty feet high and the complex action of the intervening lesser swells, as well as how to deal with each. Their imagery is rich: boats reaching messy peaks were ‘running through a sea of milk’. And they detailed the nature of the dangers: a sixareen could take a breaking sea filling it to the gunwales, but failing to clear the boat of water by the next such crest spelled ruin.

      Andrew described how in a gale, every captain had a choice. They could raise the sail and run, risking ruin on skerries and being pushed into unsafe landings. On the night of 1881 almost all sixareens took this option because skippers knew they were too heavy to manoeuvre under oar: ten were wrecked. The alternative was what the brothers called ‘laying to’. The smallest sixareen at sea on the night of the storm was the Water Witch, an older boat exactly the same length at the keel as my kayak. This was the only boat whose six oarsmen dared confront the weather. The crew fought a war of attrition with the storm, rowing solidly into the oncoming sea all night to keep the boat from ever yawing side-on to breaking swell. They won a battle with the winds that no other crew could have taken on, and they rowed safely into harbour next morning.

      Lying in the path of deep depressions that sweep the Atlantic, Shetland regularly sees beautiful weather for a few short hours, sandwiched between storms and blanket fog: the crew of a sixareen rarely had the luxury of knowing what seas they’d confront. That they risked everything in small wooden craft for modest hauls of fish demonstrates their intrepidness, but also indicates the harsh conditions – both climatic and political – in which islanders often found themselves during times of oppressive governance before the present era of oil-driven affluence. As the Shetlander John Cumming put it,

      The boat as transport and fishing tool has shaped so much of Shetland’s history and its culture. We worked the land, true, but all too often a poor, thin land, and in desperate times fishing kept us alive. It made us who we are, a virile, confident, skilled and highly adaptable people with many stories to tell and a unique tongue in which to tell them.7

      I had assumed, when reading all the admiring writing on the age of the sixareen, that the narrative of Shetland fishing must be one of decline from a golden era when saithe or ling could be plucked from the sea at will, so was surprised to find that the catches of Shetland ships have never been greater than they are today, the technological skill of earlier boatbuilders growing through the age of nets and herring (rather than lines and ling), then steam, motors and engine grease. The question of whether such innovation has been wholly positive – saving lives, but devastating sea life while reducing the number of livings to be made from the sea – is a different matter altogether.

      In the serene conditions of the first few days, I felt distinctly un-intrepid, with Shetland’s boating tradition a constant reminder of what humans are capable of when confronting the profound forces of the ocean. I moved slowly on, finding kayaking most pleasurable at night, when winds were lowest and the light dramatic. Between spells of paddling I worked through books I’d picked up in Lerwick, discovering more about the traditions and stories of these islands. Much of this reading was done in the boat, rocking gently on the swell as I rested. Without the splash of constantly rotating paddles, birds and animals often popped up close by, some reacting with surprise but others with curiosity at this bright intrusion in their midst. One gannet appeared within touching distance, allowing me immersion in the infamous ice-blue eye. Like a salt-rimed sea swan, it arched its wings defiantly, but made no sign of moving off. Seated on the waves, the bird’s white tail feathers and black wing tips stretched a surprising distance from its bill (which, slightly hooked, resembled interlocking plates of some long-tarnished metal). Minutes later it launched itself past my bow, bouncing repeatedly on the water and coating my camera lens in sea spray: as elegant as a camel on ice. When I landed, I couldn’t resist a look at the Shetland dialect ‘wird book’ I’d brought along, in case this maritime language had words to evoke things I’d been seeing. To my pleasure, sea spray was brimmastyooch.

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      It took three leisurely days to pass down Unst then Yell and reach the Shetland mainland. The crossing from Yell to the mainland was the most challenging hour since Unst. With tidal streams running along the sound, around the imposing Ramna Stacks to its south, and then across Fethaland (the finger thrusting out from north mainland), there was no possibility of tackling the whole crossing during the brief slack water between the incoming and outgoing tides. Today, the overnight cloud refused to lift quickly, and a few gusts from the haaf helped amplify my trepidation. But if I had one regret about my paddle down the difficult stretches of Unst and north Yell it was that I’d been too cautious in taking photos: however unsettling it proved to be, I resolved to use my camera even when among the contorted waters at the Stacks (figure 2.4).

      The coast of north mainland – the region called Northmavine – is perhaps the most outlandish landscape in Britain: I’d entered a science-fiction vision of an ocean planet. The first headlands, gnarled, grey and viciously gouged by sea, contain some of the oldest rocks in Britain. These soon give way to young red granite pillars and pinnacles, topped with puffins or Arctic terns, which rise directly from the ocean (figure 2.5). Some are smooth and torpedo-like, others prodigiously spiked, and still others have broad bases cut through by arches resembling the galleries of a flooded cathedral. I thought of ‘the living floriations and the leaping arches’ of David Jones’s long poem The Anathemata; in presenting cathedral architecture as an extension of the natural world, Jones insists that nature and culture shouldn’t be seen as separate. Passing through in windless conditions gave me rare access to each dark transept in these enclosed, steep-sided spaces.

      These islands are drowned mountains. Six hundred million years ago a vast ‘Caledonian’ range stretched from what is now Norway to the present-day United States. The islands of Shetland were then peaks of Himalayan majesty, before aeons of erosion ground them to their cores. This mountain heritage shapes Shetland’s modern character: the ocean floor falls away from these ‘erosional remnants’ faster than from most of Britain, so that a depth is reached in half a mile that takes a hundred miles to reach from many English shores.8 The behaviour of the ocean and the distributions of fish or oil are all defined by those underwater inclines. The first, grey headlands in Northmavine are a rare point at which no remnant of the Caledonian mountains survives, worn down to bedrock laid 3 billion years ago from quartz and feldspar, before laval heat deformed it into the coarse gneiss basement of today. Later, thick sediments settled over this foundation before the clash of continental plates which, through buckling, thrusting and folding, made the Caledonian mountains. When I gazed up at many mainland cliffs, I was staring through cross sections of those ancient hills, with an access to the distant past that is rarely possible from land. The vast variety of rocks – including granite, marble, limestone, gabbro and sandstone – generates the diversity of foliage above. Limestone feeds patches of green munificence, while gneiss and granite starve the ground into blanket bog.

      Geological distinctiveness has drawn scientists and artists to Shetland for generations. The driving force behind the great twentieth-century renaissance of Scottish literature, Hugh MacDiarmid, moved here in search of ‘elemental things’, by which he meant old language as well as rocks and the forces that moulded them. In ways that are often neglected, his career was defined by Shetland: it is indicative of the scale of Shetland’s impact on his work that most of pages 385–1,035 in his collected poems were written here. MacDiarmid’s son described the strange scene in their Shetland fisherman’s cottage:

      The blazing peat fire, surviving in its grey ashes through the hollow of the night to be fanned fresh with the rising sun,

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