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329 pages, Hardcover
First published August 1, 2011
Marlow would stretch out his legs after dinner on the deck of some barque, light his cigar, fill his glass, and tell Ismay’s tale to an audience of men who also follow the sea. First he would paint on his dark background the details so essential to the myth of the Titanic: there would be a ship the size of a cathedral, her monstrous birth in the Belfast shipyard; the decision to limit her lifeboats so as not to clutter the decks; her doomed beauty; the cheering, the pride, the jubilation as she slides down her cradle to taste the first drop of water; the ice warnings; the Captain driving her on and on, the moonless sky, the sudden appearance of the berg…the order to turn ‘hard-a-starboard’; the opening up of the ship like a tin of sardines; the torrential rush of water; the sleeping passengers; the dutiful crew; the Captain losing control; the band playing ragtime…the steerage passengers trapped down below; the half-filled boats dropping into the water; the men in their dinner jackets going down like gentlemen…the wives who chose to die with their husbands; the other wives in the lifeboats refusing to save their husbands…Marlow would linger over the many different languages spoken in the steerage compartments, the four Chinese sailors of Collapsible C, and he would save for his finest canvas the splendor of the Titanic’s final dive and the death-music that followed. But at the heart of his story would be Ismay’s jump and his subsequent battle with his moral identity, because for Marlow ‘the ship we serve is the moral symbol of our life’ and nothing can be said with certainty about a man until he has been ‘tested’ by his ship.