Collapsed Whaling Station Deception Island, Antarctica by Emma Stibbon @ the Royal Academy

This is a small but interesting, free display in The Collection Gallery at the Royal Academy (at the back of the building on the first floor). Its point of departure is an enormous woodcut engraving made by Emma Stibbon of a derelict whaling station in Antarctica. It was Stibbon’s Diploma piece, which she submitted along with related drawings and photos, to gain membership of the Academy.

Collapsed Whaling Station, Deception Island, Antarctica, 2006 by Emma Stibbon

It’s a big work – 1.17 meters tall by 2.38 meters wide. If you’re close up to it, you have to turn your head to take it all in, creating a panoramic effect. Up close you can see how the powerful grain of the woodcarving echoes and amplifies the heavy wooden beams of the structure itself.

Contexts

This mini exhibition also features about twenty other artefacts, which includes prints, drawings and photographs, chosen to expand and contextualise the image:

1. About a third of them deal directly with the whaling station including photos of it during its time as a research base in the 1950s; from just after the volcanic eruption and its abandonment in 1979; through to  the photos Stibbon took on her visits to Antarctica, alongside related sketches and charcoal drawings.

2. Another set of images relate to Robert Scott’s ill-fated British Antarctic Expedition (1910 to 1913).

3. But the biggest amount, about half the display, consists of works by other Royal Academicians of either a) ruined buildings or b) extreme landscapes, which provide visual and conceptual accompaniment to the Stibbon piece.

Section 1. Stibbon

Stibbon is drawn to environments that have been shaped by both the elemental forces of nature and the impact of human endeavour, what she describes as ‘landscapes that have a tension between the natural forces and the manmade’. (So, if you go to her website, you’ll see folders of projects with titles like ‘Polar regions’, Wild lands’, ‘Volcanoes’.)

a) Collapsed Whaling Station

The main woodcut depicts Biscoe House, a large building erected in the early 20th century for the purposes of commercial whaling. In the 1930s it fell into disuse, before being taken over and renovated by the British military during the Second World War. In the 1960 it was damaged by a lava flow. Lava in the Antarctic? Yes, Deception Island itself is actually formed by the crater of a submerged volcano.

Nobody lives permanently on Deception Island though scientific stations run by different nations are visited periodically by scientists. Stibbon saw the building when she accompanied one of these scientific trips in 2006 as an artist in residence. The display includes photos of the station in its heyday, alongside photographs and sketches made by Stibbon on that first trip in 2006, and a subsequent one in 2013.

She tells us that she chose to depict the station in a woodcut because of the physicality of the medium, but also because of the size you can achieve. It’s a very big print, which creates a kind of cinematic, immersive experience.

Installation view of ‘Collapsed Whaling Station, Deception Island, Antarctica, 2006’ by Emma Stibbon

b) Lead

Beside the central woodcut are other works by Stibbon, notably a very striking piece titled ‘Lead’. She made this after her second visit to Deception Island, in 2013. Unlike the big wood carving, it’s an intaglio print. (‘Intaglio describes any printmaking technique in which the image is produced by incising into the printing plate – the incised line or area holds the ink and creates the image.’)

Obviously the central crack in the ice is the thing that catches the eye. It was created by the ice-breaking ship Stibbon was travelling on, and is, perhaps, a vivid symbol of the fragility and contingency of this, and indeed all, environments.

Lead by Emma Stibbon (2014)

But what I liked is the rough and ready finish given by the medium, e.g. the flotsam of white froth at the bottom of the jagged channel of open sea, the black dots in the sky, the strange lizard eye in the hill above the dwindling crack, and the vertical lines at the top left.

I doubt if any of these would appear in a photograph. It’s what art does; even at its most apparently naturalistic, art transforms and amplifies reality, feeding the eye and the mind with more meaning and possibility than we actually see.

Section 2. Scott

Stibbon travelled to Antarctica as artist-in-residence to the Friends of the Scott Polar Research Institute, Cambridge. This, I presume, is why there’s some photos and information panels about Scott’s ill-fated expedition to the Antarctic. This photo shows five members of the British Antarctic Expedition (1910 to 1913) . After much trial and endurance the group reached the South Pole on 17 January 1912 only to discover that the Norwegian expedition under Roald Amundsen had beaten them by 34 days. All five men in this photo perished on the journey back to their base camp.

British Antarctic Expedition and Herbert Ponting at the South Pole, January 18 1912 © Photo: Royal Academy of Arts

But the display highlights some unexpected connections. First, it turns out that Dr Edward Wilson, seated on the right, was himself an artist. Among his belongings at base camp were discovered works he’d made before the expedition set out on the ill-fate final part of their journey. These included a watercolour of Mount Erebus, a volcano in Antarctica. After the expedition perished, a fundraiser was organised to raise money for the wives and children of the dead men, and the print on display here, based on the original watercolour, was sold for the cause.

Watercolour of Mount Erebus by Edward Wilson (1911)

And second, it turns out that the expedition itself was organised from an office in 6 Burlington Gardens, which is now itself part of the Royal Academy buildings! Huge empire but a small world, official London was.

Extreme weather and ruins

a) Extreme conditions

Extreme weather has fascinated artists for centuries and this little display includes some choice examples from the RA’s collection.

This is a print based on William Daniell’s painting of the Eddystone Lighthouse off Rame Head during the Great Storm that battered the south of England in 1824. Huge waves almost engulf the lighthouse, sea and sky are mingled in the tumult. From a compositional point of view the interest is in the light emanating from the vulnerable lamp room at the top of the building: if it wasn’t there you’d need the moon to achieve the same effect of luminous light shed on the towering waves and highlighting the turbulent clouds. It is also symbolic. Given the date, 1824, viewers would be invited to identify the fragile but persistent light as not only a navigational aid to ships in distress but of the resilience of Christian faith in even the most troubled times.

The Eddystone Lighthouse, during a Storm, 6 July 1825 by William Daniell © Photo: Royal Academy of Arts

Hung next to it is a sort of modern equivalent, not a storm but what looks like a steady downpour onto remote rock stacks near St Kilda in the Outer Hebrides. Norman Ackroyd has been producing prints like this for decades, they’re a familiar sight at the Academy’s summer exhibitions. The wall label tells us these two rock formations, Stac Lee and Stac an Armin, the most remote of the thousands of British Isles, became an obsession of Ackroyd’s after his repeated attempts to visit them were defeated by bad weather.

St Kilda – Stac Lee and Stac an Armin, 1990 by Norman Ackroyd. Etching and aquatint © Royal Academy of Arts

Other extreme conditions images in the show include a study of waves by Anthony Gross, the print of Mount Erebus by Edward Wilson mentioned above, and three photographs of Mount Etna erupting by Ledru Mauro. All the images in this display (and tens of thousands more) can be found via the Royal Academy Search the Collection function.

b) Ruins

But ruins have fascinated artists, too. I remember Tate Britain’s 2014 exhibition devoted to the art of ruins. In that spirit, the most extreme ruin here is a photo of one of the galleries at Burlington House after a direct hit from a bomb during World War One, showing broken glass, plaster and stone scattered everywhere. But that’s, obviously enough, the result of human violence. Other images are more in line with Stibbon’s interest in the powerful forces of the natural world.

This is one of several sketches by George Clausen who did naturalistic and no doubt dated sketches and paintings of English rural life, especially in Essex, from the 1870s right through to the 1930s. This isn’t a ruin caused by enemy action or the violence of nature, but a much quieter image of slow decay and collapse. Natural entropy. It doesn’t reproduce as well as some of the other images, but in the flesh I found it reassuring and homely.

Study of a dilapidated cottage, Finchingfield, Essex, after 1907 by Sir George Clausen

Other ruin images in the exhibition include a ruin in Greece by Hugh Casson, a study of Dolbardern Castle Llanberis by George Clausen, and a collapsed gate by Norman Stevens. All the images in this display (and tens of thousands more) can be found via Royal Academy Search the Collection function.

The video

Thoughts

The whaling station woodcut is obviously a fine work in its own right. But this is a charming display because it is designed to lead the eye and the mind on journeys ravelling outwards from the central image. Its juxtapositions tease and inform and entertain. Some of the ancillary art works are as enchanting as the centrepiece. Sometimes the smallest exhibitions are the most enjoyable.


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Target Antarctica by Hammond Innes (1993)

Antarctica. The same setting as Innes’ previous novel, Isvik, and we are introduced almost immediately to one of that book’s central characters, the mysterious moneyman, entrepreneur or spy (we never really learn which), Iain Ward. But it was only around page 200, when the narrator of this novel, Ed Cruse, actually joins the crew of the Isvik, setting sail with the same characters we met in the previous book – Iris Sunderby, Nils Solberg and the previous novel’s narrator, Peter Kettil – that I realised it was a full-blown sequel, though, at 416 pages, it’s a longer and more complicated book than Isvik.

(In an odd manoeuvre, that book is itself referred to by the characters as a factual record of what happened on Ward’s previous expedition, as a true account written by its actual narrator, Peter Kettil, but published as fiction in order to get round a D-notice banning accounts of it (p.161). As such it is read by the narrator of this text, Ed Cruse, on the flight to the south Atlantic, so that Cruse is briefed about the events of the previous adventure and knows the peculiar histories of the characters, especially the hot-tempered Latina, Iris, and her bizarre love affair with her half-brother and evil murder Mario Ángel Gómez – before he meets the same characters in real life.)

Plot summary

Michael Edwin ‘Ed’ Cruse has been in the RAF all his life, like his father before him. But he is an irresponsible daredevil and has got into trouble – and become notorious – for at least two stunts: During the Falklands War his Harrier jet was running out of fuel when he spotted an Argentine plane, a Pucará, apparently abandoned on a makeshift airstrip; he made a vertical landing with a view to siphoning out the Pucará’s fuel, but then heard on its radio, warning of two other Argentine bandits flying in to attack our forces; so he took off in the Pucará and attacked the bandits with it, forcing them to abandon their attack. Mad, irresponsible, but brave and it worked.

Then on a training exercise back in Britain, Cruse was ducking and diving among fighters along the river Severn and at the last minute realised he was going to have to fly under the Severn Bridge. In a Hercules transport plane! For this and other more traditional misbehaviour (trashing the mess one drunken night) he is discharged from the service (after a memorable farewell party from his admiring squadron, complete with bridge-shaped cake!).

Before he’d even left the force, Cruse was approached by a woman, Kirsty Fraser, on behalf of Iain Ward, to do a job. Ward is involved with an organisation which was building a mining base in Antarctica, run by a company called KLME, and which was being supplied by a Lockheed C-130 Hercules. One night the ice shelf fractured and the base was split in two, half the buildings, the aircraft hangar, the C-130 and half the runway marooned on a vast block of ice which detached from the mainland and floated slowly out to sea. The job is to fly the C-130 off the drastically shortened runway, then to the nearest base, to be refuelled and reused. A simple but very risky job many people think is impossible. Someone had heard about Cruse’s high profile antics and thought he’d be the man for the job.

The first hundred pages of the novel comprise a busy sequence of meetings with numerous colourful characters in London, Scotland and Paris, introducing us to the details of Cruse’s business deal and, in a larger perspective, to the network of characters and relationships who will feature in the story:

  • Ward’s secretary tips him off that Ward’s wife, Barbara, is bored and lonely because her husband is always gallivanting off round the globe, so she’s taken to placing small ads in the paper looking for company. Cruse calls the phone number and makes a date with Barbara in order to find out more about his mysterious employer. She turns out to be a respectable middle-class, middle-aged woman who is simply bored and frustrated. Cruse eventually coaxes her to describe her husband’s history and character as he treats her to an expensive meal at The Compleat Angler in Marlow, giving us useful background info before Cruse meets the man himself. Some weeks later, most of the arrangements for the trip in place, Cruse takes Barbara out for another date before he flies south, since he warmed to her on their first meeting. After dinner they go back to her place for a ‘romantic interlude’, but he finds himself impotent, his mind obsessed with the harrowing story of La Belle Phuket (see below). After the time spent on describing her and their meetings, I thought Barbara would become the ‘love interest’, but no, the novel – like real life – is more complex and confused than that, and we don’t hear of Barbara again.
  • Iain Ward Centre of the story, as he was of its prequel. Ward has a long, colourful past, starting as the son of a Glasgow prostitute, gravitating to small-time crook in London’s East End, and then getting to a scholarship to Eton, paid for by his crooked mentor, before getting involved in dubious deals in the Middle East and elsewhere. This is all before the adventure described in Isvik – travelling across the ice to find Eduardo Connor-Gómez, the sole survivor of an Argie ship loaded with political prisoners who had been deliberately infected with anthrax as part of a mad scheme to infect the Falkland Islands and make them uninhabitable. (Anthrax? You have to read Isvik to savour the full Gothic horror of the story…)
  • Travers, the original pilot of the C-130, repatriated to Scotland after the ice shelf broke off. He gives Cruse a typically spooky, atmospheric description of what it was like to be woken by the banging and creaking of the ice break and find the end of your hut ripped off as the crack spread across the camp (pp.68-72). He thinks he saw a ship or maybe a whale for a moment in the black night-time sea which opened up. Could it have been saboteurs who laid explosives to cause the calving? People like…
  • Bjorn Lange a youthful activist with Greenpeace who trails Cruse from his London meeting with Kirsty Fraser and confronts him in an underground car park to explain that Antarctica should remain a World Park unsullied by mineral exploitation. He is given some naive speeches about Man’s Greed and Inhumanity and we’re wiping out the world’s species and decimating the Last Wilderness etc, enough to make us think he is going to play some kind of sabotage role in the story…
  • Cruse travels to Paris, to the HQ of CALIB insurance, to tie up details of the deal on the C-130 which Ward has suggested to him. Here he discovers the boss is a formidable woman, La Belle Phuket, an extraordinary character, a south-east Asian woman raised in Phnom Pen whose family fled before the Khmer Rouge and were hiding in a remote village when a Khmer gang arrived. She saw her father bayoneted to death, her mother eviscerated before being beheaded, then was gang-raped for weeks, before the platoon moved on and she was thrown into a burning hut to die. But she survived, horrifically scarred, and walked across country to the coast, stole a fishing boat and made it to Thailand, to the island of Phuket which is where she was discovered by a French film crew, organising local crime. From there she made her way to Paris where she is now a powerful and feared businesswoman. — It is typical of Innes to include such a grotesque horror in the book; all his novels start off about rational, sensible men, trained in a sober profession, they include lots of technical details about flying or sailing as well as scads of stuff about stocks and shares and takeovers and shell companies and so on: yet always at the core, there are dark, murderous and often incestuous narratives about doomed and ill-fated families – like biting into a fairy cake in a Cotswold tearooms and tasting fresh blood.

Back in the daylight world, the deal is that Cruse will contract with the insurance company, CALIB, to buy the C-130 for a nominal sum ($10,000), to have his expenses for the flight to the Falkland Islands and beyond paid in full, and then will contract with KLME to do their flying and pay CALIB back from the KLME fees. All assuming he can fly the plane off the truncated runway. If he can’t, he’s stuck with a worthless heap of scrap metal and faced with the cost of disassembling it and getting it shipped somewhere. So it’s a big financial gamble for him, personally.

In the concluding scenes of the UK section:

  • Cruse goes for a last date with Barbara Ward, the one where he can’t get it up because he is so haunted by La Belle Phuket’s life story.
  • His last visit to Ward’s London office is marked by a remarkably intimate hug and kiss and good luck send-off from the secretary, Kirsty, who I also speculated might become the ‘love interest’. Wrong again…
  • He is contacted by the head of Greenpeace who says the boy he met, Bjorn Lange, has gone missing on an Antarctic Survey ship that was heading south, so can he please keep an eye out for him (this storyline is obviously going to be important and probably, if I know Innes, head for tragedy).
  • He does his last-minute shopping (thermal undies, toothbrush), and then meets up with the flight engineer he’s tracked down and sub-contracted to check the engines before he’ll even consider flying the Herc off its truncated runway (drunk, randy but brilliant engineer Charlie Pollard).
  • Then the pair drive to RAF Brize Norton to catch an RAF TriStar flight to Ascension Island; refuel in the blistering sunshine; and the seven-hour flight on to the Falklands.

In the Falkland Islands

Cruse, Charlie Pollard and Ward arrive on a plane at Port Stanley to a) a highly detailed description of the military and administrative set-up in the Falklands, as well as the geography, the sight and smell of the place (obviously a result of one of Innes’ famously detailed research trips) and b) to discover the place is in a flap because an unknown boat was seen dropping an unknown dinghy which desposited some unknown men on the other side of the island. At the end of his first day there, Cruse is having a drink in a pub when the cook brings him a note from someone wanting to meet him down at the War Memorial.

Lange’s warning

Predictably, it is the young environmental zealot, Lange, who tells Cruse:

a) that he hates La Belle Phuket because she masterminded a hostile takeover of his father’s company, KLME, leading his dispirited dad to eventually commit suicide (typical Innes family tragedy)
b) that, despite this, he must see Phuket to warn her and he must be smuggled aboard the Isvik when it sets off south. Very typically for an Innes novel, Lange refuses to explain why he must do either of these things to Cruse, who becomes nearly as frustrated and exasperated as the reader.

Eduardo returns

In a surprise development, Ward arrives on the boat and introduces Ferdinand Barratt (p.225) who turns out to be none other than Eduardo, Iris’s half-brother. It was he, who, in the previous novel, had been revealed as surviving on the ice-bound frigate for over two years after the ‘passengers’ – political prisoners of the Argentine dictatorship locked in the hold – had been sprayed with anthrax and thus doomed to a horrific death. Afterwards, Eduardo spiked the crew’s drinks, managing to get rid of them at gunpoint by making them clamber into one of the life-rafts, never to be seen again. But alone on the giant three-master sailing ship – the Santa Maria del Sud – Eduardo lost control so that it drifted with the Trade Winds south, before finally coming to rest amid the ice of Antarctica, where Eduardo was able to survive on the ship’s rations and fish he caught through ice holes and birds he shot. It was when an English glaciologist spotted the ice-bound ship on a flight over the ice, that the plot of Isvik began, for that prompted Ward to commission the expedition to find her, which is the subject Isvik.

It had been given out in the press that Ward had returned from that expedition with a sole survivor, Eduardo, who then died of his fragile condition. Iris even attended the official funeral. But Eduardo obviously didn’t die for here he is! – though why Ward went to so much trouble to conceal his identity, why he lied to Iris about it, and why he has smuggled Eduardo all the way from Britain to the Falklands, remains shrouded in mystery.

La Belle Phuket arrives

In another surprise development it turns out La Belle Phuket has herself flown out to the Islands. She is collected by our team – Cruse, Ward, Nils, Iris – and insists on being transferred, via a tug’s inflatable dinghy, to another ship. This is a tortuous pretext for the dinghy she’s in to be hijacked – it’s found floating with the sailor coshed and unconscious – and this kicks off a furious chase. Ward grabs control of the Isvik from an angry Kettil, and we share his and the narrator’s terrible fear that Phuket has been kidnapped and is being tortured, raped and murdered by the survivors of the gang who raped her back in Kampuchea!

There are several pages of desperate night-sailing out into the open sea, high waves, struggling with the seas and the cross-winds, gambling that she’s been taken to one of the several shipwrecked hulks around the Falklands coast. Ward and Cruse anchor the Isvik before taking its dinghy and motoring quietly out to the likeliest candidate, the Suzie Whittaker. Here they tie up and step gingerly onto its sloping deck and then… hear a heart-rending scream of agony from the bowels of the ship! Like so many scenes in Innes, the story has somehow morphed into horror.

The suspense is too much for Cruse who goes running down the steps and bursts through a cabin door, gun in hand to find – a man tied spreadeagled to a mattress made out of a filthy old sail, his trousers pulled down and his genitals reduced to a pulp, beaten and mashed, his lower guts cut open and his viscera spilling everywhere – and La Belle Phuket standing frozen in shock, the rusty, jagged spar, covered in gore, which she has used to castrate him, still in her hand.

One by one, we learn, she has tracked down the men who raped her and personally, or had people do it for her, castrated, crippled or blinded them. This was the last, the leader, Tan Seng. She knew he was following her (and so did Lange; this is what the boy so desperately wanted to tell Cruse back at the Falklands Memorial) and she had allowed herself to be captured as a calculated gamble. Ward and Cruse are stunned, but then move to tidy up: they take the bloody corpse up to his dinghy, set off in both dinghies, throw the weighted corpse overboard, set Seng’s dinghy adrift, then return to the Isvik where they cobble together a story about finding Phuket being beaten up, there’s a fight, Ward fires in self-defence etc.

Two things are notable about this long and searing episode.

1. Its randomness: this is another novel about a carefully-planned, financed and resourced expedition to the Antarctic, presented by another sensible, sober, professional Innes narrator (Cruse, the professional RAF pilot). Yet somehow Innes has worked into it a fictionalised reaction to the horrors of the Cambodian killing fields and the Khmer Rouge’s murderous regime. What? Why?
2. Despite its completely random insertion into the plot, it is nonetheless hair-raisingly powerful. The horror of Phuket’s personal story and the blood-thirstiness of her revenge are convincing at a deeper level than mere plausibility. Once they are safely back on the Isvik and sailing back to shelter, it seems wildly inappropriate yet is, at some primitive level, satisfying, that Cruse is astonished to find this little, horribly scarred Asian woman suddenly clinging to him, kissing him and saying, ‘It is over now. Here in the wild sea in the rise of the big waves, it is over. I am reborn.’

It is the main characteristic of Innes’s fiction to have these gruesome, intense, almost mythic experiences embedded in texts which appear on the surface, or start off being about, reinsurance values and cargo manifests and mining companies. It is as if the immensely detailed descriptions of planes and boats and corporate law and mineralogy are the booster rockets, the boringly believable first stages which are necessary to launch the bizarre, psychologically compelling and irrational core subjects which are what you remember of Innes’s strange and compelling narratives. Almost like therapy which takes hours and days and weeks to dig through layers of mundane detail and workaday life to suddenly strike the phobias, terrors and traumas which lie beneath.

She turned her head and smiled. There was a strange serenity about that smile, so that I suddenly felt I was looking at an older world in which vengeance, justice, call it what you like, was a matter for individuals. (p.297)

Something which redeems or helps the process is the way the narrators are themselves generally puzzled and bewildered by the experience. Innes’s narrators are not masters of the situation – by and large they are deeply in the dark about what the hell is going on – and quite routinely they are exposed to situations and feelings they don’t know how to deal with. The narrators’ own shocked reactions help the often bizarre climaxes and horrors at the core of his books be that bit more acceptable, or less absurd.

The Falklands War

Although eclipsed in imaginative power by this torture scene, it should be noted that the Falklands section is 130 pages or so long and contains detailed descriptions not only of the islands, their geography and especially the sailing conditions around them, but makes continual reference to the War, the casualties and to the several moving memorials to the war dead.

It adds nothing to the plot that the narrator sits on a local plane next to the mother of one of the young British soldiers who died at Goose Green and who has saved up to fly the length of the planet to visit the memorial cross on the hilltop there, and is crying as she tells Cruse about her boy. Adds nothing to the plot, but contributes to the sense, as in so many Innes novels, of tremendous emotion, of loss and grief and conflict and death, just below the surface of the narrative.

Incidents like this and numerous references to the battles, the dogfights, the missiles exploding, the corpses laid out on the green grass, make the novel upsetting, maintaining a continuous level of emotional disturbance. It isn’t like a thriller or a detective story where you are kept on tenterhooks trying to figure out what will happen next. It is more emotionally gruelling than that, the ‘plots’ such as they are, are often just vehicles for delivering these primal feelings, of upset and horror and hurt.

Towards the ice

After farewell dinners and drinks, the crew of the Isvik (Cruse, Nils, Iris, Peter, Charlie, Phuket and a newcomer, Geordie Gary McShane) set sail. As in the previous novel, there are long and convincing descriptions of the day-by-day sailing east towards South Georgia, of crossing the Antarctic Convergence, before turning south towards the ice, wind and waves and fogs, maps and navigation aids and the endlessly rolling of the ship. Ward, we discover, is also heading south but travelling separately, along with others and his mysterious cargo, on an ice-breaker he’s chartered.

In fact, after the horror interlude in the ruined wreck, the rest of the plot proceeds fairly logically. After scores of pages of vivid description of sailing in the Antarctic, the Isvik finds the leads or passages the ice-breaker has carved through the ice towards the free-standing ice floe which is still upright and on whose surface can still be seen huts, tractor and the hangar containing the plane, all covered in a winter’s worth of snow. Crew from the ice-breaker have already created a scaffold of steps up to the top and have begun clearing the ice.

The big take-off

There are several pages giving a detailed account of how you clear a Hercules transporter of ice, de-ice it, check all the equipment until Cruse and Charlie are ready to risk their lives taking it off but – fog descends, the weather worsens, and they sit around drinking too much coffee brooding on the high-risk, one-off feat they are about to undertake: trying to fly a C-130 plane which requires 500 feet of runway off an icy slippery runway which is just 450 feet long.

Finally, conditions clear up and it is time to discover whether Eddie will earn his money, fly the C-130 (and survive). This is a genuinely tense scene, a couple of intense pages describing fear and anxiety which have to be read to be fully experienced because the reader all the time suspects the unsurprising answer – Cruse succeeds.

The plane dips towards the sea 200 feet below but then Cruse pulls on the handles and it flies, IT FLIES! Cruse flies over to the Ronne Ice Wall where the ice-breaker has dropped Ward and others at the original main KLME base. Here the KLME personnel have used a bulldozer to create a regulation length runway where Cruse lands – though also not without risk.

From this point the novels moves very fast. Ward is on Cruse’s back to fly south as soon as possible to locate the position of the frigate. They see it far below, embedded in the ice, and Ward again bullies Cruse to find a large area of apparently flat ice where he lands the C-130, not without anxiety that the ice will be too thin and crack. It doesn’t.

Diamonds!

They hurriedly deposit some of the men and a ‘mole’ or mobile drilling device. And at last we find out what the whole plot has been about. Turns out that at the conclusion of the previous novel, Ward discovered – along with the grotesque story of the ghost ship full of anthrax victims – that during the two years Eduardo had survived alone in the frigate, eating the crews’ rations and catching fish, he had happened to scour up stones from the seabed not far beneath the ice. When Eduardo had shown them to Ward the latter immediately realised they were – diamonds. Raw diamonds. Lots of them. It was to confirm their provenance that Ward took Eduardo back to the UK so abruptly at the end of Isvik. It was to escape possible revenge by the Argentinians that he faked Eduardo’s death, to the extent of deceiving his own sister.

Now Ward feverishly sets about organising a camp near the frigate, setting up the mole to drill rocks up from the seabed, another machine to sort and grade the resulting slurry, with tents for a small crew of men to manage the process round the clock. Cruse belatedly realises that at least three of these men, and the taciturn Gary who sailed with them on the Isvik, are SAS men, complete with an impressive amount of weaponry.

All this may be needed since, from as far ago as South Georgia, the Isvik knew it was being tailed by another ship. That has been nearly a hundred pages. Only here in the last few pages is Cruse able to fly Ward over the pursuing ship and confirm it is an Argentinian warship. It anchors at the edge of the ice field and they guesstimate it will take a team travelling over the ice maybe three days to reach the frigate.

Out with a bang

So it’s the third or fourth day of drilling when they watch the soldiers in snow kit arrive at the frigate half a mile away. Will there be a firefight? Will Cruse have a machine gun thrust into his hands and watch his colleagues get mown down? No. The Argentines seem interested only in the old ship. Our chaps watch from a distance as they rig the old ship with explosives. Presumably they want to remove all evidence of the mad plot-to-infect-the-Falklands-with-anthrax.

And so, boom go the charges as our boys watch the remains of the frigate blown sky high. But then they are horrified to see the Argentinians turn and run towards them: the vast iceberg which the frigate had come to rest against all those years ago, undermined by the explosions, starts to collapse onto the frigate and the Argentinians. But not only that, as it does so, huge gouts of steam appear where is had been and cracks radiate out from the site. Ward, Cruse and the SAS boys run like hell for the plane and are cranking the propellers as they begin to see gouts of magma erupting into the air. The whole area, we had been told earlier, is at the junction of tectonic plates – and the Argentine charges appear to have blown open vents to the liquid rock beneath. In a hair-raising few paragraphs Cruse takes the C-130 off across ice disintegrating with cracks and blown apart by powerful geysers and the germ of small volcanoes. Up, up into the air the big plane escapes, Ward haggard in the back, clutching a bucket of stones, his dreams of untold wealth crumbled to dust.

That’s it. No epilogue or tying up of loose ends, no information about what happens to Lange the environmentalist – who had jumped ship when they anchored off the ice – no news about how Cruse’s burgeoning affair with Phuket will pan out, no follow-up on Eduardo or Peter Kettil or Iris, let alone on Barbara Ward back in London or Ward himself, or the narrator. It just ends.


Credit

Target Antarctica by Hammond Innes was published by Chapmans in 1993. All references are to the 1994 Pan paperback edition.

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Hammond Innes’ novels

1937 The Doppelganger
1937 Air Disaster
1938 Sabotage Broadcast
1939 All Roads Lead to Friday
1940 The Trojan Horse – Barrister Andrew Kilmartin gets involved with an Austrian Jewish refugee engineer whose discovery of a new lightweight alloy which will make lighter, more powerful aircraft engines leads to him being hunted by an extensive and sinister Nazi network which reaches to the highest places in the land. The book features a nailbiting chase through the sewers of London and a last-minute shootout on the Nazi ship.
1940 Wreckers Must Breathe – Journalist Walter Craig stumbles across a secret Nazi submarine base built into a ruined tin mine on the Cornwall coast and, along with local miners and a tough woman journalist, fights his way out of captivity and defeats the Nazis.
1941 Attack Alarm – Gripping thriller based on Innes’ own experience as a Battle of Britain anti-aircraft gunner. Ex-journalist Barry Hanson uncovers a dastardly plan by Nazi fifth columnists to take over his airfield ahead of the big German invasion.


1946 Dead and Alive – David Cunningham, ex-Navy captain, hooks up with another demobbed naval officer to revamp a ship-wrecked landing craft. But their very first commercial trip to Italy goes disastrously wrong when his colleague, McCrae, offends the local mafia while Cunningham is off tracking down a girl who went missing during the war. A short but atmospheric and compelling thriller.
1947 The Killer Mine Army deserter Jim Pryce discovers dark family secrets at a ruined Cornish mine which is being used as a base by a father-and-son team of smugglers who blackmail him into doing some submarine rock blasting, with catastrophic results.
1947 The Lonely Skier Writer Neil Blair is hired to visit the Dolomite mountains in Italy, supposedly to write a script for film producer Derek Engles, in reality to tip him off when key players in a hunt for Nazi gold arrive at the ski hut in the mountains where – they all think – the missing treasure is buried.
1947 Maddon’s Rock Corporal Jim Vardin, convicted of mutiny at sea and imprisoned in Dartmoor, breaks out to clear his name and seek revenge on the captain and crew who pretended to sink their ship, the Trikkala, but in fact hid it at a remote island in the Arctic circle in order to steal its cargo of silver bullion.
1948 The Blue Ice Mineralogist and industrialist Bill Gansert sails to Norway to discover the truth about the disappearance of George Farnell, a friend of his who knew something about the discovery of a rare metal ore – an investigation which revives complex enmities forged in Norway’s war-time Nazi occupation.
1949 The White South Narrator Duncan Craig becomes mixed up in the disaster of the whaling ship Southern Star, witnessing at first hand the poisonous feuds and disagreements which lead a couple of its small whalecatcher boats to get caught in pack ice, fatally luring the vast factory ship to come to their rescue and also becoming trapped. It then has to evacuate over 400 men, women and children onto the pitiless Antarctic ice where Craig has to lead his strife-torn crew to safety.
1950 The Angry Mountain – Engineering salesman Dick Farrell’s wartime experiences come back to haunt him as he is caught up in a melodramatic yarn about a Czech spy smuggling industrial secrets to the West, with various people from his past pursuing him across Italy towards Naples and Mount Vesuvius, which erupts to form the dramatic climax to the story.
1951 Air Bridge – Bomber pilot fallen on hard times, Neil Fraser, gets mixed up with Bill Saeton and his obsession with building a new type of diesel aero-engine based on a prototype looted from wartime Germany. Saeton is helped by partner Tubby Carter, hindered by Tubby’s sex-mad wife Diana, and spied on by Else, the embittered daughter of the German who originated the designs. The story moves to Germany and the Berlin airlift where Saeton’s obsession crosses the line into betrayal and murder.
1952 Campbell’s Kingdom – Bruce Campbell, given only months to live by his doctors, packs in his boring job in London and emigrates to Canada to fulfil the dream of his eccentric grandfather, to find oil in the barren patch of the Canadian Rockies known as ‘Campbell’s Kingdom’.
1954 The Strange Land – Missionary Philip Latham is forced to conceal the identity of the man who replies to an advert to come and be doctor to a poor community in the south of Morocco. Instead of curing the sick, he finds himself caught up in a quest for an ancient silver mine, a quest which brings disaster to the impoverished community where it is set.
1956 The Wreck of the Mary Deare – Yacht skipper John Sands stumbles across the wreck of the decrepit steamer Mary Deare and into the life of its haggard, obsessive captain, Patch, who is determined to clear his reputation by revealing the owners’ conspiracy to sink his ship and claim the insurance.
1958 The Land God Gave To Cain – Engineer Ian Ferguson responds to a radio plea for help received by his amateur radio enthusiast father, and sets off to the wilds of Labrador, north-east Canada, to see if the survivors of a plane crash in this barren country are still alive – and what lies behind the conspiracy to try and hush the incident up.
1960 The Doomed Oasis – Solicitor George Grant helps young tearaway David Thomas travel to Arabia to find his biological father, the legendary adventurer and oilman Colonel Charles Whitaker, and becomes embroiled in a small Arab war which leads to a siege in an ancient fortress where the rivalry between father and son reaches a tragic conclusion.
1962 Atlantic Fury – Painter Duncan Ross is eyewitness to an appalling naval disaster on an island of the Outer Hebrides. But intertwined with this tragedy is the fraught story of his long-lost brother who has stolen another man’s identity. Both plotlines lead inexorably to the bleak windswept island of Laerg.
1965 The Strode Venturer – Ex-Merchant Navy captain Geoffrey Bailey finds himself drawn into the affairs of the Strode shipping company which aggressively took over his father’s shipping line, thereby ruining his family and driving his father to suicide. Now, 30 years later, he is hired to track down the rogue son of the family, Peter Strode, who has developed an obsession with a new volcanic atoll in the middle of the Indian Ocean, whose mineral wealth might be able to help the Maldive Islanders whose quest for independence he is championing.
1971 Levkas Man – Merchant seaman Paul goes to find his father, eccentric archaeologist Pieter Van der Voort, another typical Innes obsessive, this one convinced he can prove his eccentric and garbled theories about the origin of Man, changing Ice Age sea levels, the destruction of Atlantis and so on. Much sailing around the Aegean, feelingly described by Innes, before the climax in a vast subterranean cavern covered in prehistoric rock paintings, in an atmosphere heavy with timeless evil, where his father admits to being a murderer.
1973 Golden Soak – Alec Falls’ mining business in Cornwall goes bust so he fakes his own death and smuggles himself out to Australia to take up an invitation to visit a rancher’s daughter he’d met in England. He finds himself plunged into the mystery and intrigue which surrounds the struggling Jarra Jarra ranch and its failed mine, Golden Soak, a mystery which leads him on a wild chase out into the desolate hell of the Gibson desert where Alec discovers the truth about the mine and the rumours of a vast hill of copper, and witnesses archetypal tragedies of guilt and expiation, of revenge and parricide.
1974 North Star – One-time political agitator and seaman Michael Randall tries and fails to escape his treacherous past as he finds himself embroiled in a plot to blow up a North Sea oil rig, a plot which is led by the father he thought had died decades earlier.
1977 The Big Footprints – TV director Colin Tait finds himself caught up in the one-man war of grizzled African hunter and legendary bushman Cornelius van Delden against his old friend, Alex Kirby-Smith, who is now leading the Kenyan government’s drive to cull the country’s wildlife, especially its elephants, to feed a starving population and clear the way for farmers and their cattle. It’s all mixed up with Tait’s obsessive quest to find a remote mountain where neolithic man was said to have built the first city in the world.
1980 Solomon’s Seal – Property valuer Roy Slingsby prices the contents of an old farmhouse in the Essex countryside and is intrigued by two albums of stamps from the Solomon Islands. He takes up the offer of a valuing job in Australia and finds himself drawn into the tragic history of the colonial Holland family, whose last surviving son is running machine guns to be used in the coup and bid for independence of Bougainville Island. Though so much of the detail is calm, rational and business-like, the final impression is of an accursed family and a fated ancestral house which burns down at the novel’s climax.
1982 The Black Tide – When his wife dies blowing up an oil tanker which has hit the rocks near their Cornwall home, ex-merchant seaman Trevor Rodin goes searching for the crew he thinks deliberately ran her aground. His search takes him to Lloyds of London, to the Nantes home of the lead suspect and then on to the Persian Gulf, where he discovers several ‘missing’ tankers are in fact being repurposed by terrorists planning to create a devastating environmental disaster somewhere on the coast of Europe. With no money or resources behind him, and nobody believing his far-fetched tale, can Rodin prevent the catastrophe?
1985 The High Stand – When gold millionaire Tom Halliday and his wife Miriam go missing, their staid Sussex solicitor Philip Redfern finds himself drawn to the old gold mine in the Canadian Rockies which is the basis of the Halliday fortune, and discovers that the illegal felling of the timber planted around the mine is being used as a front for a gang of international drug smugglers, with violent consequences.
1988 Medusa – Former smuggler turned respectable ex-pat businessman, Mike Steele, finds his idyllic life on the pretty Mediterranean island of Minorca turning very nasty when he gets mixed up with mercenaries running guns onto the island to support a violent separatist movement and military coup.
1991 Isvik – Wood restorer Peter Kettil gets caught up in a crazy scheme to find an old Victorian frigate allegedly spotted locked in the Antarctic ice by a glaciologist before his death in a flying accident. His partners are the nymphomaniac Latino wife of the dead glaciologist, Iris Sunderby, a bizarre Scottish cripple, Iain Ward, and a mysterious Argentine who may or may not have been involved in atrocities under the military junta.
1993 Target Antarctica Sequel to Isvik. Booted out of the RAF for his maverick behaviour, pilot Michael ‘Ed’ Cruse is hired by Iain Ward, the larger-than-life character at the heart of the previous novel, Isvik, to fly a C-130 Hercules plane off a damaged runway on the Antarctic ice shelf. There are many twists, not least with a beautiful Thai woman who is pursued by the Khmer Rouge (!), before in the last few pages we realise the whole thing is Ward’s scheme to extract diamonds from the shallow seabed, whose existence was discovered by the sole survivor of the frigate found in the previous novel.
1996 Delta Connection An astonishing dog’s dinner of a novel, which starts out reasonably realistically following the adventures of Paul Cartwright, scrap metal consultant, in Romania on the very days that communist ruler Nicolae Ceaușescu is overthrown, before moving on to Pakistan and the Khyber Pass where things develop into a violent thriller, before jettisoning any attempt at realism and turning into a sort of homage to Rider Haggard’s adventure stories for boys as Cruse and his gay, ex-Army mentor, battle their way through blizzards into the idyllic valley of Nirvana, where they meet the secret underground descendants of Vikings who long ago settled this land, before almost immediately participating in the palace coup which overthrows the brutal ruler and puts on the throne the young woman who Paul fell in love with as a boy back in Romania, where the narrative started. A convoluted, compelling and bizarre finale to Innes’ long career.