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The rocks that surround the resting place of Fox are worn and rounded by the ice, and covered with slippery seaweed. We follow the rocks down to the sand and gravel seabed, 16 feet below. The cold bites into me, right through the thick layers of the dry suit and the protective “woolies” beneath it. My lips and cheeks, the only bare skin exposed to the sea, throb with the cold, then quickly turn numb.
The water is relatively clear, and ahead we see the ship’s boiler, completely submerged at high tide. Lying in the sand next to it are the shattered remains of the stern: broken timbers, twisted bronze bolts and a massive iron yoke that once reinforced the rudder. Nearby, a large iron pulley, part of the ship’s steering apparatus, lies atop fallen timbers. We swim past the boiler as Warren films the scene. The boiler has been torn free of its mount in the hull and dragged here to the stern, probably by the ice that buries the wreck each winter. The thick iron is ripped and part of the boiler gapes open, exposing the fire tubes inside it. Coal-fired heat once flowed through those tubes to make the steam that powered Fox, but now they lie cold and dead in the shattered remains of the shipwreck. Trailers of weed drape the boiler, and small fish dart into the protection of the dark boiler as we swim by.
The keel and keelson that formed the sturdy backbone of Fox lie before us, along with the collapsed starboard side of the hull, partially buried in the sand and the mats of algae that blanket the bottom of the cove. The current sweeps through the wreck, exposing brief glimpses of dark oak, rusted iron, and the shrouded shapes of frames (the “ribs” of the ship) and planks. As Mike and Warren videotape the wreck, I work quickly with a measuring tape and use a pencil to make notes and draw what I see on a sheet of frosted Mylar taped to a plastic clipboard. My notes, together with the video images and the photographs I am also taking, will help us to assemble a map of the broken-up ship, replicating on paper what we see in the gloom of the cove. I am particularly keen to capture as much information as possible because Fox’s plans vanished many years ago.
Astonishingly, half of Fox survives, pressed into the seabed by years of ice pushing into this small cove. It is an unexpected boon. The ice has flattened the curving side of the hull, shattering the thick layers of planks that formed it and wrenching the bolts out of the timber. And yet much survives, telling us a great deal about the ship. One of the keys to Fox’s survival in the Arctic was the original hull laid down in the Aberdeen shipyard of Alexander Hall & Company. From what remains, I can see that it was formed from diagonally laid planks of Scottish larch, fastened with thick bronze bolts to make a tightly sealed hull with the strength of an interwoven basket. Over these planks, McClintock had the shipyard fasten two layers of thick planks to sheath the hull against the ice. Splintered and torn, one layer of these planks remains in place, held on by the stubs of tough oak treenails that pegged them to the hull. The hull itself was formed from thick curved frames of oak, tightly spaced to make an almost solid wall of wood. Rows of iron stanchions were set into the hull at McClintock’s suggestion to brace Fox against the crushing pressure of the ice.
But as I examine and document these sturdy features, Warren Fletcher finds a reminder of the exquisite handicraft of the yacht builders. Lying loose on a section of the hull is a small, beautifully lathed and decorated deadeye from the ship’s rigging. Deceptively strong despite its delicate carving, it has that extra touch that befits a gentleman’s yacht. Somehow, perhaps because its lignum vitae wooden heart was stout, the deadeye was kept when many other “decorations” were stripped off for the difficult Arctic voyage.
The steam engine’s parts lie scattered nearby. As I swim over them, I think of the famous voyage of 1857-59. At the end of the expedition, as the crew prepared to leave their frozen berth and make their way home with the news of the fate of the Franklin expedition, the steam engine lay stowed in the hold, disassembled to keep it from cracking in the freezing months of winter. The ship’s engineer had died, so McClintock had to put the engine back together and fire it up to escape the Arctic. Looking at the scattered pieces of machinery lying on the timbers of the hull like a three-dimensional jigsaw puzzle, I am reminded of what a talented and determined man Francis Leopold McClintock was.
Over the course of a week, we make more dives, sometimes surfacing in the bright twilight of the midnight sun as we work around the clock to gather as many images and as much information as we can. We may not only be the first but perhaps the only team of divers, and me the only archeologist, to visit Fox at the bottom of the sea. Even in the twenty-first century, this is a distant, hard to reach spot.
After surfacing on my final dive, I look out at the wind-whipped waters of Qeqertarsuaq’s harbor. Ice is drifting in, in small chunks, and the sun has gone, replaced by gray skies. Snow dusts the cliffs above the settlement. Winter is on its way, and soon the wreck will again be covered by many feet of ice. Slowly, inexorably being ground away by the forces of winter, Fox is returning to the elements in the Arctic where she gained international fame and spent most of her working life. It is a perfect grave for this polar explorer, and as I float over it, I think of Sir John Franklin’s epitaph, carved in marble over his empty crypt at Westminster Abbey:
CHAPTER FOURTEEN
A CIVIL WAR SUBMARINE
Standing on the hot sand beach of San Telnio, a small deserted island in the Bay of Panama, I look out at the water. Nothing. Not a thing to be seen, and yet here, according to the locals, lies the wreck of a “Japanese two-man submarine,” sent in secret to attack the Pacific entrance to the Panama Canal. An unlikely tale, to be sure, but after a few years of sea hunting with Clive Cussler, I’ve come to realize that the truth is often stranger than fiction.
The tide starts to drop, and suddenly, I see a rusted bit of metal sticking up out of the surf. As the water continues to recede, the unmistakable form of a submarine emerges, dripping wet, stained red and orange with corrosion. But it looks nothing like a Japanese midget submarine of the Second World War. In fact, it looks nothing like most submarines I’ve ever seen, save one, a turn-of-the-century precursor to the sub Holland I. That 60-odd-foot submersible, the first of the Royal Navy’s fleet of submarines, is preserved ashore at the Royal Navy Submarine Museum in Gosport, England, not far from where navy divers discovered the sunken Holland I and raised her for exhibition.
But while this looks a little like Holland I and its numerous early sister subs, the products of the genius of an eccentric Irish-American inventor, John Holland, it’s not one of his. It is simply too small. Football shaped, with a low co
Wading out into the ocean, I splash in water up to my chest to reach the wreck. As the sea washes over and around the hull, I can see that it is firmly bedded down in the sand and that the sea has opened a hole in the iron plates that form the hull. Crawling inside, and ignoring the pain as the sharp metal bites deeply into a shin, I ponder the spider-web lattice of thick iron bars that brace the chamber. I’ve never seen anything like it. The hull form looks to be from around the year 1900, but these iron bars look like they’ve been forged with a heavy hammer, like something out of the 1850s. After crawling out and nicking myself again, I scramble up the slippery top of the submarine to reach the co