In the book, storms—and particularly the titular “perfect storm” of October 1991, in which the crew of the Andrea Gail and several others were lost at sea—symbolize the extreme danger and unpredictability of deep-sea fishing. The phrase “the perfect storm” can be used in a meteorological sense—literally referring to a bad storm—but it can also refer to any given situation in which several negative factors have combined, often in a way that’s unlikely or unexpected. Indeed, just as the so-called perfect storm was a mix of several dangerous factors (a hurricane coming off of Bermuda, a cold front from Canada, and another storm from the Great Lakes, and jet stream irregularities), deep-sea fishing itself is a metaphorical perfect storm in its own right for several reasons. The ocean is powerful and deadly, weather conditions can be unpredictable, and human fallibility makes things even worse. No matter how experienced a captain is, it’s impossible to juggle so many different factors affecting a fishing trip and to do so perfectly. On a similar note, pride and arrogance often make deep-sea fishing even more dangerous than it already is. As Bob Brown, a captain notorious for risk-taking, shows, captains often feel overconfident, overly optimistic, and overprepared. Much as the deadly storm was made up of several perfectly aligned, mutually reinforcing subsystems, the fishing industry likewise combines several parts that sustain a complex and unpredictable force: physical dangers, financial motivations, environmental risks, and technological factors, not to mention individual human strengths and weaknesses.
Storms Quotes in The Perfect Storm
More people are killed on fishing boats, per capita, than in any other job in the United States. Johnston would be better off parachuting into forest fires or working as a cop in New York City than longlining off the Flemish Cap. Johnston knows many fishermen who have died and more than he can count who have come horribly close. It’s there waiting for you in the middle of a storm or on the most cloudless summer day. Boom—the crew’s looking the other way, the hook's got you, and suddenly you're down at the depth where swordfish feed.
The circumstances that place a boat at a certain place at a certain time are so random that they can’t even be catalogued, much less predicted, and a total of fifty or sixty more people—swordfishermen, mariners, sailors—are also converging on the storm grounds of the North Atlantic. Some of these people have been heading there, unavoidably, for months; others made a bad choice just a few days ago.
Around nightfall a Canadian weather map creaks out of the satellite fax. There’s a hurricane off Bermuda, a cold front coming down off the Canadian Shield and a storm brewing over the Great Lakes. They're all heading for the Grand Banks. A few minutes after the fax, Linda Greenlaw calls.
Billy, you seen the chart? she asks.
Yeah I saw it, he says.
What do you think?
Looks like it's gonna be wicked.
After talking to Barrie, Billy picks up the microphone on his single sideband and issues one last message to the fleet: She's comin' on boys, and she's comin' on strong. The position he’d given Linda Greenlaw on the Hannah Boden— 44 north, 56.4 west—is a departure from his original heading. It appears to be more the heading of a man bound for Halifax, Nova Scotia, or maybe even Louisbourg, Cape Breton Island, than Gloucester, Massachusetts. […] Whatever the reason, Billy changes course sometime before 6 PM and neglects to tell the rest of the fleet.
In a sense Billy’s no longer at the helm, the conditions are, and all he can do is react. If danger can be seen in terms of a narrowing range of choices, Billy Tyne’s choices have just racheted down a notch. A week ago he could have headed in early. A day ago he could have run north like Johnston. An hour ago he could have radioed to see if there were any other vessels around. Now the electrical noise has made the VHF practically useless, and the single sideband only works for long range. These aren’t mistakes so much as an inability to see into the future. No one, not even the Weather Service, knows for sure what a storm's going to do.
The crew just racks out and watches videos. Everybody acknowledged this was the worst storm they'd ever been in—you can tell by the size of the waves, the motion of the boat, the noise, the crashing. There’s always a point when you realize that you're in the middle of the ocean and if anything goes wrong, that’s it. You see so much bad weather that you kind of get used to it. But then you see really bad weather. And that, you never get used to.
The Andrea Gail crew, all experienced fishermen, are probably trying to shrug it off as just another storm—they’ve been through this before, they'll go through it again, and at least they're not puking. Billy's undoubtedly working too hard at the helm to give drowning much thought. Ernie Hazard claims it was the last thing on his mind. "There was no conversation, just real business-like," he says of going down off Georges Bank. "You know, 'Let’s just get this thing done.'” […]
Be that as it may, certain realities still must come crashing in. At some point Tyne, Shatford, Sullivan, Moran, Murphy, and Pierre must realize there's no way off this boat.
By October 30th, the Sable Island storm is firmly imbedded between the remnants of Hurricane Grace and the Canadian high. […] These two systems function like huge gears that catch the storm between their teeth and extrude it westward. This is called a retrograde; it's an act of meteorological defiance that might happen in a major storm only every hundred years or so. […] Meteorologists see perfection in strange things, and the meshing of three completely independent weather systems to form a hundred-year event is one of them. My God, thought Case, this is the perfect storm.
Storms Symbol Timeline in The Perfect Storm
