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In Search Of Captain Zero
Sea Of Cortez And Waves
by Allan Weisbecker
(Editor's note: The following is an excerpt from Allan's book, In Search of Captain Zero

The Pacific’s next northwest groundswell having expired to an effete slurp and, further, having suddenly been possessed to see the sun rise over the water rather than set, I find I’m camped on the sea of Cortez – on North American maps referred to as the Gulf of California – the narrow body of water that separates Baja peninsula from mainland Mexico to the east.  

Apart from two local fishermen ensconced at an ad hoc little fish camp a half mile or so down the beach to the south, I have encountered not a soul since my arrival two days ago.

The beauty of central Baja is coarse and unrefined and possesses a jagged and unruly elegance.  It’s a rough-and-tumble and masculine place, all cuts and edges and quietly fierce, like a bloodied but unbeaten boxer resting in his corner between rounds.

Its vistas, while breathtaking, are not comfortable to look at, as are, say, the shorelines of the Hawaiian Islands, which are of such exquisite femininity even when impossibly massive and heroic and immodest. And married with these endemic qualities of the landscape is the pervading presence of the adjoining sea.  Although the land and water are profoundly separate, the aesthetic union created is a kind of emotional symbiosis.  You cannot look at one without being deeply affected by the other’s proximity.

But the sea, I would submit, one-ups its partner in terms of physical impact, not only through its apparently endless enormity but in the force of its personality.  It is a three-dimensional and lively entity, that watery world.  It has depth and mobility and with these qualities come the capacity to cover the adjoining land if it is moved to do so, to subsume the earth and make it a part of itself.

At any given time the sea is not only what it is (calm and tranquil, say; a soothing influence), but it is also its capacity to be something else (a medium for wave riding); and then, a moment later, something else altogether (a destroyer and killer).  

Imagine gazing at the Mona Lisa with the knowledge that her little-girl smile could at any moment transmute to a vicious snarl or a lascivious smirk or a goofball grin.  An indication of caprice as to the artist’s intent would add an edge to the fascination, no?

It has been claimed that the Eskimo language boasts some ridiculous number of terms for snow, thirty-something, I seem to recall. There is a school of anthropology that postulates that this large number of nouns for “snow” reflects not only a utilitarian need (ease of communication between Eskimo as to what sort of snow fell last night), but an actual difference in perception as well. 

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In other words, goes the theory, when an Eskimo looks at snow, he doesn’t merely notice more about the snow; he actually “sees” it in a much more detailed way. The problem with this theory is that one can’t just ask the Eskimo if he perceives the snow in a way different from, say, a Trobriand Islander plunked down wide-eyed and shivering in the Arctic. The Eskimo may rattle on about how crusty or grainy or sparkly or deep the snow is (while the Melanesian is stumped in going beyond “white and cold to the touch”), but his words don’t tell us anything about his inner life.

The theory can’t be proved or disproved, but I’m quite sure it’s correct. As a surfer, I don’t merely notice more about the sea’s condition than a hay-seed from Nebraska upon his first viewing; it’s an altogether different world out there I’m perceiving. As the Eskimo instinctively notes the texture of freshly fallen snow for its capacity to delicately define the track of a wandering wolverine, so the surfer analyses the sea’s finish to gauge how it will hold the edge of his planing surfstick. 

This perceptual phenomenon is automatic and so deeply ingrained as to be beyond violation. And it can be a distraction. 

When a movie cuts to a beach shot with waves breaking in the background, it matters not how dramatic the cinematic moment, how drastic and ingenious the plot turn -  my mind is immediately absent from the narrative proceedings. I’m off on an imaginary surf check, assessing the size and health of the swell up there on the silver screen, noting the wind direction and state of the tide, maybe muttering for the actors to please step aside a moment so I can see if that boomer behind them holds its shape through the inside section.

For a surfer, this Sea of Cortez beside which I am camped is an altogether different sort of piece of water from the Pacific Ocean, the illusoriness of the boundary distinction notwithstanding. (Big Blue is a contiguous presence, worldwide.) This is despite the fact that the two may appear identical to an observer standing on the beach - both are wet and stretch to the visible horizon.

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There is a corollary to the assertion that the sea is at any given moment capable of being something other than what it is: bodies of water, like human beings, are not created equal, in terms of what they may be. The Sea of Cortez, for example, is largely incapable of producing good surf, due to its limited breadth. This narrowness results in what surfers and oceanographers refer to as a short fetch; “fetch” is the reach of unbroken water across which wind can blow in order to raise a groundswell.

By contrast, the Pacific Ocean has a fetch of many thousands of miles. Looking south from my last west coat campsite, for example, there is nothing of any significance to impede the production of a groundswell until we come upon the pack ice of Antarctica, some 8,000 miles distant. So even when the sea is flat, you may still find yourself gazing horizonward with an alertness in your surfing soul, for - however many miles out there, however many days’ journey away - there likely is a slew of waves in transit in your direction at that very moment.

In July 1996, world champ bodyboard-surfer Mike Stewart experienced in a very personal way the implications of the Pacific’s vast reach. Stewart was on a surf trip in Tahiti when he learned that a huge groundswell was battering the islands to the south - some of the smaller, low-lying atolls had disappeared underwater. The next day the head-high vanguard of the northbound swell arrived in Tahiti. Within 24 hours, the island’s south facing reefs were under full, thunderous assault. Through satellite imagery and modern communications technology (and with the expertise of wave guru Sean Collins), Stewart realised that the size, location, wind vortices and projected track of the southern ocean tempest that had spawned the big swell were exactly right for him to try to accomplish something that had never been done before, never even been tried. It was the chance of a lifetime.

Stewart spent two days in Tahiti searching for a break that wasn’t mutated out-of-control. He finally surfed the peaking swell in near-survival conditions, then packed up and flew to Hawaii. Arriving simultaneously with the likewise north-travelling groundswell, he surfed the legendary speed break on Maui called Maalaea, which he was told hadn’t gone off that big and fast since the ‘70s. Wild-eyed with hair still damp, he mad-dashed to the airport to catch a flight to the mainland.

And so it went. Steward followed the swell’s northward progress, next surfing the classic Newport Beach, California, break known as The Wedge. Although the storm that had parented the great swell was blowing itself out thousands of miles to the south, the vigour of its wave-progeny had diminished but little during the journey north: The Wedge was maxing in the 25-30 foot range.

Speeding up the coast by automobile, Stewart surfed central California at two secret spots reachable only by boat. Here, after five days of crazed travel and extreme conditions in the water, he began to feel a synchronicity with the groundswell’s rhythms, and to sense its idiosyncrasies; to develop what he terms “an anthropomorphic” relationship with the waves he was riding. The swell “had taken on a personality”, he later wrote. “Like a friend… (or) a primitive life form.”

Three days later, as Stewart stood on a remote point on the Gulf of Alaska, watching head-high waves march up from the blue expanse to the south, a feeling of almost psychedelic unreality swept over him. He felt he understood, in a visceral and soulful and inexpressible way, the machinations of the sea, and, by subtle inference, the universe at large. Although he had not been present at the tumult of the groundswell’s birth, he had experienced it throughout its existence in space - and in a sense, time as well. Through his travels he had conjured a sort of time machine, which enabled him to remain in “the present” of a phenomenon that over a period of some ten days had spanned nearly half our planet’s circumference. Moreover, the waves he rode had, in a very real way, affected virtually the whole of the Pacific basin, as the ripples from a pebble dropped in a bucket spread across the surface of the water within.

Stewart’s was a conceptual and logistical achievement of no small merit. And being a wave rider of great talent, his quest resonated on a creative level as well. In his wave-pursuit across the vastest of oceans, Mike Stewart had enabled himself to personally, holistically, experience the process of the continual transfer of energy through the matter on a grand scale. And he knew that the elemental progenitor of that energy was the sun itself. In its giving up of the heat to the sea and the land and the air, our local star is the creator of all the earth’s winds. It is the wind that creates waves.

Finally, as the physicists now tell us - and as Eastern philosophers have long implied - the “stuff” of matter is waves, if on the tiniest and most ephemeral of levels. The universe vibrates in many ways, and on many planes, producing many different realities: from vibrations of nothingness (of space itself) spring galaxies and stars and planets and human beings; similarly, from the sea’s vibrations arise the groundswells that traverse the limited physical realm of our world. And perhaps consciousness itself - the universe turned inward to reflect on its own vibrations - manifests itself as yet another plane of vibration. Another sort of wave.

In Search of Captain Zero is available wherever books are sold.

The following is a list of articles Allan has written for the magazine:

Allan is selling his stunning house in Costa Rica, if you are interested in buying a great house in Costa Rica Click Here

To contact Allan by email Click Here

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