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Victorian Reimagined

20,000 Leagues Under the Sea

Told by the harpooner who counted the days

Content warningViolence at sea, drowning, and the deliberate sinking of a crewed ship.

In those four hours I did what I did in every unobserved hour: I walked the ship.

Ned Land, from the novel

Ned Land doesn’t believe in sea monsters. He’s a harpooner, he’s spent twenty years on the water, and he says so on the first page. That’s a problem for him, because something rammed the ship out from under him and he’s now aboard it.

Verne gave the narration to a professor who was delighted to be there. This version gives it to the man who wants out from day one and never stops counting: hatches, days, distances, exits. Nemo’s executive officer Lakara has been aboard since 1853 and hasn’t been back to America since, and she’s the other thing Verne didn’t have.

More on the real subject behind this book: how this book connects to two others, Nemo, Ayrton, and the shared universe Verne built.

More on the real subject behind this book: how this book connects to two others, Nemo, Ayrton, and the shared universe Verne built.

Built from Jules Verne’s original, and complete on its own.

In what order should you read 20,000 Leagues Under the Sea?

How does 20,000 Leagues Under the Sea open?

The Monster

I don’t believe in sea monsters.

I want to say that at the start, before any of this, because everything that follows is going to sound like a man who does. I’m a harpooner. I’ve spent twenty-two years on the water. I’ve killed things in the ocean that most men have never seen and will never see – sperm whales, right whales, humpbacks, a finback once that took us three days and nearly cost me a leg. I’ve been in the water with things that could have killed me and chose not to, and I’ve been in the water with things that tried. I know what’s in the water.

There’s no monster.

There’s something else.

It started in the summer of 1855. Ships coming into port with their hulls staved in. Not from reef, not from ice, not from anything the captains could account for. The damage was consistent in a way that damage from a reef isn’t consistent. A reef is specific to a location, makes an irregular wound shaped by the underwater geography that caused it. This made a wound that was regular, controlled, the same depth and the same shape repeated across three ships in four months, in three different parts of the Pacific Ocean.

A consistent wound from three different locations means the location isn’t the cause. The thing is the cause. And the thing moves.

What the thing was doing was less clear. The damage was impact damage – something colliding with a hull at speed, but a deliberate attack would have sunk the ships. These ships limped home. Whatever hit them hit them in passing, without following up, without finishing the job. Something large and fast running through the shipping lanes in the dark, strong hulls in passing. The ships were damaged. They weren’t sunk.

That distinction mattered. I was still working out what it meant.

The newspapers decided it was a creature. A narwhal, enlarged beyond reason. A sea serpent of the kind sailors have been inventing for as long as there were sailors. The papers in San Francisco ran illustrations of the creature. The papers in New York ran the illustrations from San Francisco. In Paris they drew their own.

The newspapers are written by men who haven’t been on the water.

I had been on the water since I was sixteen. My father put me on a whaling ship out of St. John’s, Newfoundland, in 1833, when I was sixteen and large for my age and needed somewhere to go.

The ship was the Minerva, and the captain was a man named Blythe who was neither good nor bad but was consistent. I threw my first harpoon at a right whale six weeks out of St. John’s and missed it badly and Blythe said nothing and I threw the second and hit it and that was the beginning of twenty-two years.

I was thirty-eight in 1855. I had been on ships for nearly half my life. I had been to the Pacific twice, the Indian Ocean three times, the Southern Ocean once, the trip I don’t discuss in company, the winter of 1848 below fifty degrees south, the thing we lost in the ice that I won’t put in writing. I’d harpooned things I cannot remember the count of and I’d never seen anything that explained the damage to those ships.

Which meant I hadn’t seen it yet.

When the US Navy came looking for a harpooner to join the expedition aboard the USS Susquehanna, a steam frigate out of San Francisco, I said yes. I said yes because the Navy was paying three times what the whalers were paying and because I was between ships: the Dauphin had come into San Francisco in September with a broken drive shaft and a captain who had decided to winter in California – and because I wanted to see what had done that to those hulls.

I said yes because I don’t believe in sea monsters.

I was right not to.

* * *

The Susquehanna was a good ship. A Navy steam frigate, five years out of the Philadelphia yard, side-wheel driven, fifteen knots at full steam. The kind of vessel that makes other ships feel like suggestions. She carried two hundred and thirty men, twenty guns she wasn’t going to use, and enough coal for sixty days at cruising speed. Captain Creighton was a Tennessean, forty-two, with the kind of face that’s made a decision and is comfortable with it. He ran a tight deck. His crew liked him.

He believed in the creature. He’d made the mistake of reading the newspapers.

The first morning at sea he assembled the officers on the bridge and delivered a speech. I was there because harpooners attend such things. The speech was competent: we were hunting an unknown animal, the evidence suggests a large cephalopod or a narwhal of unusual size, we’ll pursue and destroy it for the safety of international shipping. He used the word creature eleven times. I counted.

I spent the first three weeks at sea explaining to Creighton, politely and then less politely, that what had hulled those ships wasn’t a biological organism.

“The damage pattern,” I said. We were on the bridge on a clear Pacific morning three weeks out of San Francisco, the kind of morning that makes you understand why men go to sea – the quality of Pacific light in September, the water a color that’s no name, the horizon so sharp it looks like someone drew it. “A narwhal, even a large one, hits and drags. The horn is a tusk, it goes in at an angle and it keeps moving as the animal drives past. What you get is a gash that deepens at one end and shallows at the other. The damage on the Perière was perpendicular. Clean entry, clean exit, consistent depth.”

Who should read 20,000 Leagues Under the Sea?

► Behind the Book: 20,000 Leagues Under the Sea
How this one got written, what went wrong, and what got cut.

How did 20,000 Leagues Under the Sea come about?

Richard Lowe, the Writing King

This was one of the first books I ever read. I was about seven, and the copy I’d dated from around 1910. That made it a hard read for a kid. I read it anyway and it stuck.

Later I saw the Kirk Douglas film, and Master of the World with Vincent Price. Both were fun and both felt a little off to me. When I went back to Verne as an adult I could finally name it. The Mysterious Island is a bunch of white people talking, written from a very white view of that time period, and 20,000 Leagues hands the narration to the man having the best time aboard.

So I moved the camera. Ned Land wanted out from the first day and Verne reduced him to comic relief and an appetite. This version is his, in present tense, because a man planning an escape lives in the present tense. Lakara is mine, because Nemo needed an executive officer who had been aboard since 1853 and made the arrangement work.

What do people ask about 20,000 Leagues Under the Sea?

Do I need to have read Verne’s original?
No. This version is fully self-contained. If you know the original you’ll recognize the coral cemetery, the pearl diver, the giant squid, and the Antarctic, and will notice where it departs.
Who is Ned Land in Jules Verne’s original novel?
Ned Land is the harpooner who narrates this retelling in present tense, and he wants out from the very first day. He’s spent twenty-two years on the water and doesn’t believe in sea monsters, which puts him at odds with everyone around him once something rams the ship out from under him. The story tracks what a man notices when escape is his only project, counting hatches, days, and distances instead of marveling at the ship the way Verne’s professor did.
Who is Lakara?
Lakara is Nemo’s executive officer, a character Verne never wrote. She’s been aboard the ship since 1853 and hasn’t been back to America since. She’s the piece that makes the arrangement between Nemo and his crew actually work, filling a role the original novel left empty.
What order do the Victorian Era Series books go in?
This book stands as Book One of the Victorian Era Series, part of The Adventures of Captain Nemo, and each book in the series works on its own. The Mysterious Island picks up the Verne thread that follows the island itself, and Eurydice goes inside the story of Ayrton, the man Verne marooned on Tabor Island. The Time Machine rounds out the series as a standalone entry drawn from Wells and not Verne. A reader can start anywhere in the sequence without losing the thread of any single book.
What makes a good retelling of a classic Jules Verne novel?
I think a strong retelling keeps the original plot but changes whose eyes we see it through. When I went back to Verne as an adult, I noticed the professor got all the wonder while Ned Land, the harpooner, was reduced to comic relief and an appetite. So I moved the camera to the man who wanted out from day one and let the story unfold in present tense, because someone planning an escape lives in the present tense. I also added Lakara, Nemo’s executive officer, because the crew needed someone who had made the arrangement work since 1853. Keeping the architecture of the source material while shifting the point of view can uncover parts of the story the original author never emphasized.

Also in Victorian Reimagined

I don’t believe in sea monsters

He says so on the first page, from inside one.

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Nemo’s Library

20,000 Leagues Under the Sea

Day twelve.

Nemo came for Aronnax.

He knocked, the two-knock pattern, the pause – and said: “Professor. I’d like to show you something.”

Aronnax was off the bunk before the sentence ended. I watched it happen with the attention I now brought to everything that happened in the room: Aronnax moving fast, his face already ahead of him, already there in whatever Nemo was about to show him. His body following what his mind had already committed to.

“I’d like to come,” I said.

Nemo looked at me. “Not today, Mr. Land.”

“Why not.”

“Because today I’m inviting Professor Aronnax,” he said. “Another time, perhaps, when I have something appropriate to show a harpooner.”

He said it without irony. That was its own kind of irony. Aronnax gave me a look that was half apology and half something else – something that was already leaning forward, already going, already oriented toward the door before his body had fully committed to it. He went.

Conseil and I sat in the room.

Conseil said, after a few minutes of silence: “He’ll tell us everything.”

“Will he.”

“He always does. He can’t not.” Conseil had found a loose thread on the hem of his coat and was addressing it with a needle he’d produced from somewhere – Conseil always had what was needed, making him useful and invisible at once, because people don’t pay attention to someone who quietly produces the thing that was needed. “When he sees something significant he’s to say it aloud. The saying is part of the understanding. If he doesn’t say it the understanding doesn’t complete.”

“That’s useful to know,” I said.

“About him or in general?”

“Both.”

Conseil stitched. I lay on my bunk and thought about the layout of the ship and what I still didn’t know. That was more than what I knew but less than it had been but less than it had been four days ago.

“He’s going to fall in love with it,” Conseil said. He didn’t say it with bitterness. He said it with the resigned accuracy of a man describing weather.

“With the ship.”

“With the ship, with the captain, with the idea of it.” He bit off the thread. “He’s done this before. Not with a submarine – with laboratories, with certain academic colleagues, with a cave system in the Dordogne that he spent six weeks in when he was supposed to be in Paris writing a paper. He finds something that’s completely what it is and he gives himself to it.”

“He’s a prisoner,” I said.

“Yes,” Conseil said. “That will matter to him. He’s not a man who dismisses moral realities. But the moral reality will have to compete with the wonder. And wonder, for the professor, is a very strong force.”

I thought about this. I looked at the ceiling. The ceiling of our room was the same riveted metal as everything else on the ship, and I’d mapped it in my mind over twelve days, the pattern of the rivets, the slight irregularity in the starboard corner that suggested a repair, the lamp bracket that was a quarter-inch off horizontal. In a ship built to the tolerances this one was built to was the kind of irregularity that meant something.

“Then we have to go before it becomes impossible to make him leave,” I said.

“Yes,” Conseil said. “I think that’s right.”

Aronnax came back two hours and fourteen minutes later – I was counting, because counting had become automatic and because the duration of his absences was data.

He sat on his bunk. He sat the way he sat when he’d something large to contain.

“Twelve thousand volumes,” he said.

I waited.

“It smells of books,” he said, with the tone of a man who hasn’t smelled books in a long time and hadn’t expected to miss it. “Leather and paper and something older beneath that – the smell of a collection that’s been assembled over time, not purchased all at once. Each section has its own quality. The natural history section smells different from the mathematics section. The geology section has something in it I cannot identify.” He paused.

“I spent twenty minutes trying to identify it. I believe it may be actual geological samples. He’s stored samples in the shelving.” He looked at nothing in particular. “I didn’t expect to smell books again.”

Table of contents

20,000 Leagues Under the Sea

  • The Monster
  • Overboard
  • The Nautilus
  • The Measure of It
  • Nemo’s Library
  • The First Test
  • The Coral Forest
  • Ned’s Inventory
  • Torres Strait
  • The Wave
  • The Bottom
  • What Nemo Carries
  • The Record
  • The Pearl Diver
  • Aronnax at Dinner
  • The Coral Cemetery
  • Lakara’s Watch
  • Atlantis
  • The Antarctic
  • Under the Ice
  • The Squid
  • What Conseil Sees
  • The Island
  • The Anniversary
  • The English
  • The Warship
  • The Portrait
  • The Maelstrom
  • What Ned Keeps

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