Chapter Nine: Dutch Harbor
The moment we docked at Dutch Harbor, the surreal weight of the previous days seemed to settle in like fog clinging to a coastline. After the ghost ship encounter in Unimak Pass, everything felt heightened. The colors were brighter, the cold crisper, the silence deeper. Dutch Harbor wasn’t new to me by then—but this time, I stepped onto its wooden planks with a quiet reverence.
The town sprawled like a reluctant child at the foot of misty, volcanic ridges. Its rusted tanks, crab pots, and weathered boardwalks gave it the look of a place born out of necessity rather than planning. History hung in the air. This was a place that had been bombed during World War II. These were the Aleutian Islands, after all—the outer edge of the American frontier. It felt like the last place on Earth before the world dropped off.
Our cargo of halibut was hoisted off by industrial cranes. I remember watching the huge fish swinging mid-air in nets, dripping sea water and blood, their ghostly white undersides catching the sunlight. Big Bertha, our giant halibut, drew the attention of a few dock workers who whistled in awe. Donald chuckled, finally breaking his silence.
“You know, boys,” he said, lighting up a Lucky Strike, “she could feed a whole Aleut village.”
We were given two days of rest. The boat needed maintenance, new bait had to be loaded, and the next run charted. But for us deckhands, that meant time to explore. I grabbed my sketchbook, always within reach, and took to the hills behind town.
From up there, Dutch Harbor looked like a broken necklace of buildings scattered along the shoreline. The water glistened silver under a rare sunbreak. Old military bunkers dotted the hills—crumbling concrete relics with stories no one told anymore. I sat inside one and sketched a gull perched atop the rusted barrel of an old anti-aircraft gun.
In town, I found the harbor pub—more a mess hall than a bar. It reeked of beer, sweat, diesel, and fried fish. Men in rubber boots and wool caps filled the stools. Weathered faces, hands scarred and callused. Here, no one asked who you were. You bought your drink, nodded, and were accepted by presence alone.
I met a Native man named Willie, Unangan by heritage. We shared a table and a pitcher. He noticed my sketchbook and asked if I was an artist. I nodded. He told me about his grandfather, who used to carve masks and bentwood hunting hats. “He said the spirits live in the wind and the sea. If they come to you, you don’t look away.”
That hit home.
That evening, back on the boat, I stared out across the harbor. Lights blinked on the hilltops. Seagulls circled silently overhead. The Iceland rocked gently against the dock. I thought again of that silent ship sliding past us in the night. Whatever it was—spirit, memory, hallucination—it had shifted something in me. I was no longer just a wanderer. I was a witness.
In Dutch Harbor, I began to realize what I was truly doing out there—not just fishing, not just surviving. I was collecting fragments of something sacred. Glimpses. Echoes. Proof that life was far more mysterious and alive than I had ever dared to believe.
I drew late into the night.
And the sea listened.
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