Chapter 50

It was three and a half feet deep, eight feet wide and twenty-six feet long, exactly. I know because it was printed on one of the side benches in black letters. It also said that the lifeboat was designed to accommodate a maximum of thirty-two people. Wouldn't that have been merry, sharing it with so many? Instead we were three and it was awfully crowded. The boat was symmetrically shaped, with rounded ends that were hard to tell apart. The stern was hinted at by a small fixed rudder, no more than a rearward extension of the keel, while the bow, except for my addition, featured a stem with the saddest, bluntest prow in boat-building history. The aluminum hull was studded with rivets and painted white.

That was the outside of the lifeboat. Inside, it was not as spacious as might be expected because of the side benches and the buoyancy tanks. The side benches ran the whole length of the boat, merging at the bow and stern to form end benches that were roughly triangular in shape. The benches were the top surfaces of the sealed buoyancy tanks. The side benches were one and a half feet wide and the end benches were three feet deep; the open space of the lifeboat was thus twenty feet long and five feet wide. That made a territory of one hundred square feet for Richard Parker. Spanning this space width-wise were three cross benches, including the one smashed by the zebra. These benches were two feet wide and were evenly spaced. They were two feet above the floor of the boat-the play Richard Parker had before he would knock his head against the ceiling, so to speak, if he were beneath a bench. Under the tarpaulin, he had another twelve inches of space, the distance between the gunnel, which supported the tarpaulin, and the benches, so three feet in all, barely enough for him to stand. The floor, consisting of narrow planks of treated wood, was flat and the vertical sides of the buoyancy tanks were at right angles to it. So, curiously, the boat had rounded ends and rounded sides, but the interior volume was rectangular.

It seems orange-such a nice Hindu colour-is the colour of survival because the whole inside of the boat and the tarpaulin and the life jackets and the lifebuoy and the oars and most every other significant object aboard was orange. Even the plastic, beadless whistles were orange.

The words Tsimtsum and Panama were printed on each side of the bow in stark, black, roman capitals.

The tarpaulin was made of tough, treated canvas, rough on the skin after a while. It had been unrolled to just past the middle cross bench. So one cross bench was hidden beneath the tarpaulin, in Richard Parker's den; the middle cross bench was just beyond the edge of the tarpaulin, in the open; and the third cross bench lay broken beneath the dead zebra.

There were six oarlocks, U-shaped notches in the gunnel for holding an oar in place, and five oars, since I had lost one trying to push Richard Parker away. Three oars rested on one side bench, one rested on the other and one made up my life-saving prow. I doubted the usefulness of these oars as a means of propulsion. This lifeboat was no racing shell. It was a heavy, solid construction designed for stolid floating, not for navigating, though I suppose that if we had been thirty-two to row we could have made some headway.

I did not grasp all these details-and many more-right away. They came to my notice with time and as a result of necessity.

I would be in the direst of dire straits, facing a bleak future, when some small thing, some detail, would transform itself and appear in my mind in a new light. It would no longer be the small thing it was before, but the most important thing in the world, the thing that would save my life. This happened time and again. How true it is that necessity is the mother of invention, how very true.

第五十章

    救生艇的精确尺寸是深3.5英尺，宽8英尺，长26英尺。我知道这个尺寸，因为这几个黑色的数字就印在舷边坐板上。坐板上还印着一些文字，说明这条救生艇的设计可以使它最多容纳32人。和这么多人一起在救生艇上，那不是很快乐吗？而现在船上只有我们三个，却已经很拥挤了。船的形状是对称的，两端都是圆的，很难区分船头和船尾。一端有一只小小的固定的舵，说明那就是船尾，其实那只舵只不过是龙骨向后延伸的部分，而船头除了我增加的东西之外，还有一根艏柱，它那突出的前端是造船史上最糟、最钝的船首。铝制的船壳漆成白色，上面密密地钉着铆钉。

    这是船的外部。船内部有舷边坐板和浮箱，因此不像想像的那么宽敞。船两侧是两排舷边坐板，坐板向船两头延伸，在船头和胎尾向上升，形成末端坐板，形状大体上是三角形的。这些坐板就是密封的浮箱的表面。舷边坐板宽1.5英尺，末端坐板高3英尺；因此，救生艇敞开的空间长20英尺，宽5英尺。这个100平方英尺的空间形成了理查德·帕克的地盘。横跨这个空间的是三块横坐板，其中包括被鬣狗撞碎的那块。这三块坐板宽2英尺，坐板与坐板之间距离相等，与船板相距2英尺——如果理查德·帕克在坐板下面，那么他只有这么大的活动空间，如果超出了这个范围，他的头就会撞在所谓的天花板上。油布下面还有12英寸的空间，就是支撑油布的舷边和坐板之间的距离，因此一共是3英尺的空间，几乎不够他站起来。经过处理的窄木板铺成的船板是水平的，浮箱的立面与船板成直角。因此，奇怪的是，船的两端是圆的，两侧也是圆的，而内部却是长方形的。

    似乎橘黄色——如此可爱的印度人喜爱的颜色——是求生的颜色，因为整条船的内部、油布、救生衣、救生圈、船桨和船上其他大多数重要物品都是橘黄色的。甚至无弹珠塑料哨子也是橘黄色的。

    船头两侧分别有罗马大写字母印着“齐姆楚姆”和“巴拿马”的字样，字是黑色的，十分显眼。

    油布是经过处理的粗帆布做的，皮肤被磨一会儿就会觉得难以忍受。油布一直铺到中间的横坐板那边。因此一条坐板被盖在油布下面，在理查德·帕克的窝里；中间的横坐板就在油布边上，露在外面；第三条坐板在死斑马的身体下面，已经碎了。

    船上有六只桨架，是把船桨固定在舷边的U形槽口；还有五只船桨，第六只在我想把理查德-帕克推开时弄丢了。三只船桨放在一条坐板上，．只放在另一条坐板上，还有一只成了救我性命的船首。我怀疑这些船桨能不能推动船只前进。这只救生艇可不是赛艇。它沉重、结实的结构设计是为了能让它稳稳地浮在海面上，而不是为了让它在海上航行，尽管，我想，如果有32个人划桨，我们应该可以前进的。

    我并没有立刻理解所有这些细节——还有很多其他细节。我是出于需要才慢慢地注意到它们的。如果一些小东西，一些细节，产生了变化，在我心里呈现出新的状态，我就会陷入最悲惨的绝境，面临凄凉的未来。那个小东西不再是以前的小东西了，而成了世界上最重要的东西，将会拯救我生命的东西。这样的事一次又一次地发生。需要是发明之母，这句话太对了，真的太对了。