A Supposedly Fun Thing I'll Never Do Again (44 page)

Rolling
, on the other hand, is when waves hit the ship from the side and make it go up and down along its crosswise axis.
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When the m.v.
Nadir
rolls, what you feel is a very slight increase in the demands placed on the muscles of your left leg, then a strange absence of all demand, then demands on the right leg. The demands shift at the rate of a very long thing swinging, and again the action is usually so subtle that it’s almost a meditative exercise to stay conscious of what’s going on.

We never pitch badly, but every once in a while some really big
Poseidon Adventure
—grade single wave must come and hit the
Nadir
’s side, because every once in a while the asymmetric leg-demands won’t stop or reverse and you keep having to put more and more weight on one leg until you’re exquisitely close to tipping over and have to grab something.
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It happens very quickly and never twice in a row. The cruise’s first night features some really big waves from starboard, and in the casino after supper it’s hard to tell who’s had too much of the ’71 Richebourg and who’s just doing a roll-related stagger. Add in the fact that most of the women are wearing high heels, and you can imagine some of the vertiginous staggering/flailing/clutching that goes on. Almost everyone on the
Nadir
has come on in couples, and when they walk during heavy seas they tend to hang on each other like freshman steadies. You can tell they like it—the women have this trick of sort of folding themselves into the men and snuggling as they walk, and the men’s postures improve and their faces firm up and you can tell they feel unusually solid and protective. A 7NC Luxury Cruise is full of these odd little unexpected romantic nuggets like trying to help each other walk when the ship rolls—you can sort of tell why older couples like to cruise.

Heavy seas are also great for sleep, it turns out. The first two mornings, there’s hardly anybody at Early Seating Breakfast. Everybody sleeps in. People with insomnia of years’ standing report uninterrupted sleep of nine hours, ten hours. Their eyes are wide and childlike with wonder as they report this. Everybody looks younger when they’ve had a lot of sleep. There’s rampant daytime napping, too. By week’s end, when we’d had all manner of weather, I finally saw what it was about heavy seas and marvelous rest: in heavy seas you feel rocked to sleep, with the windows’ spume a gentle shushing, the engines’ throb a mother’s pulse.

Did I mention that famous writer and Iowa Writers Workshop Chairperson Frank Conroy has his own experiential essay about cruising right there in Celebrity’s 7NC brochure? Well he does, and the thing starts out on the Pier 21 gangway that first Saturday with his family:
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With that single, easy step, we entered a new world, a sort of alternate reality to the one on shore. Smiles, handshakes, and we were whisked away to our cabin by a friendly young woman from Guest Relations.

Then they’re outside along the rail for the
Nadir
’s sailing:

… We became aware that the ship was pulling away. We had felt no warning, no trembling of the deck, throbbing of the engines or the like. It was as if the land were magically receding, like some ever-so-slow reverse zoom in the movies.

This is pretty much what Conroy’s whole “My Celebrity Cruise, or ‘
All This and a Tan, Too
’” is like. Its full implications didn’t hit me until I reread it supine on Deck 12 the first sunny day. Conroy’s essay is graceful and lapidary and attractive and assuasive. I submit that it is also completely sinister and despair-producing and bad. Its badness does not consist so much in its constant and mesmeric references to fantasy and alternate realities and the palliative powers of pro pampering—

I’d come on board after two months of intense and moderately stressful work, but now it seemed a distant memory.

I realized it had been a week since I’d washed a dish, cooked a meal, gone to the market, done an errand or, in fact, anything at all requiring a minimum of thought and effort. My toughest decisions had been whether to catch the afternoon showing of
Mrs. Doubtfire
or play bingo.

—nor in the surfeit of happy adjectives, nor so much in the tone of breathless approval throughout—

For all of us, our fantasies and expectations were to be exceeded, to say the least.

When it comes to service, Celebrity Cruises seems ready and able to deal with anything.

Bright sun, warm still air, the brilliant blue-green of the Caribbean under the vast lapis lazuli dome of the sky….

The training must be rigorous, indeed, because the truth is, the service was impeccable, and impeccable in every aspect from the cabin steward to the sommelier, from the on-deck waiter to the Guest Relations manager, from the ordinary seaman who goes out of his way to get your deck chair to the third mate who shows you the way to the library. It is hard to imagine a more professional, polished operation, and I doubt that many in the world can equal it.

Rather, part of the essay’s real badness can be found in the way it reveals once again the Megaline’s sale-to-sail agenda of micromanaging not only one’s perceptions of a 7NC Luxury Cruise but even one’s own interpretation and articulation of those perceptions. In other words, Celebrity’s PR people go and get one of the U.S.A.’s most respected writers to pre-articulate and -endorse the 7NC experience, and to do it with a professional eloquence and authority that few lay perceivers and articulators could hope to equal.
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But the really major badness is that the project and placement of “My Celebrity Cruise…” are sneaky and duplicitous and far beyond whatever eroded pales still exist in terms of literary ethics. Conroy’s “essay” appears as an insert, on skinnier pages and with different margins from the rest of the brochure, creating the impression that it has been excerpted from some large and objective thing Conroy wrote. But it hasn’t been. The truth is that Celebrity Cruises paid Frank Conroy upfront to write it,
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even though nowhere in or around the essay is there anything acknowledging that it’s a paid endorsement, not even one of the little “So-and-so has been compensated for his services” that flashes at your TV screen’s lower right during celebrity-hosted infomercials. Instead, inset on this weird essaymercial’s first page is an author-photoish shot of Conroy brooding in a black turtleneck, and below the photo is an author-bio with a list of Conroy’s books that includes the 1967 classic
Stop-Time
, which is arguably the best literary memoir of the twentieth century and is one of the books that first made poor old yours truly want to try to be a writer.

In other words, Celebrity Cruises is presenting Conroy’s review of his 7NC Cruise as an essay and not a commercial. This is extremely bad. Here is the argument for why it’s bad. Whether it honors them well or not, an essay’s fundamental obligations are supposed to be to the reader. The reader, on however unconscious a level, understands this, and thus tends to approach an essay with a relatively high level of openness and credulity. But a commercial is a very different animal. Advertisements have certain formal, legal obligations to truthfulness, but these are broad enough to allow for a great deal of rhetorical maneuvering in the fulfillment of an advertisement’s primary obligation, which is to serve the financial interests of its sponsor. Whatever attempts an advertisement makes to interest and appeal to its readers are not, finally, for the reader’s benefit. And the reader of an ad knows all this, too—that an ad’s appeal is by its very nature
calculated
—and this is part of why our state of receptivity is different, more guarded, when we get ready to read an ad.
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In the case of Frank Conroy’s “essay,” Celebrity Cruises
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is trying to position an ad in such a way that we come to it with the lowered guard and leading chin we properly reserve for coming to an essay, for something that is art (or that is at least trying to be art). An ad that pretends to be art is—at absolute best—like somebody who smiles warmly at you only because he wants something from you. This is dishonest, but what’s sinister is the cumulative effect that such dishonesty has on us: since it offers a perfect facsimile or simulacrum of goodwill without goodwill’s real spirit, it messes with our heads and eventually starts upping our defenses even in cases of genuine smiles and real art and true goodwill. It makes us feel confused and lonely and impotent and angry and scared. It causes despair.
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At any rate, for this particular 7NC consumer, Conroy’s ad-as-essay ends up having a truthfulness about it that I’m quite sure is unintentional. As my week on the
Nadir
wore on, I began to see this essaymercial as a perfect ironic reflection of the mass-market-Cruise experience itself. The essay is polished, powerful, impressive, clearly the best that money can buy. It presents itself as for my benefit. It manages my experiences and my interpretation of those experiences and takes care of them in advance for me. It seems to care about me. But it doesn’t, not really, because first and foremost it wants something from me. So does the Cruise itself. The pretty setting and glittering ship and dashing staff and sedulous servants and solicitous fun-managers all want something from me, and it’s not just the price of my ticket—they’ve already got that. Just what it is that they want is hard to pin down, but by early in the week I can feel it, and building: it circles the ship like a fin.

Celebrity’s fiendish brochure does not lie or exaggerate, however, in the luxury department. I now confront the journalistic problem of not being sure how many examples I need to list in order to communicate the atmosphere of sybaritic and nearly insanity-producing pampering on board the m.v.
Nadir
.

How about for just one example Saturday 11 March, right after sailing but before the North Sea weather hits, when I want to go out to Deck 10’s port rail for some introductory vista-gazing and thus decide I need some zinc oxide for my peel-prone nose. My zinc oxide’s still in my big duffel bag, which at that point is piled with all Deck 10’s other luggage in the little area between the 10-Fore elevator and the 10-Fore staircase while little men in cadet-blue Celebrity jumpsuits, porters—entirely Lebanese, this squad seemed to be—are cross-checking the luggage tags with the
Nadir
’s passenger list Lot #s and organizing the luggage and taking it all up the Port and Starboard halls to people’s cabins.

And but so I come out and spot my duffel among the luggage, and I start to grab and haul it out of the towering pile of leather and nylon, with the idea that I can just whisk the bag back to 1009 myself and root through it and find my good old ZnO;
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and one of the porters sees me starting to grab the bag, and he dumps all four of the massive pieces of luggage he’s staggering with and leaps to intercept me. At first I’m afraid he thinks I’m some kind of baggage thief and wants to see my claim-check or something. But it turns out that what he wants is my duffel: he wants to carry it to 1009 for me. And I, who am about half again this poor herniated little guy’s size (as is the duffel bag itself), protest politely, trying to be considerate, saying Don’t Fret, Not a Big Deal, Just Need My Good Old ZnO. I indicate to the porter that I can see they have some sort of incredibly organized ordinal luggage-dispersal system under way here and that I don’t mean to disrupt it or make him carry a Lot #7 bag before a Lot #2 bag or anything, and no I’ll just get the big old heavy weather stained sucker out of here myself and give the little guy that much less work to do.

And then now a very strange argument indeed ensues, me v. the Lebanese porter, because it turns out I am putting this guy, who barely speaks English, in a terrible kind of sedulous-service double-bind, a paradox of pampering: viz. the The-Passenger’s-Always-Right-versus-Never-Let-A-Passenger-Carry-His-Own-Bag paradox. Clueless at the time about what this poor little Lebanese man is going through, I wave off both his high-pitched protests and his agonized expression as mere servile courtesy, and I extract the duffel and lug it up the hall to 1009 and slather the old beak with ZnO and go outside to watch the coast of Florida recede cinematically à la F. Conroy.

Only later did I understand what I’d done. Only later did I learn that that little Lebanese Deck 10 porter had his head just about chewed off by the (also Lebanese) Deck 10 Head Porter, who’d had his own head chewed off by the Austrian Chief Steward, who’d received confirmed reports that a Deck 10 passenger had been seen carrying his own luggage up the Port hallway of Deck 10 and now demanded rolling Lebanese heads for this clear indication of porterly dereliction, and had reported (the Austrian Chief Steward did) the incident (as is apparently SOP) to an officer in the Guest Relations Dept., a Greek officer with Revo shades and a walkie-talkie and officerial epaulets so complex I never did figure out what his rank was; and this high-ranking Greek guy actually came around to 1009 after Saturday’s supper to apologize on behalf of practically the entire Chandris shipping line and to assure me that ragged-necked Lebanese heads were even at that moment rolling down various corridors in piacular recompense for my having had to carry my own bag. And even though this Greek officer’s English was in lots of ways better than mine, it took me no less than ten minutes to express my own horror and to claim responsibility and to detail the double-bind I’d put the porter in—brandishing at relevant moments the actual tube of ZnO that had caused the whole snafu—ten or more minutes before I could get enough of a promise from the Greek officer that various chewed-off heads would be reattached and employee records unbesmirched to feel comfortable enough to allow the officer to leave;
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and the whole incident was incredibly frazzling and angst-fraught and filled almost a whole Mead notebook and is here recounted in only its barest psychoskeletal outline.