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      CONNECTED | MAY 27, 2025

      Behind the scenes of “76 Days Adrift,” a true shipwreck story screening at PEM

      Daniel Finamore

      Written by

      Daniel Finamore

      Michele Felice Cornè, America of Marblehead in a storm, about 1800. Oil on canvas. M4687. Gift of Charles H. Taylor, 1939.

      Most of us have never been far enough out at sea to have had the disorienting experience of a 360-degree view of a watery horizon, unbroken by any land. Even fewer people have been there alone, without a hard-bottomed boat or effective means of steering or propelling.

      In January 1982, a young sailor named Steve Callahan headed off westbound on a solo transatlantic voyage from Spain to the Caribbean island of Antigua, returning from an eastward passage he had begun with a friend in Newport, Rhode Island. But what was supposed to be an uneventful return expedition turned into a nightmare when, after many days of bad weather, his boat hit and was punctured by a submerged object. As Callahan’s boat slowly sank lower and lower, taking on water from the hole and the waves that broke over the deck, he took to his small, round inflatable life raft, which he filled with only the gear he could grab. For the following 76 days, he figured out how to survive — catching fish, patching holes in his raft, approximating his location with primitive navigation equipment and fending off aggressive sea creatures — until he was rescued by fishermen near the island of Guadeloupe. Realizing that the physical and mental challenges wrought by his situation had changed him as a person, he set about writing his story, which quickly became a bestseller.

      Cover of Adrift: Seventy-six Days Lost at Sea
      Cover of Adrift: Seventy-six Days Lost at Sea

      His book was released in 1986 (and I read it a few years later), but the tale is a timeless one: a solo human struggling to survive in an unforgiving and unpredictable environment. Every day brought a new challenge — where to obtain food, how to get to safety or at least survive to another day — and the urgent need for creative answers to these questions. History is filled with such stories, and library shelves and nautical reading lists are replete with survivors’ accounts.

      But Callahan’s account is different. It takes place in our time. He’s relatable: just an ordinary guy with a passion for nature and self-determination. And, luckily for us, an old friend of his named Rob Sennott decided it was time to tell his friend’s harrowing tale in a more immersive manner. His film 76 Days Adrift takes advantage of modern cinematic technology, with aerial drone shots and evocative views looking outward from inside a fragile raft. The film conveys a gut-wrenching, you-are-there quality that obliterates any romantic notions about communing with nature from the surface of the sea. And if the authenticity of Callahan’s experience isn’t compelling enough, the support of executive producer Ang Lee of Life of Pi fame is sure to guarantee an engrossing experience.

      Stories of shipwreck and survival are intriguing to people far beyond the world of the sailor. Among the most commented-upon objects in PEM’s Maritime Art gallery — and likely in the entire museum — is James Drown’s calendar stick, which he engraved with information to record his experience while stranded on a remote island in 1803. Luckily for Callahan, the island he drifted to was well-populated, so coming ashore for him meant salvation, not isolation!

      M22 image10 O5

      James Drown, Calendar stick made on Tristan da Cunha, 1804. Wood. Museum collection, about 1805.

      Callahan donated his survival equipment to PEM shortly following his ordeal. All of his possessions show clear signs of the corrosive marine environment. His well-worn and torn raft, a plastic sphere for desalinating sea water to make it drinkable, a flare pistol, wooden paddles and a fish knife are similar to many older items in the Maritime collection. The 19th-century versions include a floating chair intended to save a sailor from a sinking ship, fragments of survival equipment and, more poignantly, fragments of ships that didn’t survive.

      PEM will open a new and exciting installation this December that features the museum’s founding collections of “natural and artificial curiosities” collected in the early 19th century. In the oldest part of the museum, East India Marine Hall, visitors will be able to explore several hundred objects from around the world and reflect on the global perspective that has made Salem such a unique city, as well as the arduous maritime endeavors that perspective necessitated. Among those objects will be one that Callahan will no doubt identify with: a doughnut-shaped leather bag with straps for the shoulders and a brass nozzle for rapid inflation that makes, essentially, a pair of inflatable buoyant pants.

      Objects like this fish hook will be on view in the new installation of East India Marine Hall. Kanaka Maoli (Native Hawaiian) artist Makau (fishhook), first half 19th century. Tortoiseshell. Gift of Mr. Stephen W. Phillips and Mrs. Stephen H. Phillips, 1925, E19689.
      Objects like this fish hook will be on view in the new installation of East India Marine Hall. Kanaka Maoli (Native Hawaiian) artist Makau (fishhook), first half 19th century. Tortoiseshell. Gift of Mr. Stephen W. Phillips and Mrs. Stephen H. Phillips, 1925, E19689.

      PEM will screen 76 Days Adrift at 2 pm on Sunday, June 22, followed by an informal showing of some artifacts from the ill-fated voyage, and a conversation with Steve Callahan and Rob Sennott. This gripping film highlights our fascination with shipwrecks, human endurance and, in particular, Callahan’s tenacity, grit and determination to survive.

      Reserve your tickets to the screening on June 22.

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