A very lonely place, especially in a storm…
Read about the Pleasant Hill bus tragedy.
Kiowa County, Colorado
A very lonely place, especially in a storm…
Read about the Pleasant Hill bus tragedy.
Kiowa County, Colorado
Who was Everett Ruess?
Over the years, when writing about my wilderness adventures or sharing photos online, I have often dropped the name Everett Ruess into my posts. It is well past time that I share the reason for doing so.
Warning: This report contains spoilers…
Like many people, I had never heard of Everett until I read the Jon Krakauer book Into the Wild—the biography of vagabond Christopher McCandless. In the middle of that story, a chapter entitled “Davis Gulch” introduced us to an artistic young explorer named Everett Ruess who was swallowed by the Utah desert in 1934; he was 20 years old. The account of the life and death of McCandless was a very interesting read, yet as I continued through the remaining pages, my mind kept drifting back to that all-too-brief chapter about Everett. Upon reaching the end of the book, I immediately returned to “Davis Gulch” for a second pass. It was clear that I needed to track down a biography and learn much more about this enlightened wanderer.
Krakauer used that chapter to highlight the similarities between Ruess and McCandless. Certainly, they did share a number of qualities, but I feel that their differences carry the day. That said, I cannot claim to fully understand all of the motivating factors that led Chris McCandless to that abandoned bus in Alaska. Reading his story, I could sense there was something going on inside Chris that I would never be able to decipher; likely, that something just isn’t a part of my fabric. Not so when reading about Everett—I identified with him instantly and effortlessly. Of all the celebrated wilderness adventurers, Ruess speaks to me like no other.
The best way to know Everett is by reading his beautifully written letters and journals; both collections are presented in the book Everett Ruess, A Vagabond for Beauty & Wilderness Journals. Featured are a great many of the letters Everett wrote to his friends and family during his solo adventures from 1930 through 1934.
At age 16, Everett set out on his first journey into the wild beauty of the West, exploring near Big Sur and Carmel before moving on to Yosemite National Park in the summer of 1930. He was away from home for most of the following year, spending February through October immersed in the glory of the Canyon Country in Arizona and Utah (including Grand Canyon and Zion National Parks). Everett returned to the desert between March and September of ’32, while also venturing into southwestern Colorado. 1933 saw his grand tour of California’s Sierras; for five months, beginning in June, he slowly rode up through Sequoia National Park, (what would become) Kings Canyon National Park, and on once more to Yosemite. In April of 1934, he left home for the last time, returning to the canyons of Arizona and Utah that he loved so much. His final letter, written near Escalante, Utah, was dated November 11, 1934.
The pages of this book overflow with Everett’s lyrical descriptions of the sublime western landscapes that surrounded him. But more than that, the letters and journals reveal the evolution of his emotional maturity, as he wrote of the things that truly mattered to him and of the deeper human connections which he desired but rarely found. On several occasions, Ruess referred to his longing for the elusive companionship of someone with an equal ability to appreciate the splendor found in wild lands.
Unlike some champions of the wilderness, Ruess was not a hermit, nor was he a misanthrope. He liked people, he just liked solitude better. While he managed to spend a great deal of time alone during these adventures, much of his travel brought him into national parks, and crossing paths with humans was inevitable. Everett often wrote fondly of his encounters with farmers, ranchers, cowboys, vagabonds, artists, naturalists, park rangers, CCC workers, tourists, campers, sportsmen and Native Americans. Most were merely passing acquaintances, but he did keep in touch with a few.
For Ruess, the beauty he found while wandering through the backcountry was its own reward. As an added bonus, it also served as inspiration for his art. Everett was a highly creative person, and his artistic talent was not confined to a single discipline. He wrote poems and essays inspired by places he had discovered or by events that happened along the way. He would rise before dawn to paint watercolors as the day’s first light illuminated beautiful rock formations. With his camera, he captured dramatic vistas as well as portraits of the people he met. And he created sketches of the scenery which would later be turned into blockprints.
All of this was taking place during the peak years of the Great Depression, and Everett managed to live quite frugally while on the trail. In addition to their letters, his parents would ship care packages to the post office of the nearest desert town, loaded with such items as camping gear, boots, books, art supplies, and edible treats. They would also mail what few dollars they could spare. When passing a ranch or a farm, Everett would offer to perform odd jobs in exchange for a meal or a night’s lodging. Often, he was able to sell or trade one of his prints or watercolors to acquire food and equipment.
At a time when employment and opportunity were scarce, Everett pondered his future, and was at a loss regarding its direction. More than once he expressed his dread at the thought of leading a conventional existence. Were there a way to be paid as a professional wanderer, he surely would have taken that path.
I don’t think I could ever settle down. I have known too much of the depths of life already, and I would prefer anything to an anticlimax.
Between adventures, Everett returned to Los Angeles to be with his family, attend school and work on improving his artistic technique. In October of 1933, he decided to spend the fall and winter living alone in San Francisco, and for those five months, he was on a mission to absorb as much culture as possible, through art exhibits, museums, concerts, operas, plays, lectures, films, books, and gatherings of creative people. By day, he would roam the city and paint. As exhilarating as these cultural experiences proved to be, Everett knew from the beginning that his stay in San Francisco would be temporary; once April arrived, he would be back on the trail with two new burros, exploring the desert’s rugged beauty.
Though Ruess had doubts about his ability to forge a career as an artist, his creative drive never left him; whether in the city or in the wild, inspiration found him and new pieces were constantly taking shape. And he was always on the lookout for opportunities to receive advice and constructive criticism. Within days of leaving home on that first adventure along the California coast, Everett showed up unannounced at the studio of famed photographer Edward Weston; he quickly became friends with Weston and his two youngest sons, Neil and Cole. Three years later, Ruess repeated that move just after his arrival in San Francisco with a visit to the studio of painter Maynard Dixon, and in short order, befriended Dixon and his wife, photographer Dorothea Lange. They saw each other often; effectively, the power couple played the role of surrogate parents to Everett while he was in the Bay Area. Maynard shared valuable insight that would help the young man develop his artistic eye; Dorothea and Everett enjoyed many photographic and cultural outings together, including this little jaunt to a presentation by one of my favorite authors:
On Tuesday, Mrs. Dixon and I went to Berkeley to hear Rockwell Kent. We enjoyed seeing the cuts and paintings shown very large on a screen.
There was also a meeting with Ansel Adams…
(The Adams photograph which Everett describes can be viewed here.)
It’s no surprise that I hold Ruess in high regard, nor that he comes to mind now and again when I’m reveling in my own adventures under a big sky. Though he had his burros and I have my Pontiac, we share an affinity for solo wilderness exploration, as well as three of my greatest diversions—photography, music and books. He wrote often of the books he was reading while on the trail, occasionally quoting passages that moved him. And my thanks go out to Everett for recommending a few titles that I had yet to discover, such as Willa Cather’s Death Comes for the Archbishop.
Generally, I am not prone to envy; however, there is a little of it at play in this case. To be sure, carpooling with Everett and Dorothea to the Rockwell Kent lecture is on my time-travel wishlist. But the envy I have in mind applies to broader aspects of Everett’s life—his education, for one. It’s astonishing that these letters and journal entries were written by a teenager. Ruess strikes me as exceptionally articulate and erudite for his age, with a remarkable grasp of philosophy. That certainly cannot be said of me or my friends when we were 16. (Can I blame that on growing up in the age of television? Were all students back then as bright as Everett?)
Additionally, I envy the freedom of movement that Ruess enjoyed in the early ’30s. While hardly ancient history, it’s far enough back that the West was much more wild and open than it is today. I would love to see it as he did…fewer inhabitants, fewer highways, no cell towers, less development, and much less fencing.
It is out of admiration for Everett—not envy—that I write this post; admiration for daring to follow his heart into the wilderness, for the ardent joy he derived from the beauty of the West, and for the wealth of living he packed into those final five years.
A web search will reveal that the vast majority of the public’s interest in Everett Ruess centers on the mystery of his disappearance. I find that unfortunate; his intense love of nature, his art, his writing, his ability to find bliss in solitude, and his passion for living life to the fullest are worthy of much greater appreciation. As to the how and why of his departure, I really don’t care…but then, the mystery and crime genres have never appealed to me. I can certainly understand why his family and friends cared enough to go looking for him, but at this point in time, I’d rather see people focus on Everett’s brief yet fascinating life and, with finality, declare his whereabouts as “unknown.”
Frankly, I can think of no better ending for a true lover of the wild. And, for the record, should anyone wish to pull out the phrase “That’s the way he would have wanted to go” once I have gone over the Big Ridge, qualifying circumstances would include an accident while exploring lonely roads in the Pontiac, or a mishap while hiking or camping in the wilderness—lightning strike, severe weather event, landslide, being eaten by wild animals, falling from a cliff, direct hit by a meteorite, and so on. Spending my last moments in a hospital or, for that matter, anywhere indoors? No, thanks—that’s the most dreadful possibility I can imagine. If I have any control over my exit, I’ll be guided by the words Everett wrote to his brother Waldo in 1931:
…I shall go on some last wilderness trip, to a place I have known and loved. I shall not return.
~ ~ ~
Photograph of Everett Ruess (top of page) by Dorothea Lange, 1933
Illustrations and text by Everett Ruess, 1930-1934
Everett Ruess, A Vagabond for Beauty © 1983 by Gibbs M. Smith, Inc.
Wilderness Journals of Everett Ruess © 1998 by Gibbs Smith, Publisher
Everett Ruess Combination Edition © 2002 by Gibbs Smith, Publisher
(Posts about my library are archived through this link: ridingwithcarl.wordpress.com/tag/library)
I must pack my short life full of interesting events and creative activity. Philosophy and aesthetic contemplation are not enough. I intend to do everything possible to broaden my experiences and allow myself to reach the fullest development. Then, and before physical deterioration obtrudes, I shall go on some last wilderness trip, to a place I have known and loved. I shall not return.
~ Everett Ruess, letter dated May 2, 1931
Cimarron National Grassland, Kansas
(Much more on Everett coming up in next Sunday’s post…)
The Great Plains in those early days were solitary and desolate beyond the power of description; the Arkansas River sluggishly followed the tortuous windings of its treeless banks with a placidness that was awful in its very silence; and whoso traced the wanderings of that stream with no companion but his own thoughts, realized in all its intensity the depth of solitude from which Robinson Crusoe suffered on his lonely island. Illimitable as the ocean, the weary waste stretched away until lost in the purple of the horizon, and the mirage created weird pictures in the landscape, distorted distances and objects which continually annoyed and deceived. Despite its loneliness, however, there was then, and ever has been for many men, an infatuation for those majestic prairies that once experienced is never lost…
The Old Santa Fé Trail
Back in February, I shared photographs and video of the scant few coyotes I’ve spotted over the years. But I have since learned that I was wrong about the number of coyotes I’ve seen as well as which one came first. It just so happens that my very first coyote sighting took place during my very first road trip in the Pontiac during my very first hour in Montana.
The evidence appeared recently when I started to tackle a laborious and long-overdue project—digitizing the content from dozens of old videotapes that I shot back in the ’80s and ’90s. Foremost among those cassettes were the VHS tapes I recorded in the autumn of 1990 while on my long road adventure to California…a journey that was an unending parade of states and places I had never seen before.
It has been many years since I’ve watched this footage; there’s a lot of stuff on these tapes that I don’t even remember shooting. I spent a day driving around in Yellowstone National Park, and that tape—as you’d expect—is packed full of unusual and beautiful vistas. Moving on, I exited the park through its northern boundary and found myself alone in the rolling golden hills of Montana. The first resident I encountered in the Treasure State? This furry ambassador…
Click above to watch the video (YouTube)
By the way, please excuse the terrible quality of this video. I now have a large quantity of VHS clips available from this era (superior in quality to this one) and I hope to share many of them…once I get around to it. Stay tuned.
So, things were pretty peachy once I arrived in California after my epic trek westward…
Truth is, this is just some beautiful home on the bi-weekly route of the landscaping company that hired me to prune, rake, pull weeds, haul mulch and drown slugs on stately properties throughout Marin County. As I knew that the work day would end here and the owners would not be home, I washed the car the evening before and packed the camera.
Photo taken in 1991 on (the short-lived) Kodak Ektar 125 film.
(…addendum to last month’s post, “Soundtrack“)
Ennio Morricone was more than one of the world’s great soundtrack composers—he was one of the world’s great composers, period. For me, his work stands with Bach, Mozart, Debussy, Ellington and Stravinsky in achieving that rare fusion of heart and mind. Dare we compare the five notes of his famous “coyote call” in The Good, the Bad and the Ugly with the four opening notes of Beethoven’s Fifth Symphony? Morricone’s music is just as timeless.
I certainly agree. And those of you who know me understand that I am far from qualified to offer appraisals of orchestral music, which comprises a very tiny portion of my library. Nor am I any kind of an expert on film, having watched far fewer movies in my lifetime than the average citizen. But I do know what works for me.
I’ve always found the Westerns of Sergio Leone to be quite absorbing…in a manner that I have not experienced with other films. I believe that Morricone’s soundtrack is the magical ingredient responsible. Leone’s visuals are striking, and their marriage with the Maestro’s music creates a chemistry that draws my full attention to the screen. There are moments in these films that hold me in a transfixed state—not with tension, but with something more akin to awe and reverence.
Whether or not the Western film genre is to your liking, you may still appreciate the beauty and the power of Morricone’s music, and I encourage you to enjoy the samples of his work that can be found online. Here are two of my favorites to get you started…
“The Ecstasy of Gold” from The Good, the Bad and the Ugly, conducted here by Morricone, and featuring vocalist Susanna Rigacci:
Click above to hear “The Ecstasy of Gold” (YouTube video)
And the title theme to A Fistful of Dollars, performed by The Danish National Symphony Orchestra:
Click above to hear “A Fistful of Dollars” (YouTube video)
Morricone had a unique ability to bring drama and fire to a scene, along with that haunting beauty which makes his compositions so very special. Wanderers of the desert and the plains could hope for no better composer to score the desolate majesty that surrounds them. Farewell, Maestro.
Radio is not a practical source of music when you’re driving across the vastness of the open prairie. Fact is, my Pontiac’s stock AM radio died before I ever bought the car. During those first years on the road, I ran a 12-volt hookup to the back seat where I had perched a large boombox that could play tapes and CDs. After that unit died, I had a Pioneer CD player installed under the dash. When the road dust finally clogged up that player after many years of solid service, I replaced it with a modern car stereo that plays MP3 files on USB sticks, eliminating the need to drag along dozens and dozens of CDs every time I hit the road. I now have hundreds of my favorite road songs and albums available at the touch of a small remote control.
Music has always been a critical component of my road adventures in the LeMans. And as I started venturing deeper into the unfrequented areas of the continent, I noticed that my listening habits were shifting accordingly. Such spaces demand music with its own spaciousness…a sparser approach to studio production, with just the right amount of reverb and ambience to open up the sound. The singer-songwriter genre has come to the fore of my playlist; the strum of an acoustic guitar superbly compliments the hum and the feel of rolling wheels. And the ultimate musical expression on a twilight drive through the grasslands is the cry of a pedal steel guitar—the closest that humans have come to simulating the plaintive song of the coyote.
It will come as no surprise that the hours centered around sunset are my favorite for rural exploration. Adding the beautiful colors of the evening sky to the intoxicating blend of aural and visual delights, and the freedom of an open and desolate road, brings the enjoyment to a level that is difficult to describe. I’ll just say that it is a spellbinding and deeply satisfying experience to be caught in that feedback loop…the scenery magnifying the impact of the music, the music heightening the glory of the scenery. Fahrvergnügen, indeed.
A few songs are so powerful when heard in the splendid isolation of the Great Plains that I refuse to listen to them at home or in other vehicles; those tracks are reserved solely for use in the Pontiac while I’m basking in that solitude. To hear them in any other setting would be a dreadful anticlimax.
Artists such as Neil Young, Johnny Cash, Bruce Cockburn, Emmylou Harris, John Prine, Lyle Lovett, Rodney Crowell, Cowboy Junkies, Gordon Lightfoot, Nick Drake, Townes Van Zandt—to name but a few—have a keen ability to capture the freedom and romance found in wide-open spaces and behind the wheel on roads less traveled. Their music is the ideal accompaniment to open air and forward motion, their lyrics are devastating in such wild and lonely places.
Over many years of driving these roads and revisiting various locations and moods, there are several songs, albums and artists that have come to be paired repeatedly with certain elements of the journey, as they fit so well together—the weather or the appearance of the sky, a particular time of day (there’s one large folder of tunes dedicated to night driving), the surrounding terrain, or a specific place on the map. Gordo rules the stereo when I’m riding through Canada’s boreal forest; Neil’s classic album Harvest Moon is played each year during the celestial event of the same name; Stevie Ray Vaughan is the perfect choice for those long, lonely roads in western Texas.
The songs from those vintage tapes and discs that I’ve loved for so long are not the only tunes that travel with the Pontiac…I’m always adding newer titles to my library as I discover them. One of the greatest gifts to the world of driving music in the past decade has come from The Barr Brothers. I was already familiar with the Barrs from the imaginative albums of their first band, The Slip, whose music I aired often during my weekend shifts at a local radio station. (Unfortunately, I left the station around the time when The Barr Brothers released their debut album; had I stayed on, they’d have gotten some serious exposure in this market.)
Earlier this month, on a Sunday sunset/twilight tour through some remote corners of my area code, I put in enough miles to enjoy all four of their albums back to back…
Click above to hear “Wolves” by The Barr Brothers (YouTube video)
Like The Slip before them, The Barr Brothers have crafted a unique sound. Their creative instrumentation appeals to me, and the spacious quality of their music certainly amplifies the exhilaration of riding across beautiful landscapes under a big sky.
Looking back at my travels over the last several years, I recall many parts of the continent where the Barrs have provided a wonderful soundtrack to the passing scenery, including my premier journeys to northwestern Colorado (May 2019) and northern Quebec (September 2019).
No doubt I’ll be enjoying their albums yet again later this year when, once more, I head westward into the Great American Desert.
‘Twas thirty years ago today that I purchased the LeMans (you can read that story here.)
Hoping for at least twenty more years together. We shall see.