29 May 2014 § Leave a comment
On the Coastal Starlight Amtrak, yesterday morning, observation deck.
Is this seat taken? a man asked. Shane stood at the edge of my base camp, a corner of the lounge car littered with books, pens, shoes, socks, a laptop on the floor, next to a jacket-pillow.
Nope, I said, and removed from the next seat a kitchen of hummus, cheese, and a dive knife sitting on a plate/cutting board/storage bag of the best homemade tortillas in the world.
You look like you’ve been enlightened by travel, he said.
Yes, I replied, enlightened to a world of things I don’t know anything about.
Train culture fascinates me. Indeed, all culture fascinates me, but trains in particular – the blurring of socio-economic lines in public areas; the potential for someone to sit next to you with whom you may have everything, or nothing, in common; that everyone, no matter how rich or poor, who chooses to dine on the train, eats the same microwaved, overpriced garbage. Even a recluse can make friends on a train.
Shane and I stumbled through the first minutes of shallow travel talk as the guide on the PA announced a contest: whomever counts the correct number of tunnels we pass through in the Oregon Cascades gets a prize.
In the uncountable dark tunnels, lit by tiny track lights in the ceiling, we traded stories of big hard lessons from the road, and what it means to have multiple homes. He spent months in a Russian prison circa the fall of the curtain, accused of spying. I told him about hitching in European blizzards, and in the Alaskan winterdark. How we got out of our predicaments: other people. Connections, loved ones.
You remind me of that guy in that movie, he said, you know, he went to Alaska, and he died?
Into the Wild was required reading for me in high school, I said, but I think I’m done hitching. I’m tired of sleeping at truck stops, under bridges, with the mice and mice of men.
I’ve been compared to Alexander Supertramp more times than I care to admit. At first, I felt complimented. I admired his idealism, his thirst for adventure. I wanted to push as many walls over as I could, whilst listening to the real Alaskan bushmen, hunters and fishermen and roughnecks, the fathers and uncles of my teenage years. They said he was an idiot, a moron, unprepared. The wilderness gives two shits about you, they said. Alaska will spit you out. He deserved what he got.
When I moved back to Alaska in my mid-twenties, I connected with the outdoors far more than with people. I packrafted glacier-fed class 3+ rapids in rain slicks, a brand-new hobby, and one I learned by trial and error alone; I bagged peaks in the Chugach and Alaska ranges without any real training or background in mountaineering; I hitched across the state, and took multiday backcountry adventures, sometimes in late fall or early spring. Conditions which, if anything went wrong, could have killed me.
To top it off, I never told anyone where I was going. I lived with my mum, who worked often. I never left notes, rarely took pictures. Often I didn’t know where I’d end up until I got to an out-of-the-way trailhead. My car was registed to a fake address half the state away, and I didn’t carry identification on my person – the useless card would weigh me down, I reasoned.
Maybe I wanted to be like John Muir, to toss some bread and tea into a sack, jump the proverbial fence, and walk into the wild unknown. But Alaska doesn’t really have fences. For two years, my mum’s place as base camp, I trusted my balance, resourcefulness, and growing experience to carry me through my adventures. In retrospect, I’m fairly certain that I didn’t really care much if I died out there.
Danny Boyle’s 127 Hours hit theaters in 2011. Adventure movie by the director of Slumdog Millionaire and 28 Days Later? Inspiration? Please! Sure, I’d thumbed through Aron Ralston’s Between a Rock and a Hard Place amongst mountaineering literature in bookshops, but never read it. The message reached me anyway.
In 127 Hours, the main character – played by James Franco – falls into a slot canyon in Utah’s Canyonlands National Park, and his hand gets wedged between the wall of the canyon and a rock roughly the size of a refrigerator. He goes through his gear: climbing rope, flashlight, camcorder, a bit of water; and imagines what it would take to get out of his predicament: eight strong men – who in the film appear as shadows in the relentless desert sun – pulling in sync on a line which might free the stuck young man below.
I pictured myself at the bottom of a whirlpool rapid on Alaska’s Sixmile River, or Sheep Creek (rivers I had no business running alone), or breaking an ankle near the summit of Bold Peak. I imagined facing off with a brown bear in the empty tundra of the Talkeetna mountains, and losing. Realistic situations, given my ambition. Then I envisioned the shadows of eight strong men, willing and able to help, playing cards back in Anchorage, because no one knew to look for me.
The point is that since the dangerous, unlikeable age of 23, I’ve learned some boundaries. My risk assessment is different now: why would I jump from the top of a fifteen-foot boulder, if I could walk nimbly down the other side?
If travel and adventure have enlightened me to anything, as Shane suggested, it is to the fragility of life. We humans are at once resilient and adaptive creatures, capable of creation, destruction, and healing. Yet it takes a relatively insignificant decision to alter the dynamic of life: half a second on a motorcycle, a moment’s hesitation on a mountain, saying a terribly inconsiderate – even if true – thing at the worst possible moment. Perhaps one reason we are so incredibly adaptive is that we are extremely sensitive to set and setting, and those who listen are the ones who learn, and thus, survive.
We’ve got work to do.
22 May 2014 § 2 Comments
Sometimes we tell stories over and over again to find out their significance to us. Just as it is common to see something new in a film one has watched multiple times, a connection which binds the characters closer may reveal itself in the hundredth telling of a story that didn’t seem to exist before.
The audience plays a large part in the development of story: pertinent questions, feedback, and criticism reflect holes, irrelevant information; it can help connect important, but perhaps misplaced, fragments. Pieces gathered during immersion.
Any story can be told from an experience. A picnic can be a sweetbitter serenade, or it can be a vicious slaughter of the ant-thieves. An arduous mountain ascent can be a reconciliation, or a cold lesson in compassion. To misquote the Beatles, perspective is all you need.
For months, I’ve been telling the same story over again, as if it was the only one. Every telling has had the same ending: I don’t know.
Which isn’t much of an ending at all. It’s a clue, however, that I’m still in it, still discovering characters, their roles, and the story’s plot points.
In this particular narrative, character becomes audience, and becomes character again. Insists that his input is important to the story, “so put it in the story!” The character wants to know why the narrator is there. Narrator as character: first person.
I imagine Ed Gish saying, does the architect reveal his plans? No, he builds the fucking building, and lets everyone marvel. No one cares what nails were used, how long the concrete took to dry, or which trusses support the heaviest loads. They care about having a place to live or work, and if it looks good, that’s great. If the building is energy efficient, made of recycled materials, or wins design awards, those are bonuses. The building is the point.
The story is the point.
This is a terrible time to write! The concrete is still being poured.