Tag: petroglyphs

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Capitol Reef and Graffiti

Wayne County, Utah, at 6:00 AM, and the morning breezes crowded around the willow leaves and brought the mosquitoes. First light spread over the red land. With all the Mars hubbub in the news, it made me wonder. We live on a red planet, too. And yellow and travertine green and gray and blue and the purple rock that the geologists tell me cannot be purple, but my artist’s metaphor mind screams, “That’s purple.” The sunlight scudded above the herringbone clouds. The Fremont River running rusty from the push of mountain rains.

Capitol Reeg

My first foray into Capitol Reef, AKA the Sleeping Rainbow and the Water Pocket Fold. Over a hundred miles long, north to south, a crooked, twisted sandstone dragon of exposed remnants of primordial volcanic ash, hot monsoon forests, magma runoff from eastern volcanoes, Sahara desert-like dunes, all leveled one on top of the other, a loaf of multicolored sandstone with names like Chinle and Kayenta and Navojo Sandstone with arches and bridges and hoodoos that look like chairs and tables and goblins and rabbits and many other things the imagination of man and woman can dredge up.

Betty and I dove into the depths of the reef, first the Gifford House and the fruit orchards of Fruita that belie the geologic chaos just beyond. Into Capitol Gorge and the petroglyph narrows where we stopped and spoke the name of friend, mentor, and long-time resident of Wayne County, Gail Larrick. We spoke it softly, then I bellowed it and the echoes rambled up the red walls that loomed above us with their black water stains. Rambled, then bumped and jumped and floated back to us like the voices of the long-ago etchers of the figures in the red rock. Farther in, the Pioneer Registry, signatures of the pioneers who used the gorge as a passageway from east to west. And newer namings, too, unwanted names of kids from LA and Phoenix and Salt Lake. Graffiti we call it. The oldest stuff on these walls are petroglyphs; the earliest Anglo names we call a registry, the newest stuff a blight. But wait, what is now petroglyphs might once have been graffiti and what is now graffiti might one day, one thousand years hence, be a thing revered. Our descendents might call it a registry or…petroglyphs.

At Petroglyph Narrows

Out of the canyon and out to Teasdale, old home of Gail Larrick and then on to Boulder Mountain and a gut-punching view of the reef, the Henry Mountains beyond and if not for thunderstorms, the mountains of western Colorado.

Gifford House

We traveled farther east; at Caineville and Hanksville, a land that reminded us of another planet that we had seen in some science fiction movie. Dead trees, tumbled-down gray and tan rock. Buttes that stood out like monuments built by ancient Native Americans, but with Anglo names like Factory Butte. A wild and windy place, sand in the gaps between the teeth, uranium mines, gold mines, turf so tough the cattle showed in ones and twos, miles and miles apart. Rain storms boomed in the surrounding peaks.

I am a native of the southwest. My people came in the 1840s. I thought I knew the red rock country. But Capitol Reef and points east…Vavoom!

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Canyon de Chelly

Recently Betty and I journeyed to the Southwest to show our film and visit family members who live there. On the way back to Idaho, we visited a few places that we had not seen for many years as well as a few places that were on our wish list.

One of the destinations was Canyon de Chelly on the Navajo Nation in northeastern Arizona. I was born and raised in Arizona and yet had never ventured there. My father often talked about us visiting Canyon de Chelly. (He pronounced Chelly, as Shelly, instead of the Spanishized word “Chelly,” which has been incorporated into English so that it is pronounced “de shay.” The Navajo word for the canyon is “Tseyi” which was borrowed by the Spanish as “de Chelly” and incorporated into English from there.) But we never went and I suppose it was because my father did not like to go anywhere too far from his house, his job, his business, and I also think he didn’t really want to go much of anywhere with me. My saying as much isn’t to rebuke my father, because I was a handful when young, always getting into messes in places I had no business getting into. I talked incessantly and asked a lot of questions. I had opinions—strong ones—which when expressed, often made my father’s face turn the red color of the cliffs in northern Arizona.

In the summer of 1963, I worked on the Navajo Nation in a little slaughter house that killed dry ewes. The packing plant sat on a small piece of private land outside of Window Rock, not really that far from Canyon de Chelly. But I never ventured to the canyon, just hung out trying to see if I liked smoking cigarettes, getting trucks stuck in the snotty clay of a wet summer, dreaming about sex and being scared near to death about the sin of it all, the chilling thrill.

But two days before Christmas of 2011, Betty and I met Leon Skyhorse Thomas, a Navajo guide, musician, filmmaker and native ceremonial officiate, at the visitor’s center of the canyon. We climbed into his beat-up white Jeep with our camera gear and drove into the heart of Canyon de Chelly. The walls are the color of terra cotta when the light is right, and almost orange when the light is right a different way. They shoot right up like someone cut them with a cross-cut saw, then used an adze to shape them. It was early and cold and the breeze was like Kit Carson’s saber when he drove his U S Army troops into the canyon in the 1860s to destroy the native strongholds and their beloved peach tree orchards.

First Ruin

The ride in was rough along roads that seemed to change like the tracks of sidewinders in a wind- driven sand. The walls were narrow and Chinle Creek was mostly frozen. I asked about the notorious quicksand of the canyon and he laughed and told me he’d buried three vehicles in the canyon. After hearing that, I seemed to sit lighter in my seat as we jounced and bounced and battered our way down the track between the narrow walls. Several times Leon stopped, got out, and surveyed which route might be the best.

There are still farms in the bottom of the canyon, and people live there in the summer. The way the light lit up the warm, south-facing walls of the canyon played against the dark walls of the cold side and we were rocking and reeling back and forth between the dark and the light.

White House Ruin

Leon spoke Navajo to us. A lot. He sang to us in Navajo, too, and he chanted a prayer. And he took us to First Ruin and White House Ruins and to natural alcoves, one where Navajos had scratched pictographs in charcoal that documented a Ute Indian raid into the canyon. We saw Anasazi petroglyphs and Hopi petroglyphs and both ancient and more modern native pictographs. Petroglyphs are art sculpted into rock. Pictographs are painted with pigment onto rock. And the wind knifed through the bare limbs of the cottonwood trees. And the cold pelts of the resident cattle and horses were fluffed up to deflect the cut of the morning.

Canyon de Chelly Petroglyphs

Once, parked next to some rock art, Leon began to explain the Navojo sensibility vis a vis the canyon. As he spoke he changed from English to Navajo. We didn’t know what the words meant but we understood the emotion of them as they flew away from Leon and married the sculpted and concave walls of the towering cliffs. His words began to echo, around and around us, through the trees, along the fence lines, and back against the walls.

Canyon de Chelly Pictograph of Ute Raid Into the Canyon

For visitors to Canyon de Chelly, there are motels with clean rooms and good food. The Navajo people are friendly and attentive. I suspect summertime is very busy and very hot. The fall might be the best time to go, because as Betty likes to say, the fall is always the best time to travel.