Into The Wild : Davis Gulch

Chapter IX : DAVIS GULCH

As to when I shall visit civilization, it will not be soon, I think. I have not tired of the wilderness; rather I enjoy its beauty and the vagrant life I lead, more keenly all the time. I prefer the saddle to the streetcar and star-sprinkled sky to a roof, the obscure and difficult trail, leading into the unknown, to any paved highway, and the deep peace of the wild to the discontent bred by cities. Do you blame me then for staying here, where I feel that I belong and am one with the world around me? It is true that I miss intelligent companionship, but there are so few with whom I can share the things that mean so much to me that I have learned to contain myself. It is enough that I am surrounded with beauty...

Even from your scant description, I know that I could not bear the routine and humdrum of the life that you are forced to lead. 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.

THE LAST LETTER EVER RECEIVED FROM EVERETT RUESS, TO HIS BROTHER, WALDO, DATED NOVEMBER 11,1934

What Everett Ruess was after was beauty, and he conceived beauty in pretty romantic terms. We might be inclined to laugh at the extravagance of his beauty-worship if there were not something almost magnificent in his single-minded dedication to it. Esthetics as a parlor affectation is ludicrous and sometimes a little obscene; as a way of life it sometimes attains dignity. If we laugh at Everett Ruess we shall have to laugh at John Muir, because there was little difference between them except age.

Wallace Stegner, Mormon Country

Davis Creek is only a trickle during most of the year and sometimes not even that. Originating at the foot of a high rock battlement known as Fiftymile Point, the stream flows just four miles across the pink sandstone slabs of southern Utah before surrendering its modest waters to Lake Powell, the giant reservoir that stretches one hundred ninety miles above Glen Canyon Dam. Davis Gulch is a small watershed by any measure, but a lovely one, and travelers through this dry, hard country have for centuries relied on the oasis that exists at the bottom of the slotlike defile. Eerie nine-hundred-year old petroglyphs and pictographs decorate its sheer walls. Crumbling stone dwellings of the long-vanished Kayenta Anasazi, the creators of this rock art, nestle in protective nooks. Ancient Anasazi potsherds mingle in the sand with rusty tin cans discarded by turn-of-the-century stockmen, who grazed and watered their animals in the canyon.

For most of its short length, Davis Gulch exists as a deep, twisting gash in the slickrock, narrow enough in places to spit across, lined by overhanging sandstone walls that bar access to the canyon floor. There is a hidden route into the gulch at its lower end, however. Just upstream from where Davis Creek flows into Lake Powell, a natural ramp zigzags down from the canyons west rim. Not far above the creek bottom the ramp ends, and a crude staircase appears, chiseled into the soft sandstone by Mormon cattlemen nearly a century ago.

The country surrounding Davis Gulch is a desiccated expanse of bald rock and brickred sand. Vegetation is lean. Shade from the withering sun is virtually nonexistent. To descend into the confines of the canyon, however, is to arrive in another world. Cottonwoods lean gracefully over drifts of flowering prickly pear. Tall grasses sway in the breeze. The ephemeral bloom of a sego lily peeks from the toe of a ninety-foot stone arch, and canyon wrens call back and forth in plaintive tones from a thatch of scrub oak. High above the creek a spring seeps from the cliff face, irrigating a growth of moss and maidenhair fern that hangs from the rock in lush green mats.

Six decades ago in this enchanting hideaway, less than a mile downstream from where the Mormon steps meet the floor of the gulch, twenty-year-old Everett Ruess carved his nom de plume into the canyon wall below a panel of Anasazi pictographs, and he did so again in the doorway of a small masonry structure built by the Anasazi for storing grain. "NEMO 1934," he scrawled, no doubt moved by the same impulse that compelled Chris McCandless to inscribe "Alexander Supertramp/May 1992" on the wall of the Sushana bus—an impulse not so different, perhaps, from that which inspired the Anasazi to embellish the rock with their own now-indecipherable symbols. In any case, shortly after Ruess carved his mark into the sandstone, he departed Davis Gulch and mysteriously disappeared, apparently by design. An extensive search shed no light on his whereabouts. He was simply gone, swallowed whole by the desert. Sixty years later we still know next to nothing about what became of him.

Everett was born in Oakland, California, in 1914, the younger of two sons raised by Christopher and Stella Ruess. Christopher, a graduate of Harvard Divinity School, was a poet, a philosopher, and a Unitarian minister, although he earned his keep as a bureaucrat in the California penal system. Stella was a headstrong woman with bohemian tastes and driving artistic ambitions, for both herself and her kin; she self-published a literary journal, the Ruess Quartette, the cover of which was emblazoned with the family maxim:

"Glorify the hour." A tight-knit bunch, the Ruesses were also a nomadic family, moving from Oakland to Fresno to Los Angeles to Boston to Brooklyn to New Jersey to Indiana before finally settling in southern California when Everett was fourteen.

In Los Angeles, Everett attended the Otis Art School and Hollywood High. As a sixteen-year-old he embarked on his first long solo trip, spending the summer of 1930 hitchhiking and trekking through Yosemite and Big Sur, ultimately winding up in Carmel. Two days after arriving in the latter community, he brazenly knocked on the door of Edward Weston, who was sufficiently charmed by the overwrought young man to humor him. Over the next two months the eminent photographer encouraged the boy's uneven but promising efforts at painting and block printing, and permitted Ruess to hang around his studio with his own sons, Neil and Cole.

At the end of the summer, Everett returned home only long enough to earn a high school diploma, which he received in January 1931. Less than a month later he was on the road again, tramping alone through the canyon lands of Utah, Arizona, and New Mexico, then a region nearly as sparsely populated and wrapped in mystique as Alaska is today. Except for a short, unhappy stint at UCLA (he dropped out after a single semester, to his father's lasting dismay), two extended visits with his parents, and a winter in San Francisco (where he insinuated himself into the company of Dorothea Lange, Ansel Adams, and the painter Maynard Dixon), Ruess would spend the remainder of his meteoric life on the move, living out of a backpack on very little money, sleeping in the dirt, cheerfully going hungry for days at a time.

Ruess was, in the words of Wallace Stegner, "a callow romantic, an adolescent esthete, an atavistic wanderer of the wastelands":

At eighteen, in a dream, he saw himself plodding through jungles, chinning up the ledges of cliffs, wandering through the romantic waste places of the world. No man with any of the juices of boyhood in him has forgotten those dreams. The peculiar thing about Everett Ruess was that he went out and did the things he dreamed about, not simply for a two-weeks' vacation in the civilized and trimmed wonderlands, but for months and years in the very midst of wonder. . . .

Deliberately he punished his body, strained his endurance, tested his capacity for strenuousness. He took out deliberately over trails that Indians and old timers warned him against. He tackled cliffs that more than once left him dangling halfway between talus and rim... From his camps by the water pockets or the canyons or high on the timbered ridges of Navajo Mountain he wrote long, lush, enthusiastic letters to his family and friends, damning the stereotypes of civilization, chanting his barbaric adolescent yawp into the teeth of the world.

Ruess churned out many such letters, which bore the postmarks of the remote settlements through which he passed: Kayenta, Chinle, Lukachukai; Zion Canyon, Grand Canyon, Mesa Verde; Escalante, Rainbow Bridge, Canyon de Chelly. Reading this correspondence (collected in W. L. Rusho's meticulously researched biography, Everett Ruess: A Vagabond for Beauty), one is struck by Ruess's craving for connection with the natural world and by his almost incendiary passion for the country through which he walked. "I had some terrific experiences in the wilderness since I wrote you last— overpowering, overwhelming," he gushed to his friend Cornel Tengel. "But then I am always being overwhelmed. I require it to sustain life."

Everett Ruess's correspondence reveals uncanny parallels between Ruess and Chris McCandless. Here are excerpts from three of Ruess's letters:

I have been thinking more and more that I shall always be a lone wanderer of the wilderness. God, how the trail lures me. You cannot comprehend its resistless fascination for me. After all the lone trail is the best. .. . I'll never stop wandering. And when the time comes to die, I'll find the wildest, loneliest, most desolate spot there is. The beauty of this country is becoming part of me. I feel more detached from life and somehow gentler... I have some good friends here, but no one who really understands why I am here or what I do. I don't know of anyone, though, who would have more than a partial understanding; I have gone too far alone.

I have always been unsatisfied with life as most people live it. Always I want to live more intensely and richly. In my wanderings this year I have taken more chances and had more wild adventures than ever before. And what magnificent country I have seen—wild, tremendous wasteland stretches, lost mesas, blue mountains rearing upward from the vermilion sands of the desert, canyons five feet wide at the bottom and hundreds of feet deep, cloudbursts roaring down unnamed canyons, and hundreds of houses of the cliff dwellers, abandoned a thousand years ago.

A half century later McCandless sounds eerily like Ruess when he declares in a postcard to Wayne Westerberg that "I've decided that I'm going to live this life for some time to come. The freedom and simple beauty of it is just too good to pass up." And echoes of Ruess can be heard, as well, in McCandless's last letter to Ronald Franz . Ruess was just as romantic as McCandless, if not more so, and equally heedless of personal safety. Clayborn Lockett, an archaeologist who briefly employed Ruess as a cook while excavating an Anasazi cliff dwelling in 1934, told Rusho that "he was appalled by the seemingly reckless manner in which Everett moved around dangerous cliffs."

Indeed, Ruess himself boasts in one of his letters, "Hundreds of times I have trusted my life to crumbling sandstone and nearly vertical edges in the search for water or cliff dwellings. Twice I was nearly gored to death by a wild bull. But always, so far, I've escaped unscathed and gone forth to other adventures." And in his final letter Ruess nonchalantly confesses to his brother:

/have had a few narrow escapes from rattlers and crumbling cliffs. The last misadventure occurred when Chocolatero [his burro] stirred up some wild bees. A few more stings might have been too much for me. I was three or four days getting my eyes open and recovering the use of my hands.

Also like McCandless, Ruess was undeterred by physical discomfort; at times he seemed to welcome it. "For six days I've been suffering from the semi-annual poison ivy case—my sufferings are far from over," he tells his friend Bill Jacobs. He goes on:

For two days I couldn't tell whether I was dead or alive. I writhed and twisted in the heat, with swarms of ants and flies crawling over me, while the poison oozed and crusted on my face and arms and back. I ate nothing—there was nothing to do but suffer philosophically.

. . . I get it every time, but I refuse to be driven out of the woods.

And like McCandless, upon embarking on his terminal odyssey, Ruess adopted a new name or, rather, a series of new names. In a letter dated March 1,1931, he informs his family that he has taken to calling himself Lan Rameau and requests that they "please respect my brush name. . . . How do you say it in French? Nomme de broushe, or what?"

Two months later, however, another letter explains that "I have changed my name again, to Evert Rulan. Those who knew me formerly thought my name was freakish and an affectation of Frenchiness." and then in August of that same year, with no explanation, he goes back to calling himself Everett Ruess and continues to do so for the next three years —until wandering into Davis Gulch. There, for some unknowable reason, Everett twice etched the name Nemo—Latin for "nobody"—into the soft Navajo sandstone—and then vanished. He was twenty years old.

The last letters anyone received from Ruess were posted from the Mormon settlement of Escalante, fifty-seven miles north of Davis Gulch, on November 11, 1934. Addressed to his parents and his brother, they indicate that he would be incommunicado for "a month or two." Eight days after mailing them, Ruess encountered two sheepherders about a mile from the gulch and spent two nights at their camp; these men were the last people known to have seen the youth alive.

Some three months after Ruess departed Escalante, his parents received a bundle of unopened mail forwarded from the postmaster at Marble Canyon, Arizona, where Everett was long overdue. Worried, Christopher and Stella Ruess contacted the authorities in Escalante, who organized a search party in early March 1935. Starting from the sheep camp where Ruess was last seen, they began combing the surrounding country and very quickly found Everett's two burros at the bottom of Davis Gulch, grazing contentedly behind a makeshift corral fashioned from brush and tree limbs.

The burros were confined in the upper canyon, just upstream from where the Mormon steps intersect the floor of the gulch; a short distance downstream the searchers found unmistakable evidence of Ruess's camp, and then, in the doorway of an Anasazi granary below a magnificent natural arch, they came across "NEMO 1934" carved into a stone slab. Four Anasazi pots were carefully arranged on a rock nearby. Three months later searchers came across another Nemo graffito a little farther down the gulch (the rising waters of Lake Powell, which began to fill upon the completion of Glen Canyon Dam, in 1963, have long since erased both inscriptions), but except for the burros and their tack, none of Ruess's possessions—his camping paraphernalia, journals, and paintings—was ever found.

It is widely believed that Ruess fell to his death while scrambling on one or another canyon wall. Given the treacherous nature of the local topography (most of the cliffs that riddle the region are composed of Navajo sandstone, a crumbly stratum that erodes into smooth, bulging precipices) and Ruess's penchant for dangerous climbing, this is a credible scenario. Careful searches of cliffs near and far, however, have failed to unearth any human remains.

And how to account for the fact that Ruess apparently left the gulch with a heavy load of gear but without his pack animals? These bewildering circumstances have led some investigators to conclude that Ruess was murdered by a team of cattle rustlers known to have been in the area, who then stole his belongings and buried his remains or threw them into the Colorado River. This theory, too, is plausible, but no concrete evidence exists to prove it.

Shortly after Everett's disappearance his father suggested that the boy had probably been inspired to call himself Nemo by Jules Verne's Twenty Thousand Leagues Under the Sea— a book Everett read many times—in which the pure hearted protagonist, Captain Nemo, flees civilization and severs his "every tie upon the earth." Everett's biographer, W. L. Rusho, agrees with Christopher Ruess's assessment, arguing that Everett's "withdrawal from organized society, his disdain for worldly pleasures, and his signatures As NEMO in Davis Gulch, all strongly suggest that he closely identified with the Jules Verne character."

Ruess's apparent fascination with Captain Nemo has fed speculation among more than a few Ruess mythographers that Everett pulled a fast one on the world after leaving Davis Gulch and is—or was—very much alive, quietly residing somewhere under an assumed identity. A year ago, while filling my truck with gas in Kingman, Arizona, I happened to strike up a conversation about Ruess with the middle-aged pump attendant, a small, twitchy man with flecks of Skoal staining the corners of his mouth. Speaking with persuasive conviction, he swore that "he knew a fella who'd definitely bumped into Ruess" in the late 1960s at a remote hogan on the Navajo Indian Reservation. According to the attendant's friend, Ruess was married to a Navajo woman, with whom he'd raised at least one child. The veracity of this and other reports of relatively recent Ruess sightings, needless to say, is extremely suspect.

Ken Sleight, who has spent as much time investigating the riddle of Everett Ruess as any other person, is convinced that the boy died in 1934 or early 1935 and believes he knows how Ruess met his end. Sleight, sixty-five years old, is a professional river guide and desert rat with a Mormon upbringing and a reputation for insolence. When Edward Abbey was writing The Monkey Wrench Gang, his picaresque novel about eco-terrorism in the canyon country, his pal Ken Sleight was said to have inspired the character Seldom Seen Smith. Sleight has lived in the region for forty years, visited virtually all the places Ruess visited, talked to many people who crossed paths with Ruess, taken Ruess's older brother, Waldo, into Davis Gulch to visit the site of Everett's disappearance.

"Waldo thinks Everett was murdered," Sleight says. "But I don't think so. I lived in Escalante for two years. I've talked with the folks who are accused of killing him, and I just don't think they did it. But who knows? You can't never really tell what a person does in secret. Other folks believe Everett fell off a cliff. Well, yeah, he coulda done that. It be an easy thing to do in that country. But I don't think that's what happened. "I tell you what I think: I think he drowned."

Years ago, while hiking down Grand Gulch, a tributary of the San Juan River some forty-five miles due east of Davis Gulch, Sleight discovered the name Nemo carved into the soft mud mortar of an Anasazi granary. Sleight speculates that Ruess inscribed this Nemo not long after departing Davis Gulch. "After corralling his burros in Davis," says Sleight, "Ruess hid all his stuff in a cave somewhere and took off, playing Captain Nemo. He had Indian friends down on the Navajo Reservation, and that's where I think he was heading." A logical route to Navajo country would have taken Ruess across the Colorado River at Hole-in-the-Rock, then along a rugged trail pioneered in 1880 by Mormon settlers across Wilson Mesa and the Clay Hills, and finally down Grand Gulch to the San Juan River, across which lay the reservation. "Everett carved his Nemo on the ruin in Grand Gulch, about a mile below where Collins Creek comes in, then continued on down to the San Juan. And when he tried to swim across the river, he drowned. That's what I think."

Sleight believes that if Ruess had made it across the river alive and reached the reservation, it would have been impossible for him to conceal his presence "even if he was still playing his Nemo game. Everett was a loner, but he liked people too damn much to stay down there and live in secret the rest of his life. A lot of us are like that—I'm like that, Ed Abbey was like that, and it sounds like this McCandless kid was like that: We

like companionship, see, but we can't stand to be around people for very long. So we go get ourselves lost, come back for a while, then get the hell out again. And that's what Everett was doing.

"Everett was strange," Sleight concedes. "Kind of different. But him and McCandless, at least they tried to follow their dream. That's what was great about them. They tried. Not many do." In attempting to understand Everett Ruess and Chris McCandless, it can be illuminating to consider their deeds in a larger context. It is helpful to look at counterparts from a distant place and a century far removed.

Off the southeastern coast of Iceland sits a low barrier island called Papos. Treeless and rocky, perpetually clobbered by gales howling off the North Atlantic, it takes its name from its first settlers, now long gone, the Irish monks known as papar. Walking this gnarled shore one summer afternoon, I blundered upon a matrix of faint stone rectangles embedded in the tundra: vestiges of the monks' ancient dwellings, hundreds of years older, even, than the Anasazi ruins in Davis Gulch.

The monks arrived as early as the fifth and sixth centuries A.D., having sailed and rowed from the west coast of Ireland. Setting out in small, open boats called curraghs, built from cowhide stretched over light wicker frames, they crossed one of the most treacherous stretches of ocean in the world without knowing what, if anything, they'd find on the other side.

The papar risked their lives—and lost them in untold droves— not in the pursuit of wealth or personal glory or to claim new lands in the name of any despot. As the great arctic explorer and Nobel laureate Fridtjof Nansen points out, "these remarkable voyages were ... undertaken chiefly from the wish to find lonely places, where these anchorites might dwell in peace, undisturbed by the turmoil and temptations of the world." When the first handful of Norwegians showed up on the shores of Iceland in the ninth century, the papar decided the country had become too crowded—even though it was still all but uninhabited. The monks' response was to climb into their curraghs and row off toward Greenland. They were drawn across the storm-racked ocean, drawn west past the edge of the known world, by nothing more than a hunger of the spirit, a yearning of such queer intensity that it beggars the modern imagination.

Reading of these monks, one is moved by their courage, their reckless innocence, and the urgency of their desire. Reading of these monks, one can't help thinking of Everett Ruess and Chris McCandless.