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Overview
In Crossing Open Ground, award-winning literary writer Barry Lopez offers prescient, beautiful, and thought-provoking reflections on how the natural world can define and illuminate our sense of self. Whether he’s traversing the Arctic tundra or the deserts of the American Southwest, recalling the devastating beaching of forty-one sperm whales along the Oregon coast or reveling in the remarkable migrations of wild geese, Lopez shows readers the world’s special places, its remarkable people, and stunning natural events. He thoughtfully explores humankind’s place in this vast natural scheme, and opens our eyes to its breathtaking complexity. This ebook features an illustrated biography of Barry Lopez including rare images and never-before-seen documents from the author’s personal collection.
Product Details
| ISBN-13: | 9781480409170 |
|---|---|
| Publisher: | Open Road Media |
| Publication date: | 06/25/2013 |
| Sold by: | Barnes & Noble |
| Format: | eBook |
| Pages: | 208 |
| Sales rank: | 736,374 |
| Lexile: | 1220L (what's this?) |
| File size: | 8 MB |
About the Author
Read an Excerpt
Crossing Open Ground
By Barry Lopez
OPEN ROAD INTEGRATED MEDIA
Copyright © 1988 Barry Holstun LopezAll rights reserved.
ISBN: 978-1-4804-0917-0
CHAPTER 1
The Stone Horse
The deserts of Southern California, the high, relatively cooler and wetter Mojave and the hotter, dryer Sonoran to the south of it, carry the signatures of many cultures. Prehistoric rock drawings in the Mojave's Coso Range, probably the greatest concentration of petroglyphs in North America, are at least three thousand years old. Big game hunting cultures that flourished six or seven thousand years before that are known from broken spear tips, choppers, and burins left scattered along the shores of great Pleistocene lakes, long since evaporated. Weapons and tools discovered at China Lake may be thirty thousand years old; and worked stone from a quarry in the Calico Mountains is, some argue, evidence that human beings were here more than two hundred thousand years ago.
Because of the long-term stability of such arid environments, much of this prehistoric stone evidence still lies exposed on the ground, accessible to anyone who passes by—the studious, the acquisitive, the indifferent, the merely curious. Archaeologists do not agree on the sequence of cultural history beyond about twelve thousand years ago, but it is clear that these broken bits of chalcedony, chert, and obsidian, like the animal drawings and geometric designs etched on walls of basalt throughout the desert, anchor the earliest threads of human history, the first record of human endeavor here.
Western man did not enter the California desert until the end of the eighteenth century, 250 years after Coronado brought his soldiers into the Zuni pueblos in a bewildered search for the cities of Cibola. The earliest appraisals of the land were cursory, hurried. People traveled through it, en route to Santa Fe or the California coastal settlements. Only miners tarried. In 1823 what had been Spain's became Mexico's and in 1848 what had been Mexico's became America's; but the bare, jagged mountains and dry lake beds, the vast and uniform plains of creosote bush and yucca plants, remained as obscure as the northern Sudan until the end of the nineteenth century.
Before 1940 the tangible evidence of twentieth-century man's passage here consisted of very little—the hard tracery of travel corridors; the widely scattered, relatively insignificant evidence of mining operations; and the fair expanse of irrigated fields at the desert's periphery. In the space of a hundred years or so the wagon roads were paved, railroads were laid down, and canals and high-tension lines were built to bring water and electricity across the desert to Los Angeles from the Colorado River. The dark mouths of gold, talc, and tin mines yawned from the bony flanks of desert ranges. Dust-encrusted chemical plants stood at work on the lonely edges of dry lake beds. And crops of grapes, lettuce, dates, alfalfa, and cotton covered the Coachella and Imperial valleys, north and south of the Salton Sea, and the Palo Verde Valley along the Colorado.
These developments proceeded with little or no awareness of earlier human occupations by cultures that preceded those of the historic Indians—the Mohave, the Chemehuevi, the Quechan. (Extensive irrigation began to actually change the climate of the Sonoran Desert, and human settlements, the railroads, and farming introduced many new, successful plants and animals into the region.)
During World War II, the American military moved into the desert in great force, to train troops and to test equipment. They found the clear weather conducive to year-round flying, the dry air, and isolation very attractive. After the war, a complex of training grounds, storage facilities, and gunnery and test ranges was permanently settled on more than three million acres of military reservations. Few perceived the extent or significance of the destruction of aboriginal sites that took place during tank maneuvers and bombing runs or in the laying out of highways, railroads, mining districts, and irrigated fields. The few who intuited that something like an American Dordogne Valley lay exposed here were (only) amateur archaeologists; even they reasoned that the desert was too vast for any of this to matter.
After World War II, people began moving out of the crowded Los Angeles basin into homes in Lucerne, Apple, and Antelope valleys in the western Mojave. They emigrated as well to a stretch of resort land at the foot of the San Jacinto Mountains that included Palm Springs, and farther out to old railroad and military towns like Twentynine Palms and Barstow. People also began exploring the desert, at first in military-surplus jeeps and then with a variety of all-terrain and off-road vehicles that became available in the 1960s. By the mid-1970s, the number of people using such vehicles for desert recreation had increased exponentially. Most came and went in innocent curiosity; the few who didn't wreaked a havoc all out of proportion to their numbers. The disturbance of previously isolated archaeological sites increased by an order of magnitude. Many sites were vandalized before archaeologists, themselves late to the desert, had any firm grasp of the bounds of human history in the desert. It was as though in the same moment an Aztec library had been discovered intact various lacunae had begun to appear.
The vandalism was of three sorts: the general disturbance usually caused by souvenir hunters and by the curious and the oblivious; the wholesale stripping of a place by professional thieves for black-market sale and trade; and outright destruction, in which vehicles were actually used to ram and trench an area. By 1980, the Bureau of Land Management estimated that probably thirty-five percent of the archaeological sites in the desert had been vandalized. The destruction at some places by rifles and shotguns, or by power winches mounted on vehicles, was, if one cared for history, demoralizing to behold.
In spite of public education, land closures, and stricter law enforcement in recent years, the BLM estimates that, annually, about one percent of the archaeological record in the desert continues to be destroyed or stolen.
2
ABLM archaeologist told me, with understandable reluctance, where to find the intaglio. I spread my Automobile Club of Southern California map of Imperial County out on his desk, and he traced the route with a pink felt-tip pen. The line crossed Interstate 8 and then turned west along the Mexican border.
"You can't drive any farther than about here," he said, marking a small x. "There's boulders in the wash. You walk up past them."
On a separate piece of paper he drew a route in a smaller scale that would take me up the arroyo to a certain point where I was to cross back east, to another arroyo. At its head, on higher ground just to the north, I would find the horse.
"It's tough to spot unless you know it's there. Once you pick it up ..." He shook his head slowly, in a gesture of wonder at its existence.
I waited until I held his eye. I assured him I would not tell anyone else how to get there. He looked at me with stoical despair, like a man who had been robbed twice, whose belief in human beings was offered without conviction.
I did not go until the following day because I wanted to see it at dawn. I ate breakfast at 4 A.M. in El Centro and then drove south. The route was easy to follow, though the last section of road proved difficult, broken and drifted over with sand in some spots. I came to the barricade of boulders and parked. It was light enough by then to find my way over the ground with little trouble. The contours of the landscape were stark, without any masking vegetation. I worried only about rattlesnakes.
I traversed the stone plain as directed, but, in spite of the frankness of the land, I came on the horse unawares. In the first moment of recognition I was without feeling. I recalled later being startled, and that I held my breath. It was laid out on the ground with its head to the east, three times life size. As I took in its outline I felt a growing concentration of all my senses, as though my attentiveness to the pale rose color of the morning sky and other peripheral images had now ceased to be important. I was aware that I was straining for sound in the windless air and I felt the uneven pressure of the earth hard against my feet. The horse, outlined in a standing profile on the dark ground, was as vivid before me as a bed of tulips.
I've come upon animals suddenly before, and felt a similar tension, a precipitate heightening of the senses. And I have felt the inexplicable but sharply boosted intensity of a wild moment in the bush, where it is not until some minutes later that you discover the source of electricity—the warm remains of a grizzly bear kill, or the still moist tracks of a wolverine.
But this was slightly different. I felt I had stepped into an unoccupied corridor. I had no familiar sense of history, the temporal structure in which to think: This horse was made by Quechan people three hundred years ago. I felt instead a headlong rush of images: people hunting wild horses with spears on the Pleistocene veld of southern California; Cortés riding across the causeway into Montezuma's Tenochtitlán; a short-legged Comanche, astride his horse like some sort of ferret, slashing through cavalry lines of young men who rode like farmers. A hoof exploding past my face one morning in a corral in Wyoming. These images had the weight and silence of stone.
When I released my breath, the images softened. My initial feeling, of facing a wild animal in a remote region, was replaced with a calm sense of antiquity. It was then that I became conscious, like an ordinary tourist, of what was before me, and thought: This horse was probably laid out by Quechan people. But when, I wondered? The first horses they saw, I knew, might have been those that came north from Mexico in 1692 with Father Eusebio Kino. But Cocopa people, I recalled, also came this far north on occasion, to fight with their neighbors, the Quechan. And they could have seen horses with Melchior Díaz, at the mouth of the Colorado River in the fall of 1540. So, it could be four hundred years old. (No one in fact knows.)
I still had not moved. I took my eyes off the horse for a moment to look south over the desert plain into Mexico, to look east past its head at the brightening sunrise, to situate myself. Then, finally, I brought my trailing foot slowly forward and stood erect. Sunlight was running like a thin sheet of water over the stony ground and it threw the horse into relief. It looked as though no hand had ever disturbed the stones that gave it its form.
The horse had been brought to life on ground called desert pavement, a tight, flat matrix of small cobbles blasted smooth by sand-laden winds. The uniform, monochromatic blackness of the stones, a patina of iron and magnesium oxides called desert varnish, is caused by long-term exposure to the sun. To make this type of low-relief ground glyph, or intaglio, the artist either selectively turns individual stones over to their lighter side or removes areas of stone to expose the lighter soil underneath, creating a negative image. This horse, about eighteen feet from brow to rump and eight feet from withers to hoof, had been made in the latter way, and its outline was bermed at certain points with low ridges of stone a few inches high to enhance its three-dimensional qualities. (The left side of the horse was in full profile; each leg was extended at 90 degrees to the body and fully visible, as though seen in three-quarter profile.)
I was not eager to move. The moment I did I would be back in the flow of time, the horse no longer quivering in the same way before me. I did not want to feel again the sequence of quotidian events—to be drawn off into deliberation and analysis. A human being, a four-footed animal, the open land. That was all that was present—and a "thoughtless" understanding of the very old desires bearing on this particular animal: to hunt it, to render it, to fathom it, to subjugate it, to honor it, to take it as a companion.
What finally made me move was the light. The sun now filled the shallow basin of the horse's body. The weighted line of the stone berm created the illusion of a mane and the distinctive roundness of an equine belly. The change in definition impelled me. I moved to the left, circling past its rump, to see how the light might flesh the horse out from various points of view. I circled it completely before squatting on my haunches. Ten or fifteen minutes later I chose another view. The third time I moved, to a point near the rear hooves, I spotted a stone tool at my feet. I stared at it a long while, more in awe than disbelief, before reaching out to pick it up. I turned it over in my left palm and took it between my fingers to feel its cutting edge. It is always difficult, especially with something so portable, to rechannel the desire to steal.
I spent several hours with the horse. As I changed positions and as the angle of the light continued to change I noticed a number of things. The angle at which the pastern carried the hoof away from the ankle was perfect. Also, stones had been placed within the image to suggest, at precisely the right spot, the left shoulder above the foreleg. The line that joined thigh and hock was similarly accurate. The muzzle alone seemed distorted—but perhaps these stones had been moved by a later hand. It was an admirably accurate representation, but not what a breeder would call perfect conformation. There was the suggestion of a bowed neck and an undershot jaw, and the tail, as full as a winter coyote's, did not appear to be precisely to scale.
The more I thought about it, the more I felt I was looking at an individual horse, a unique combination of generic and specific detail. It was easy to imagine one of Kino's horses as a model, or a horse that ran off from one of Coronado's columns. What kind of horses would these have been, I wondered? In the sixteenth century the most sought-after horses in Europe were Spanish, the offspring of Arabian stock and Barbary horses that the Moors brought to Iberia and bred to the older, eastern European strains brought in by the Romans. The model for this horse, I speculated, could easily have been a palomino, or a descendant of horses trained for lion-hunting in North Africa.
A few generations ago, cowboys, cavalry quartermasters, and draymen would have taken this horse before me under consideration and not let up their scrutiny until they had its heritage fixed to their satisfaction. Today, the distinction between draft and harness horses is arcane knowledge, and no image may come to mind for a blue roan or a claybank horse. The loss of such refinement in everyday conversation leaves me unsettled. People praise the Eskimo's ability to distinguish among forty types of snow but forget the skill of others who routinely differentiate between overo and tobiano pintos. Such distinctions are made for the same reason. You have to do it to be able to talk clearly about the world.
For parts of two years I worked as a horse wrangler and packer in Wyoming. It is dim knowledge now; I would have to think to remember if a buckskin was a kind of dun horse. And I couldn't throw a double-diamond hitch over a set of panniers—the packer's basic tie-down—without guidance. As I squatted there in the desert, however, these more personal memories seemed tenuous in comparison with the sweep of this animal in human time. My memories had no depth. I thought of the Hittite cavalry riding against the Syrians 3500 years ago. And the first of the Chinese emperors, Ch'in Shih Huang, buried in Shensi Province in 210 B.C. with thousands of life-size horses and soldiers, a terracotta guardian army. What could I know of what was in the mind of whoever made this horse? Was there some racial memory of it as an animal that had once fed the artist's ancestors and then disappeared from North America? And then returned in this strange alliance with another race of men?
Certainly, whoever it was, the artist had observed the animal very closely. Certainly the animal's speed had impressed him. Among the first things the Quechan would have learned from an encounter with Kino's horses was that their own long-distance runners—men who could run down mule deer—were no match for this animal.
(Continues...)
Excerpted from Crossing Open Ground by Barry Lopez. Copyright © 1988 Barry Holstun Lopez. Excerpted by permission of OPEN ROAD INTEGRATED MEDIA.
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.
Table of Contents
Contents
The Stone Horse (1986),A Reflection on White Geese (1982),
Gone Back into the Earth (1981),
Trying the Land (1979),
Landscape and Narrative (1984),
Yukon-Charley: The Shape of Wilderness (1983),
Borders (1981),
The Bull Rider (1978),
A Presentation of Whales (1980),
Children in the Woods (1982),
The Lives of Seals (1982),
Searching for Ancestors (1983),
Grown Men (1979),
The Passing Wisdom of Birds (1985),
Author's Note,
A Biography of Barry Lopez,
