Seeing the River

By Nicholas Crane Moore: 

The first river I loved was the Truckee, which my family floated every summer for years. It spilled gently out of Lake Tahoe, clear and cold in the heat of August. From my uncle’s raft, much was visible to astound a little boy. I could see tiny pebbles on the bottom through four feet of water. And small fish, brown and rainbow trout, flitting in and out of the raft’s slowly moving shadow. I could see my feet, magnified somehow by the water as they dangled in the river. But there was much that I could not see. 

The river, then, was nothing more than a highway of water coursing through the mountains. It was just a current towing us across a summer afternoon. It was a feeling. A sensation of sun and water splashing on bare skin. A memory of joy with cousins. It was not yet the centerpiece of a watershed, a catchment for runoff and debris. It was not yet a reflection of the environmental conditions around it.

Even as a child, the presence of a road alongside portions of the river seemed strange, somehow out of place, though I was unaware that oil and particles of car exhaust make their way into the water. Or that the paved roadway increases erosion by transforming rainfall and snowmelt into fast flowing sheets. There was a road, and there was a river. They were separate things. The influence of humans on our habitat was not yet something I understood.

Sometimes I miss those days, when I knew less about the harm we inflict on the natural world. Sometimes I wish I did not know, for instance, that the EPA classifies the upper Truckee as impaired based on sediment volumes that degrade aquatic habitat, largely a result of development in the watershed. That the river’s endemic fish, the Lahontan cutthroat trout, survives today in only a small remnant of its former range is something I have wished I could forget.

As an environmental lawyer, it is part of my job to know, and to learn. I have had to acquire a great deal of information that is painful for one who loves nature to bear. Knowledge is power, indeed, but it can come at a cost. Of this price the naturalist Aldo Leopold wrote, “One of the penalties of an ecological education is that one lives alone in a world of wounds.” One lived alone because others, he sensed, did not share his understanding of what he called the land organism; ecology in the late 1940s was a burgeoning, niche field. That is no longer the case, but there is an enduring truth to the notion that most of us are not equipped to discern the subtle evidence of a compromised landscape. Quite simply, as Leopold wrote, “Much of the damage inflicted on land is quite invisible to laymen.”

In many ways, the modern world is not arranged to promote a deeper understanding of human effects on the environment. Our economic system depends on a certain level of obliviousness to the byproducts of consumption. Businesses in the Lake Tahoe region, for instance, find it in their most immediate interest to speak of the lake and its outlet river solely in terms of their stunning clarity and hue, their restorative qualities. The EPA’s qualms about sediment do not find their way into the brochures of ski resorts and boat rental outfits. Given basin waters are safe for swimming and drinking, I cannot really blame them. It would detract from the tourists’ experience—and perhaps the amount they are willing to spend—to learn that in escaping the grime of Los Angeles or San Francisco they have fled not to some pristine vestige of Eden, but to a beautiful place in which human habitation has similarly altered, to a lesser but still significant degree, the delicate balance of life. To know that one is contributing to that disruption, however insubstantially, would presumably dampen the vacation mood, if only for a moment. I know at times it has for me.

One of life’s challenges, I have found, is accepting that we have hurt someone we love. There can be an instinct to look away, to deny, to assume that everything is fine. But I have learned the hard way that it is only through seeing the pain, understanding its causes, and acknowledging our role that we can begin to heal the wound. I think the same is true of the landscapes we explore and inhabit, which are as infinitely complex, and as sensitive, as any person.

Judging by trends in social media, advertising, and travel, it is a common desire today to find a connection with the natural world. If one is to develop a meaningful relationship with a mountain, or a valley, or a river, I believe it is imperative to engage with that place by learning more about it. Not only about the way it works, the way its dynamic balance is achieved (which can be immensely satisfying), but about the ways in which it has been degraded, and made susceptible to further harm (which can be sobering). By doing this one can begin to love a place in an active, real sense—not in the way we say we love a TV show or a restaurant, but in the way we love a friend. Because protecting ourselves from knowledge of the damage we have caused does not protect either the people or the places that we love. It only leaves them vulnerable.

This is not to say that every road near a river should be torn up, or that it’s reasonable to demand utter purity from every water body. Humankind cannot live on this earth—not in anywhere remotely close to the quality of life and health that we now enjoy—without substantial impacts on its lands and waters. But I think we should at least know what those impacts are. We should understand the trade-offs. Laws like the federal National Environmental Policy Act and its state equivalents, which require disclosure and analysis of the environmental consequences of an array of public and private endeavors, embody this goal. If nothing else, they are triumphs of transparency in an opaque, often sugarcoated world. Combined with the amplifying power of the internet, each of us now has at our fingertips more information than Aldo Leopold could have ever imagined. One need not live alone.

Though my visits to the Truckee are rarer now, they still fill me with wonder. The rich blue of the deep pools, the grace of water as it slides over boulders, the pull of the current coaxing my body downstream—phenomena that can be explained in a scientific sense—evoke a mystery that no amount of scrutiny can dissolve. When I swim in that clear, cold water, I am still a little boy. And yet the river is more to me now than it once was, layered over with learning and meaning. It has become a reminder to look for what is not easily seen, and to accept whatever I find. I love the river more than ever.

***

Nicholas Crane Moore is a writer and public interest environmental attorney in Anchorage, Alaska. His writing on the environment has appeared in Edge Effects magazine, the Revelator, Environs, the Daily Journal, and the Daily Californian.

On the tourist trail...

Rothenburg.jpeg

By Paul Scraton:

From dawn until late into the evening, long after dusk, they gather on the street beneath our hotel room window. They come for the famous view, the one that adorns the front covers of guidebooks sold in a multitude of languages in the town’s souvenir shops; the one that features on postcards of the town in spring sunshine and winter snows; the one that provides the backdrop for an early 1990s computer game. It’s the view of the town that appears at the top of the town’s Wikipedia page and is the number one sight on Tripadvisor. 

It is also the title picture for this piece. To the outside world, this view is Rothenburg ob der Tauber, and beneath our window visitors to the town gather, waiting patiently for their turn at a safe social distance, to take their own version home with them. Only, as our hotel receptionist could tell us, this summer there are far fewer amateur photographers than there might normally be. 

The world doesn’t need another piece of writing about how strange this summer has been, but on a long trip south from Berlin to the Alps it was actually possible, on the high passes and hanging valleys, on the ridge line and down by the lake, to feel as if nothing was actually happening. Walking in the mountains it was possible to pretend, if only for a while, that the world was as it was before. But in between, in those places that form the highlights of many a grand European tour – Rothenburg ob der Tauber, Neuschwanstein Castle, the Rhine Falls – it was clear that this was a summer like no other.

Neuschwanstein.jpeg

Perhaps in any other summer, right in the middle of school holidays and the peak tourist season, we wouldn’t have even bothered to brave these places. Because of course, like all travellers, we like to think we are different to those crowds of tourists who follow the well-trodden trail through the checklist sights, ticking them off before shuffling back onto the air-conditioned coach. Indeed, these are the places we strive to avoid, even though they have become wildly popular for a reason, whether for their beauty, their location or simply the stories and the place in our culture they hold.

We are tourists too. We travel to escape the everyday and to see new things. This is our chance. In Rothenburg ob der Tauber we walk the city walls and soak up the atmosphere of the old town as a thunderstorm rolls in. At the Rhine Falls we follow a group of Dutch motorcyclists, sweating in their leathers, down the steps to where we can see and feel the power of the water rushing by in front of us. In Neuschwanstein we realise that even a pandemic cannot stop of the lure of this fairytale castle on the hillside, as all the tours are booked up and the only option, the friendly young man in a facemask tells us, is to join the queue at six in the morning and hope for returns.

RhineFalls.jpeg

But the absence of crowds is unsettling too. These are places that live from their visitors. What happens if they don’t come back? We cannot know what travel and tourism will look like in the short to medium term, let alone further into the future, but in Rothenburg ob der Tauber empty shop fronts on the main street tell the story of businesses that haven’t made it out the other side of the pandemic. And what we also can see is that it is not just about coronavirus. The clues were there on higher ground. Beyond the current situation, the climate crisis requires that we rethink all aspects of our lives, including how we travel. In the mountains it was possible to feel like none of this was happening, but it was only if we refused to look closer.

A guesthouse called ‘Glacier View’ has long been a misnomer, as the ice has retreated around the corner. It’s out of sight and will soon disappear entirely. Local newspapers write of dangerous rock falls on the high peaks, of unstable ground caused or at least exacerbated by climate change. And as the cable car carries up higher than our legs or mountaineering skills could ever manage, we can’t help but wonder what a ski season looks like without any snow?

We might have been able to escape the pandemic by climbing ever higher on the trails, but the feeling that up there things were as they ever were is just an illusion. We can’t go back, even if we would like to. The real question is – where do we go from here?

***

Paul Scraton is the editor in chief of Elsewhere: A Journal of Place and the author of Ghosts on the Shore: Travels along Germany’s Baltic coast (Influx Press, 2017) as well as the Berlin novel Built on Sand (Influx Press, 2019).  

The art of Ellis O'Connor

We are extremely pleased to have the opportunity to feature the artwork of Ellis O'Connor here on the Elsewhere blog. Ellis is a visual artist based in Scotland, and since graduating a couple of years ago from Duncan of Jordanstone College of Art and Design she has worked in residency programmes in Iceland and Norway. She recently returned from an expedition with the Arctic Circle Organisation to the High Arctic Archipelago of Svalbard, and in her work you can see how she uses the visual language of drawing and lithographic printmaking to challenge assumptions about the natural environment.

Through her work, Ellis wants to reintepret the grandeur of natural land forms and re-present this visual information laden with power. As an artist, conservationist and keen mountain climber, Ellis aims to address the issues of climate change and wild land in her work, in the hope of inspiring others to take action for the future as well as to highlight the significance of the natural world around us.

If you would like to see more from Ellis, you can check out her website, her blog or visit her instagram feed.