The houses here are ugly. Taken on their own, any one of them is a beautiful building. Plainly this is spendy real estate in God’s country. But the houses look like they were lifted from the pages of some little-boxes-full-of-ticky-tacky architectural lust propaganda and carpet-bombed on the hillside, then allowed to remain wherever they fell. There is no order, no sense that the houses were built for the place. Every one of them is a garish, angular excrescence on the opposite hillside. No doubt their inmates would disagree with my assessment; they only see the houses up close, and from the inside. They must have no idea how out of place their unnatural rectangles look against the sweeping slope of the Chugach Range. No doubt, when you’re on the other side of those big plates of glass, gazing over here at the state park over your morning K-cup, the view is precious. But when you’re in the state park, looking back, there is nothing on the opposite hillside to love. Over here, there is only regret that these people believed that you could buy both the land and the landscape.
It’s about three miles’ hike in to first bridge in state park. A fairly easy up-and-down walk. It’s raining. Spitting, really, what they call chipichipi in Guatemala, a constant drizzle. The sky is a palette of cottony grays that have lowered themselves onto the mountaintops. There is a clear line below which the mountains are visible. Above it, clouds roll and shift.
I shiver a little in my heavy raincoat and think about putting on my rain pants, but I know I’ll be too hot if I do. Some of my students are wearing shorts.
At the footbridge we sit and eat our lunches. The university has packed us red delicious apples (a mendacious name), bags of honey Dijon potato chips, and turkey sandwiches with lettuce and onions. It’s not good turkey, but no one cares. This is a lovely place. We have other food in this place.
The river is only fifteen feet wide here, and it is the color of chalk, like diluted Milk of Magnesia. Taking off my shoes, I wade in. Immediately my feet start to ache with cold. Turning over a stone, I look at its underside. The gray water drips off and a tiny larva wriggles to get out of the light. It's too small to identify it, maybe a miniscule stonefly. A huge blue dragonfly cruises over the river, darting past me.
There are lots of wildflowers up here. One of my students is on the ground with her laminated guidebook, puzzling over one specimen. I've been carrying these guides everywhere, but they're only helpful for about seventy-five percent of the common stuff. There's just too much life here to get it all in a book.
The flowers grow in so many colors, so many strategies for getting the scarce pollinators' attention in the brief summer. Yellows, purples, and blues predominate. The guidebook warns me about several of the purples: DO NOT EAT THIS! Some of them are poisonous. So are a few of the yellows. This is a beautiful place, but it's also a harsh place, and life clings to the edge. Poison is one good way not to get eaten, I suppose. Looking up the mountain, the trees give way to shrubs a hundred yards above us. A hundred yards more and there's only grass. Above that, I can only see rock.
Some of these plants have another strategy: rather than avoiding getting eaten, they invite it. Berries are the way some plants make use of animals to carry their seeds to new places. Bear scat, full of seeds, is all along the trails here. Each mound is a nursery where some new plant may grow in the fertile dung.
There is a kind of berry like a blueberry that grows on something that looks like a mix between evergreens and moss, only a few inches high. Some people call it "mossberry," appropriately. Some locals call it a blackberry. Matt tells us they're crowberries, as he gathers a handful. He eats some and then the students tentatively pick and eat some too.
We spend three hours there at the bridge, observing. There's so much to see. Some of us write, some draw, some stare at the peaks that surround us. A few doze off. I get out my watercolors and try to paint the landscape, but I'm quickly frustrated. There are so many greens and grays and blues, and I'm no good at mixing colors. I keep painting anyway. I can at least try to get the shapes right, I think, but I'm wrong about that, too. The mountains are stacked up in layers, and the lines look clean and clear at first, but when I try to focus on them they blur into one another. The hanging glacier at the end of the valley looms over us, silent and white and yet so eloquent. The glaciers are what made all of this, and even though they have retreated, the river runs with their tillage, the plants grow in their finely ground dust, the smooth slopes were ground smooth by millennia of ice.
Upstream, Brenden hooks his first-ever dolly varden. This is his first fish in Alaska. He is positively glowing with delight. He cradles it in his hand and then quickly returns it to the water pausing only to admire this vibrant glacial relic of a char. It too depends on the glacier.
The temperature is constantly shifting as the sun comes in and out of the clouds. Each part of the valley takes its turn being illuminated: the river shines like silver; the mountainside glows bright green and the rocks and bushes above the tree line cast sharp shadows; high in the valley small glaciers are bright ribbons streaking the blue granite. The clouds push the sunlight in ribbons across the valley. When we are suddenly in the light, we are warm.
After a few hours we walk back to the car. No one wants to go. For a while we drive in luminous silence.