A Sunset at White Sands

At the center of the upper section is a large room, 12 by 20 feet, with a front wall that is 12 feet high and made of stone that is two feet thick. This wall was coated in white plaster, decorated with a yellow band, and it is this white wall, which can still be seen, that inspired the name La Casa Blanca, the White House, to this ancient dwelling that has endured in this place for nearly a thousand years.

Viewing Spider Rock from below provides a dramatically different perspective on this extraordinary formation. From above, you’re looking down on the whole tableau, and Spider Rock, shorter than the soaring canyon walls, appears as one small part of the larger scene. From below, from the floor of the canyon looking up at it, you can see just how BIG the danged thing is. At 800 feet in height, it’s a good bit taller than your average 50 story sky scraper, and it completely dominates the landscape.

The twin pillars of Spider Rock were left behind, like a pair of stubborn hold-outs, when everything else around them slowly weathered away. To me, these are fingers of cosmic proportions, thrusting from the earth, pointing toward the heavens in a gesture of unity. When you view these monolithic towers, you will be captivated by their majesty, and by the sheer insolence of their improbable existence.

300 feet above the canyon floor, there are two deep alcoves filled with ruins, and on a wide ledge between them, a large, multi-story pueblo, partially reconstructed, and quite impressive. The setting is a natural amphitheater, and the overall aspect of the place is simply stunning.

The hogan, much newer than the other structures, was built using sandstone bricks recycled from the surrounding ruins. Today, even though it’s not really ancient, Standing Cow is on all the maps, as much a part of the human landscape of Canyon de Chelly as the White House and the Mummy Cave.

Of all the ruins and other archaeological sites in Canyon de Chelly, Antelope House is the most thoroughly investigated. That’s at least partially due to simple ease of access: unlike most of the ruins in the canyon, all the primary structures at this site are at ground level. Researchers have found the remains of several different cultures in the stratified soil beneath the ruins, each group contributing to the timeline of an area that’s exceptionally rich in history.

We got out, and walked through the trees to a place where a thirty-foot long segment of the sandstone cliff had crumbled away near the base, leaving a section of wall that was set back a couple of feet, protected by an overhang. We could see black pictographs of horses and riders filling that rough stone canvas from left to right.

The left hand fork is the spectacular work of nature known as Canyon del Muerto. The star attraction of this route is the Mummy Cave Ruin, the largest in the area, built on a ledge between a pair of deep caves, high on the face of a cliff in an extraordinary natural amphitheater.

“First Ruin is right over there!” Sylvia pointed to our left, where segments of ancient adobe walls filled a natural alcove halfway up the side of the cliff.

“First Ruin. Wait, don’t tell me. Do they call it that because it’s the oldest?”

“No,” she said with a chuckle. “They call it First Ruin, because it’s the first ruin that we see!”

I was probably getting a bit starry-eyed at that point. Barely three miles into the canyon, we’d traveled a thousand years in just under a hundred minutes, and we were barely even underway!

The petroglyphs we’d just seen, and those we were about to see, were an artistic expression of the highest order, representing the hopes, the dreams, and the spiritual quest of the ancients who created them. These symbols, laboriously etched in stone, were left there for our benefit, and if there are lessons to be learned, we’d be well advised to take heed.

Our first stop was a prehistoric bulletin board Sylvia called Newspaper Rock. A smooth segment of cliff face coated with dark desert varnish, featuring an area at least forty feet wide filled hundreds of petroglyphs. The intriguing symbols were created hundreds of year ago by artists who pecked away the dark varnish, exposing the lighter colored rock underneath.

A Navajo guide can take you into the canyon in their SUV, or, if you prefer, you can join a guided hike, or a trail ride on horseback. The standard Jeep tours, which are the most popular, range from three to six hours in length. The longer tours cover the highlights of both Canyon De Chelly, and Canyon del Muerto.

The payoff at the Overlook is a fabulous bird’s-eye view of a quite wonderful Anasazi ruin known as the Antelope House. You can still see the crumbling foundations of dozens of rooms, a tower, and at least four circular kivas, special rooms used by the Ancestral Pueblo people for religious ceremonies.

The White House Overlook offers a fabulous panorama of the Canyon, and an unobstructed view of the White House, one of the best preserved ruins in the National Monument. Set into a sheer cliff striped with desert varnish, the tableau is instantly recognizable as one of the best-known photographs of Ansel Adams, who once described Canyon de Chelly as “the most beautiful place on earth.” He shot some of his favorite images from the canyon rim.

The canyon is filled with fascinating contrasts between the cliff dwellings of the Anasazi and the archaic way of life of the Navajo. These views into the canyon literally transcend time.

Canyon de Chelly is so much more interesting than the Grand Canyon, because it also has a history, a fascinating history that actually comes alive when you view it up close. Native people have lived in this canyon for almost 5,000 years, which is a very long time indeed, by any standard. What those ancients left behind is the most extraordinary concentration of cliff dwellings and rock art panels to be found anywhere in the desert southwest.

I noticed an odd rock formation coming up fast on the left side of the road, almost like a wall built of angular blocks. Shiprock was close, but hidden from view by the wall as I zoomed toward it. After I passed the odd formation, I stole a quick glance in my rearview mirror, and what I saw was a scene so other-wordly, it literally stopped me in my tracks:

San Xavier has all of the traditional elements of a Spanish Colonial church, along with many others that are quite unique. The craftsmanship of the original building is superb, and features many fascinating details.

Granada Park is a City Park that’s adjacent to a Mountain Preserve. Its location, along with certain other advantages, make it unique in some very specal ways.

When you think of autumn foliage, the list of places that comes to mind is much more likely to include New England than New Mexico–but the Land of Enchantment is full of fall surprises!

Today, thanks to Instagram, Pinterest, Facebook, and all the other photo sharing sites out there, every human on the face of the earth knows about Antelope Canyon, and the volume of visitors has mushroomed into the millions. Instagram, alas, is its own worst enemy,

Ephemeral “God beams” appear like magic in the confined space, slanting across the canyon floor like spotlights on a theater stage, only to disappear after a few minutes as the earth spins another fraction of a degree, breaking the perfect alignment.

Slot canyons are formed, over the course of many thousands of years, when torrents of rainwater borne from the monsoon storms of summer sluice through channels and cracks in the soft sandstone. Powerful floods strike repeatedly, carving narrow, twisting pathways into the cross-bedded layers of rock, sculpting swirling formations that look like petrified waves.

You find a rope, any rope, and you grab on with both hands for all you’re worth. The river boils like the North Sea in a gale, great, rolling green waves and troughs. The raft plummets sideways into a hole fifteen feet deep, the outboard motor shrieks, a monster wave towering ten feet above your head comes crashing down across the deck, pummeling the passengers like a gigantic liquid fist that takes your breath away, leaving you suspended, time stopped, frozen in mid-scream.

The two rafts were shoved away from the beach until they floated free, and the boat drivers eased them into the middle of the channel.  We were mostly moving with the current, but the beach dropped behind us pretty quickly, and in a matter of minutes we were out there, rafting down the Colorado River, heading squarely into the enchanted depths of the Grand Canyon.

The cliffs and buttes were a perfect composition, the different colored layers of stone were all but glowing in the afternoon light, and we had this incredible world all to ourselves, not another boat in sight. 

The waters of the Little Colorado are a turquoise blue that is so startlingly bright it doesn’t even look real.  There’s a well-defined spot where that warm, turquoise blue water from the small river collides with the cold, deep green water flowing upstream from the big river. The two dramatically different colors mix, forming a shifting, swirling line of chartreuse.  That spot is the confluence. It’s magical, and utterly unique.

I was still a little dazed by the whole thing, scenes of frothing, churning whitewater playing over and over in my head.  Fleecy white clouds were piling up above the canyon rim, nearly filling the narrow patch of sky, until the lowering sun set them afire, a Grand Canyon sunset display that was the finest we’d seen, worthy of the spectacular setting.  A fitting end to one of the most amazing days of my life.

The trail meandered for a mile or so, finally giving us access to a series of perfect swimming holes.  There’s something about that exotic turquoise water that welcomes swimmers; the creek was cool, but far from cold, and a welcome change from the icy water in the river.  We stopped at an inviting spot to swim, relax, and eat our lunch. Sitting beside that creek, with our simple repast–it was like having a picnic in the Garden of Eden.