Ellen Meloy was a native of the West and lived in California, Montana, and Utah. Her book The Anthropology of Turquoise (2002) was a finalist for the Pulitzer Prize and won the Utah Book Award and the Banff Mountain Book Festival Award in the adventure and travel category. She is also the author of Raven’s Exile: A Season on the Green River (1994), The Last Cheater’s Waltz: Beauty and Violence in the Desert Southwest (2001), and Eating Stone: Imagination and the Loss of the Wild (2005). Meloy spent most of her life in wild, remote places; at the time of her sudden death in November 2004 (three months after completing Eating Stone), she and her husband were living in southern Utah.
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Raven's ExileA Season on the Green River
Since we began to live in Desolation years ago, friends have said that if it were not for their children, professions, political activism, mortgages, debts to spouses of ex-choice, and bad knees, they would gladly do what we do. “We uphold the culture of our generation,” they tell us. “You and Mark live its dream side.” Their envy does not detect the physical costs of professional vagrancy. Far from armchairs, ceilings, sock drawers, and a street address, but within sight of the downslide toward retirement, we are out here dragging heavy rafts and sleeping on the ground, underpants full of sand. When others travel with us on a ranger patrol, at the end of the trip Mark always asks the rhetorical “Would you like to have my job?” “It has been really nice,” they answer, sprinting up the boat ramp to their Land Cruisers.
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Raven's ExileA Season on the Green River
You can recheck gear, tighten the last strap, wriggle down harder in your seat, and open and shut your fists on the oar grips, but there is the moment when pure river terror takes over and you yield to it with a great surge of love and terror. Wire Fence Rapid has a steep drop down a slender tongue of silk, a long, mirror-slick, mesmerizing sheen of descending water. A split second before the raft hits the five-foot wall of roiling lateral waves at the tongue’s tip, I am spellbound by an aromatic river of air curling above the water itself, a cool, stony, turbulent smell, the smell of rapids.
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Raven's ExileA Season on the Green River
Grand Slam Canyon promises the Grand Canyon without the Grand Canyon’s pesky discomforts—its infernal heat, wind, roadlessness, and size that defies the three-day vacation, its cacti, lizards, snakes, biting insects, burro poop, boulders, rapids, the possibility of death. Amidst hundred-foot peaks, swimming pools, water slides, pueblos, and a replica of the Grand Canyon’s Havasu Falls, inside a climate-controlled, vented, pink womb of a dome, Grand Slam Canyon visitors will fly through rapids and waterfalls in a roller coaster. They will, as the woman on Desolation’s boat ramp once wondered about the Green River, take out at the same place they put in. The River made better than itself.
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“ . . . a private, quirky work. By turns wildly overwrought, silly, perplexing and piercingly beautiful, its chapters map a vibrant, curious mind in love with the particulars of the Southwest landscape . . . If, as she says, humans will soon be ‘place-blind and terribly lonely’ for this disappearing wilderness, we will at least have Ms. Meloy's elegy to remind us that it once existed.” —Claudia La Rocco, The New York Times [on Eating Stone]
“In The Anthropology of Turquoise, her exquisitely rendered meditation, Meloy considers all that might be linked to the spirit of turquoise: the gem-like mineral itself, the myriad stops on the spectrum that comprise the color's amplitude, and the metaphors she finds in this blue-green color—metaphors of place, of peace, of the restfulness of the ocean, the silence of the desert, the life-giving waters of the rivers, even the respite of suburban swimming pools . . . Running through her words is a magic spell that can soothe us into letting go of conventions like plot, so immersed are we in the sacredness of the moment, the wonder she shares of the natural world . . . Taken as a whole, Meloy's gem-studded collection calls us to be mindful of the physical world, to see it—really see it—with fresh eyes.” —Los Angeles Times
“[Meloy] knows intimately the sun-blanched, wind-teased and people-sparse beauty of this desert region . . . In The Last Cheater's Waltz, Meloy's essays provide a painful juxtaposition of natural beauty and warrior wastelands.” —The New York Times
Selected Works
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