Petrified Forest National Park

I left California a few days before the lockdown. I reached Joseph City, AZ by nightfall and parked at a Love’s Truck Station on I-40 where an industrial plant loomed about a half-mile up the road with its lights glowing and smoke rising high in the dark of night.

By this time, I was already considering how best to avoid getting sick, since I still had a long drive ahead of me from Arizona to Fort Lauderdale. I’d never been much of a germaphobe, but now here I was wondering how many people I’d have to dodge suddenly in a place that likely saw travelers and truck drivers come and go every day from all corners of the country.

I’d never paid much speculation to these things before, and now I felt a sting of disappointment at how much current circumstances required me having to think twice about every place I might stop, and how many people I might encounter along the way, and whether I should wash my hands again after briefly touching that door handle which might have been grabbed by who knows how many others.

Yea, it sucked.

In Los Angeles, the biggest talking point concerning the virus was the sudden disappearance of toilet paper in all the grocery stores around town. When I left, businesses still hadn’t shut down but the reality was beginning to sink in, at least for me. Maybe it had something to do with the police helicopter that had been flying over my neighborhood everyday for the past week.

California Desert at Sundown, on State Road 95 outside the Chemehuevi Mountains.

The next morning I grabbed coffee at the Love’s station. It was delicious. I liked it so much I even bought a souvenir thermos. Of all the truck stops across America, Love’s has come to be my favorite. Maybe it’s the name. Maybe it’s the logo. Or maybe I just bought the thermos as a way to settle down and lighten up. Sure enough, during each of the four nights I was on the road, I’d stay at a Love’s Truck Station.  It provided a reassuring familiarity I’d long come to appreciate over the years on the road; and now as things seemed to be getting more serious everywhere, I appreciated that familiarity even more in everything from the country music and tacky t-shirts to the coffee machines and souvenir shot glasses.

To my added satisfaction, as I set out that next morning I saw another familiar face, a National Park that I’d been meaning to visit for a few years now and that I’d bypassed every time I drove down I-40, because I hadn’t had the time or it was too late at night, or some reason or another. It was Petrified Forest National Park.

Now that it was early in the morning and I wasn’t in any particular rush to get anywhere, and probably because I needed the distraction, I decided that now was as a good a time as any to finally see what it was all about.

A quiet morning outside the park entrance; Petrified Forest National Park, AZ

National Parks have always served as an escape for Americans looking to reset and decompress, an escape from the mundane, or from the stress and congestion of city life.  Yet in the coming weeks, they’d receive a new influx of visitors looking to escape the coronavirus.  So many, in fact, that the parks themselves would become congested. 

As I read now of park officials at Grand Canyon currently submitting requests to close down as they field up to 600 visitors in a single day, visitors with whom they undoubtedly come into close contact, I think back to just two weeks ago when I arrived at Petrified Forest. 

I support that request by the way, though I’ll admit, I’m happy I got to visit beforehand when everything seemed totally normal, to the point that you’d never know anything was going on in the rest of the world. 

‘The Tepees’; Petrified Forest National Park, AZ

I parked at the visitor center and watched a quick film about the park and it’s indigenous history.  It felt good to do something normal like that.  To go in and simply look at souvenirs, or get my park stamps and grab a map like I’d typically do.  The rangers were in good spirits and so were the visitors; though again, just like at the Love’s Station, I was suddenly aware of how close I stood next to everybody and felt the same sting of disappointment at the fact.

Then I left the station and set out on the road and into the park, driving alongside the cliffs overlooking the Painted Desert, an endless vista of pink and red rock leading out to the horizon.  The weather was great.  The sky was still a bit overcast, but the sunlight peeking through the clouds felt wonderful on my face.  I could have easily stayed out there all day.    

Along the way I stopped at the Painted Desert Inn and thought about all the people of decades past who’d stayed there and stood out on that same balcony to take in the view of the Arizona badlands. 

The landscape did remind me of the more famous Dakota Badlands some 1,000 miles to the northeast, which I’d visited nearly two years before.  Still while the shades of the green, grey and brown were the dominant colors of that region, here everything was red and pink, and so I might’ve been more inclined to think of Mars, some vast frozen tundra out in space, were it not for that glorious morning breeze and life-giving sunlight. 

Painted Desert; Petrified Forest National Park, AZ

I closed my eyes like I’d done a million times over the last few years in places like Yellowstone and the Everglades, in New Mexico and the Swiss Alps, along the river Danube or the Mississippi, and on the Brooklyn Bridge in New York City.  I closed my eyes and stood beneath the sun, allowing my mind to quiet with the surrounding landscape. 

As difficult as things are getting lately, I’m grateful that I still have the ability to do this, where I can at least step outside my door and breathe in the air provided to us everyday. 

With enough patience, I feel like I can get back to anyone of those places whenever I need.  I thought a lot about this, that day at Petrified Forest, and considered the likelihood that I wouldn’t be able to visit again for a while in the days and weeks to come.  I opened my eyes and looked out over the Painted Desert.  Indeed there was nothing petrified about it.  It was in fact teeming with life.

I’d get back there soon.  In the meantime, it would still be here.  Living and breathing under the same sun, beneath the same stars and moon.  And when I consider that, even today, it doesn’t feel too far at all.  Just like every other place I know and love.

Issue #3
Q&Co. 

 

A saw a film today, oh boy! 1917.

by J.L. Quinby

1917 is a story about two British soldiers in World War I sent by their commanding general to warn another battalion, currently preparing an assault on German forces, that they are walking into a trap and playing right into the hands of the enemy. One of the two soldiers has a brother in that battalion and thus a personal stake in warning them of the impending danger.

The film is directed by Sam Mendes (American Beauty), whose work I’ve increasingly admired since Road to Perdition–including two of the more recent Bond films starring Daniel Craig. Skyfall is actually my personal favorite in the whole series.

Anyway with 1917, Mendes reaches a new peak. Right from its opening scene, the film never lets go. This is no doubt aided by the one shot/one take method it employs, which involves shooting a scene in one shot, and thus one take, requiring the film’s cast and crew to be on-time and on-mark, fully synchronized as in a stage production. Personally, I love this style of shooting and I’m glad to see it being used more over the past few years. You might recall seeing it in Alejandro Iñárritu’s Birdman and The Revenant.

Much like those films, 1917 reminds us why it’s important to still see films in theaters; which, safe to say, is something slowly getting forgotten as we move further along into the digital streaming age and films become more accessible than ever before.

These feats of technical visual wizardry can only be truly appreciated in a theater, where audiences can better absorb stunning photography, vast landscapes and cutting-edge camerawork on a big screen, and perhaps better grasp the scope of what goes into staging such a large-scale production.

Seeing a film like this in a theater is a shared experience, one that allows us to get swept up in a visceral symphony of sight and sound, and thus–for a couple hours, at least–to forget the notion that we are total strangers from each other; which in the opinion of this humble filmgoer, is the real illusion.

Anyway to that point, I was reminded of the tremendous brutality, valor and sacrifice that form the fundamental components of war. Specifically, as is typically the case with the great war films or any effective telling of history, 1917 reminded me of my connection to those who have come before, and how much of our current world and thus our lives are shaped by history.

1917 is an a emotional, cathartic experience that honors, as much as any film is capable, the bravery of soldiers who fought for something bigger than themselves. Far from being mere escapism, it brought me closer to our world and history.

Issue #1
Q&Co.