creative non fiction, New Mexico, southwest

Snow in the Valley

Snow arrived during our first October in Alamosa.  The manner of its unfolding in this valley that abhors precipitation would become typical.  It began with late-morning clouds descending upon the Sangre de Cristo Mountains north of Blanca Peak.  By afternoon, the clouds continued to build on the perimeter, extending south over the range beyond La Veta Pass.  Then winds entered the valley, ushering clouds that obscured the Piñon Hills to the south.  By four p.m., the entire valley was under a dome of cloud.  By six p.m., a wall of cloud connecting sky and earth advanced over the valley floor from the north.  By seven, dry, confetti-like flakes of snow began to fall at our house.    

Come morning, the skies clear, the air clean and biting, several inches of snow blanketed Alamosa County.  Buddy and Nick, born and raised in the hot desert, stepped upon it tentatively.  The squeak and growl of snow beneath my boots was the first I’d heard in years.  The crests and peaks of the Sangres, now more a province of sky than Earth, were cloaked in snow; forbidding enough in summer, now they were a no-man’s or -woman’s land. 

Yet, by noon, the air had warmed and the snow around our home had melted, surprising and saddening me, although the ground was still damp.  But I knew those mountains would remain snow-capped until the following summer, unfailing beacons, their glow fed by sun-, moon-, and even starlight.

My friend Wayne would tell me of the brutal winters he experienced in Alamosa as an Adams State College student, winters not only bitterly cold but deep with snow that lingered even in the generally arid heart of the Valley.  I believed him, although with some difficulty.  Snow rarely accumulated to any great extent during our years in Alamosa, and when it did, it disappeared rapidly in the teeth of the almost daily unobstructed sunshine. 

In any event, when it snowed at our house and in town, I reveled in it, grateful for every flake.  The dry valley cold that usually accompanied a snowfall insured that the flakes would be light and dancing, as apt to travel, with the right breath of wind, upward as downward―the “champagne powder” for which Colorado ski resorts are famous.  Normally not one for jostling sidewalk crowds―not even the “crowds” on the sidewalks of little Alamosa―I’d deliberately walk through the city’s downtown on a snowy afternoon, exchanging smiles with the other citizens who were obviously delighting in the rare magic.  Urban pedestrians―jostling, grasping, and grating under the best of circumstances―surely enjoy at least the initial stages of a snowfall, when everyone is wrapped in his and her personal envelope of falling snow, buffered against everyone else, nerves soothed.  Meanwhile, I knew the valley’s farms and ranchers cherished the moisture.   

creative non fiction, New Mexico, southwest

More Fall in the Valley, More Thoughts

So, fall in the San Luis Valley was this, and much more.  Bales of alfalfa and straw cleated the fields, the alfalfa bound for dairy farms in desert New Mexico, the straw bales for commercial photographers offering portraits with rural themes, and for our yard, where they elevated the dogs above the frozen ground. 

Asters like lavender-flamed farolitos miraculously blossomed in the bleakest of soils.  

Gold was rampant: in the blooming rabbitbrush that tossed gaily in the wind, the snakeweed that flooded the overgrazed rangelands.  Gold reached its apotheosis in the leaves of the aspens in the surrounding mountains.  Pure high-elevation sunlight pouring through autumn-vacant skies fueled the leaves’ color like gasoline fuels fire.  When a breeze was added to this mix, setting the billions of fiery leaves to fluttering, the trees seemed to strain at their roots, fit to launch themselves and carry a mountainside with them.  Not even an overcast sky could dim a flaming stand of autumn aspen. 

Fall was Maximilian sunflowers exploding at the edges of roads and highways, the forlorn greasewood coming to dull-pink flower on the parched flats, hollyhocks tottering beneath the weight of their blossoms in Alamosa’s gardens.  

Fall was the scatter of skinned potatoes on the asphalt at the rural intersections, perhaps a sharp turn or abrupt start liberating these tubers between field and shed.  Fall was the campaign sign nailed to a fence, the pop of a hunter’s gunfire echoing against hill and mountain, the last Mexico-bound vulture, the Conejos River west of Manassa reduced to pools.

Fall was cattle herded down from the mountains, rounded up in the pastures, and finally clustered in sturdy wooden corrals outside of Valley towns.  There they were loaded onto double-decked trailers that took them to the slaughterhouses east of Colorado’s front range.  Each packed with 25 tons of beef, the tractor-trailers rumbled down Alamosa’s main street, an ammoniac train in their wake.  The steel trailers were like giant, box-shaped colanders.  Through their thousands of oblong ventilation holes, the perimeters of some shit-smeared, I’d catch a glimpse of a dusty hide; the pale pink flesh of a nostril; or the single dark eyeball enjoying its last look at sunshine, billowing clouds, towering mountains, sparkling rivers and streams, and grassy plains―the idyll that comprised its mere 15 months of Earthly existence.  A sharp turn or a sudden stop at a traffic light resulted in a loud clatter of hooves as the cargo momentarily lost its balance―callous disregard, I’d think, but perhaps nothing compared to the load’s ultimate fate, Temple Grandin’s efforts at humane slaughter notwithstanding. 

A yogi I once studied, advocating for a vegetarian diet, invited his readers to consider the mood of cattle awaiting slaughter while penned in a seemingly benign stockyard.  Arguing that even a Hereford cow has a considerable range of emotions, he maintained that cattle under such a circumstance have uncharacteristically somber, even sad, states of mind, because, of course, they sense their impeding deaths.  Not long after reading this, I took a bicycle ride on a trail in northwest Denver that happened to skirt a packed stockyard.  The cattle I witnessed there were strangely quiet, almost motionless, barely even bobbing their heads.  Perhaps the yogi is correct, I thought.  In Alamosa, the memory of this event got me to wondering.  Surely there is the scent of death in the “packing plants” of Greeley, La Junta, or wherever Colorado cattle meet their doom.  I wondered how many degrees of separation the odor survived.  Did it attach to the trucks and trailers at the slaughterhouse?  If so, did it ultimately trickle to the very wooden loading pens in the otherwise sweet air of the Valley? 

After seeing all those packed trailers during my falls in the Valley, it was hard for me to not go full Billy Crystal, not be moved by the sight of a cow feeding, nuzzling, or grooming her little one―surely an expression of tenderness transcending mere instinct―out on some warm summer range.  And yet, on a cold autumn evening, my mouth often watered at the prospect of a burger at St. Ives restaurant on Alamosa’s main street.

creative non fiction, New Mexico, southwest

Nooooo. Chile Grown in Colorado?

Although for fifteen years, before moving to New Mexico, I enjoyed excellent Mexican food in Colorado, I never noticed late-summer commercial chile-roasting on the state’s street corners and in the state’s supermarket parking lots.  Now, in the San Luis Valley, I continued to assume this was a charming practice confined to New Mexico.  

Thus, I was surprised when, one late afternoon in mid-August, while driving on Hunt Avenue just south of downtown, I got the unmistakable whiff―that intoxicating, sweet-smoky odor―of roasting long-green chiles.  Sure enough, a roaster, a gridironed metal drum that revolves just above some propane gas-fed flames, was operating in the parking lot of Atencio’s Market, so I just had to pull into the lot―not, I told myself, to make a purchase, merely to watch and smell.  By the roaster, I joined several other addicts, along with the man with the denim apron, long brakeman’s gloves, and wire brush who operated the device. 

As I watched the peppers tumble in the drum―slowly, carefully blackening and becoming increasingly limp―my gaze turned to a nearby pallet stacked with burlap bags of freshly-harvested raw chiles.  The bags read that the chiles were from a farm in . . . Pueblo, Colorado? 

I was surprised.  I didn’t think a chile seed had a prayer beyond the air, water, soil, sunlight, and agricultural sorcery of Hatch, New Mexico, the (self-proclaimed) “chile capital of the world.” 

Good heavens, had I been greatly enjoying Colorado chile in various Alamosa restaurants since my arrival?

I had to explore this further, so I walked into Atencio’s and headed for the fruit-and-produce section.  In a bin were piled some individual chiles, with a sign indicating they were “hot.” 

“Hah!” I thought.  I held up one.  “From Pueblo?” I asked a nearby employee, a woman un-boxing bananas.  She arched her brows and nodded as if to affirm the obvious.  I bought several of the peppers and headed home.  

There, I spread some foil in our stove’s broiler, upon which I laid the washed peppers.  I turned on the broiler.  I dumped some ice into a pot of water. 

I turned the chiles over and over until they had sufficiently blackened and blistered.  I dropped them into the pot of ice water and stirred, to coax the hot chile flesh from the charred skin, a technique I’d learned in Anthony. 

When the ice cubes had all but melted, I asked myself, “Should I don latex gloves?”―to protect my hands against the capsaicin, of course.  “Nah.  After all, we’re talkin’ Pueblo.  We’re talkin’ el norte.”  

I plunged my bare hands into the pot and removed the peppers.  I carefully removed the skins―generally not eaten when charred―from the flesh.  Hunger increasing, I took a knife and sliced off the head of each pepper.  Then I sliced open each pepper lengthwise and scrapped away the seeds. 

As I reached for the salt shaker, I noticed my fingertips beginning to burn.  Then I felt entire fingers aflame.  I opened the kitchen door with one alarmed pinkie and carefully removed the half-gallon milk bottle.  I generously flushed both burning hands with milk, to neutralize the capsaicin: I’d learned that in Anthony, as well.  Yet this provided only a modicum of relief, so I rinsed my hands under cold tap water, despite the fact that I’d read this was basically futile. 

But never mind this temporary discomfort: I was curious, my taste buds were longing, and those chiles weren’t getting any warmer by the thermometer.  I lightly salted the flesh of a chile, cut off a segment of it, and, with a fork (gratuitous, really, at this point), popped the segment into my mouth. 

And, lo and behold, there it was.  That slightly sweet, slightly citrus-y, mostly indescribable flavor.  Then I felt a blowtorch on the lips, which spread to my tongue and gums, and then a firestorm filled the entire buccal region.  

I polished off the remaining long greens.

Well, Viva Pee-EB-low!

New Mexico, southwest

Laughin’ and Scratchin’

In the two decades prior to moving to Alamosa I had been a regular listener of “public radio” stations (i.e., advertising-free, tax-supported radio stations) in Denver; Albuquerque; Las Cruces, New Mexico; and El Paso.  All of these stations had National Public Radio affiliation and thus all offered various doses of NPR programming.  Among my favorite NPR offerings were the regular shows Morning Edition and All Things Considered.  So I was pleased―and, given the city’s size and remoteness, surprised―that Alamosa, too, had not only a public radio station, but one affiliated with NPR.  After my arrival, I began listening to KRZA regularly.  In addition to satellite-transmitted NPR programming, the station broadcast music shows of various genres hosted by disk jockeys―all likely self-trained―from the community.  Another locally-produced show that I enjoyed was A las Ocho, which, as its Spanish name indicates, aired at 8 a.m.  A half-hour long, the show discussed news, politics, arts, and entertainment in the KRZA broadcast area.  Linda suggested I inquire about volunteer opportunities, if any, at the station, so one August morning I drove to its location, a predominantly residential neighborhood several blocks south of downtown. 

Located on a corner lot, the station’s two-story, pitched-roof building was old; I would learn it was once a church.  Upon entering the ground floor and witnessing the worn carpeting; old, massive metal and wooden desks; windowsills coated with dust; chipped paint; and general disarray, I determined the station was operating on a very lean budget.  I met some four or five employees and volunteers, men and women ranging from their 30s to their 40s.  One of the employees, Debbie, suggested I might enjoy being a substitute “news host” for the broadcast of Morning Edition

The offer stunned me: Throw me, with absolutely no broadcasting experience, on the air?  Part of me was frightened by the possibility; and yet another part, the one that had enjoyed listening to the radio since I was 10, was intrigued.  I liked the music I’d heard on radio through the years―the AM rock-and-roll and pop, FM progressive rock, country, jazz, even classical.  Equally well I liked what I regarded as the marvelously adept voices―sprinting on AM radio, sauntering on FM―of the disk jockeys; people like Big Dan (“laughin’ and scratchin’”) Ingram, Bruce Morrow, Herb Oscar Anderson, B. Mitchel Reed on New York City radio; Dick Brehm, Gene Amole, Pete Mackay, Bill Ashford, and “Uncle” Mike McCuen on Denver radio; overnight jazz disk jockey Bob Parlocha syndicated on El Paso public radio. And then there was Jean Shepherd, an entirely unique airwave influence.  In the sixties, I listened nightly to this brilliant Indiana humorist―a hip, manic, maestro of improvisation―on New York City’s WOR.  A nonpareil radio storyteller rather than a smooth-talking disk jockey. 

“Sure, I would like to see the broadcast booth,” I answered Debbie, so she began leading me up a dank stairwell to the second floor.  At a landing on the stairwell, posted on a door to the east entrance of the building, was a picture of gaunt-faced novelist William S. Burroughs; from his mouth came a dialogue balloon containing the words “Hasta Pronto.”  

The second floor of the station, chilly even on an August mid-morning, reminded me more of an attic―a dark, cramped, nearly triangular space beneath the pitched roof.  A desk and chairs crowded this area, and CDs and vinyl records stuffed its shelves along the walls.  More CDs and vinyl overflowed from boxes on the floor.  In towers of metal racks were fitted electronic equipment that hummed and winked with dozens of small lights.  En route to the north side of the floor, Debbie pointed out to me the little room where “sound editing” was done.  At the floor’s north end, we passed through a door into cord cordium, the tiny broadcast booth.

The booth was considerably cheerier, owing to the daylight entering through a north-facing, un-openable window, the clarity of its pane and the fresh lumber of its frame clearly indicating that it was not originally part of the building.  The booth’s ceiling was covered with what appeared to be an inverted eggcrate mattress.  On one table sat two phonograph turntables.  On a second table were positioned CD and cassette players; the control console with its myriad dials, buttons, and knobs; a couple of free-standing microphones; and, finally, clamped and rubber-banded to a zig-zagging, retractable metal arm―like the stinger of a scorpion―the main broadcast microphone.  At the console a worn, cushioned desk chair on wheels stood upon a thick sheet of plastic, in various stages of decay and heavily bandaged with duct tape, placed over worn carpeting. 

Sitting in the chair was Tom, a bearded early-70s fellow in a brown leather vest and scuffed, round-toed Western boots: host, Debbie had informed me downstairs, of a weekly “big band” music show.  Tom bobbed to the music issuing from the booth’s speakers, and then turned to me.  “‘Up a Lazy River.’  Mills Brothers,” Tom, grinning, informed me, politely assuming I didn’t know, and he was correct.  “Very nice,” I said as the recording neared its conclusion, then continued, “My dad liked―” 

I paused abruptly as Tom raised an index finger to his lips, slipped on a pair of headphones, and pushed a button on the console.  The speakers went silent, cutting off the ending of the recording, and Tom began speaking into the mic, delivering a rundown of the set he had just completed: “Glenn Miller” . . . “‘Tuxedo Junction’” . . . “Gene Krupa” . . . “The Andrews Sisters” . . . “‘Fly Me to the Moon’” . . . “Benny Goodman” . . . “James Darren . . .”

James Darren? I thought (the old musical top-10 mind at work). Until then, I didn’t know Darren―in my opinion, just one more of those bland Philadelphia late-50s/early-60s pop singers whose recording career was mercifully annihilated with the arrival of The Beatles―was a “big band” vocalist. However, I kept this thought to myself.

As Tom spoke into the mic, a thrill swept through me.  I looked at the combination mic and cord and imagined the hundreds (perhaps thousands!) of people at the other end of it in the first hours of a Valley morning, sipping their coffee; eating their crunchy granola and bran muffins; smoking their hand-rolled cigarettes; vacuuming their geodesic domes; driving to their art galleries, dry cleaners, supermarkets, dental appointments, alfalfa fields, and irrigation ponds; firing up their day’s first joint.  

“I’d love to give it a try,” I said to Debbie as we exited the broadcast booth.

At 4:50 the following morning, pen and notebook in hand, I met Lisa, the regular Morning Edition host, at the station entrance.  Clutching a mug of coffee, she said little as she threw on a light in first floor of the stone-cold building and marched up the stairs with me close behind.  A second-floor light was already on as we proceeded to the broadcast booth.  At the electronics tower, Lisa turned on more switches to “bring up the station”―for the station broadcast nothing, either locally or by satellite, from 11 p.m. to 5 a.m. Another switch activated the satellite transmission of NPR programming, which was well under way out of Washington, D.C.  Meanwhile, I scribbled these procedures madly in my notebook.  A minute before 5 a.m., while I sat and watched, Lisa sat at the console, slipped on the headphones, twirled a dial, coaxed a knob, and, speaking into the mic, identified the station, announced the beginning of the station’s “broadcasting day,” confirmed the station’s licensing credentials, and gave the local time.  She removed the headphones, hit a button, and through the booth’s speakers there was NPR Washington host Bob Edwards introducing the 5 a.m. Mountain Daytlight Time broadcast of Morning Edition

I then followed her downstairs, where, at a personal computer, she went to various websites from which she cut-and-pasted the daily weather forecasts for the San Luis Valley and northern New Mexico and―to be broadcast later on A las Ocho―brief news stories of her choice from online local and regional newspapers.  After printing this information, we returned to the second floor.  In the broadcast booth, as I sat at the console, Lisa showed me a printed schedule of regular breaks that occur during the broadcast of Morning Edition, times during which I was free to report the weather forecast and deliver public service announcements, the latter collected in a three-ring binder.  Then I slipped on the headphones and―nervously, clumsily―”hosted” Morning Edition for an hour. 

The following morning, I arrived at the station at 4:45, although this time alone and with a key to the station’s front door.  Shortly before five, I brought the station up, slipped a cassette I brought from home into the player, and segued the station into the broadcast day with country singer Mickey Newbury’s recording of “She Even Woke Me Up to Say Goodbye.”  I thought this recording was rather appropriate, given that the song opens up with the “dawn . . . silently breaking.”  On the other hand, the singer’s heart is also “silently breaking” because his sweetheart has just left him.  I knew the melancholy recording might cause some listeners to shut off the radio and return to dreamland, but I broadcast it anyway, because I loved it. 

Over the next few mornings, until Lisa’s return, I occasionally stumbled, but generally figured out how to pace myself and navigate through NPR’s airwave traffic.  I took it upon myself to pencil-edit for clarity and brevity some of the clumsily-written public service announcements.  Meanwhile, buzzed on caffeine, with the headphone volume jacked up as I “announced,” I marveled at the various dimensions―the smooth plains, rounded hills, swooping valleys, and sharply-cut canyons―of my, if I did say so myself, rather good radio voice.

And so, at 49, I discovered a new interest.

Uncategorized

Alamosa

I believe my initial understanding of San Luis Valley and Alamosa largely holds true today. 

Even in a United States of 330 million, it’s not a stretch to characterize the Valley as remote.  It certainly was in 1944, when it was considered as a possible site for the detonation of the world’s first atomic bomb.  The nearest large population center to Alamosa is Pueblo, a two-hour drive away. 

The mountains and hills that cordon off the Valley, forming a somewhat triangular configuration, are sparsely inhabited.  At the Valley’s northern end, the apex of the triangle consists of the confluence of the Sangre de Cristo Mountains to the east and the southern reaches of the Sawatch Mountains to the west.  From there the Sangres run unbroken south into New Mexico.  Meanwhile, the western side of the triangle is crumbly and porous.  North to south, it consists of the remnants of the Sawatch Mountains, the eastern reaches of the Cochetopa Hills and La Garita Mountains, and the easternmost ranges of the San Juan Mountains.  At the southern end of the valley―actually, northern New Mexico―two individual and nearly identical mountains, San Antonio and Ute, suggest the base of the triangle.  

World-class downhill skiing comes to mind when one thinks of Colorado.  However, despite all the snow that accumulates on these various mountains, Alamosa is not a “ski town” like Aspen, Vail, Telluride, and Steamboat Springs.  From Alamosa, one must drive across twenty miles of gray desert scrubland to reach the Sangres.  Fifty miles of driving north across an often equally desolate landscape is required to reach the foot of Poncha Pass, where the Sangres and the Sawatch meet.  The various mountains to the west are only slightly closer to the city.  Finally, San Antonio and Ute mountains are each about a half-hour away.  The nearest downhill-skiing resort to Alamosa is Taos, an hour-and-forty-minute jaunt; the nearest downhill-skiing area―that is, skiing with chair-lifts and a lodge but no overnight accommodations―is Wolf Creek, an hour-and-a-quarter motor in the opposite direction.  (Fans of Wolf Creek are more likely to stay overnight in the tony resort town of Pagosa Springs, Colorado.)  You live in Alamosa to farm, ranch, serve farmers and ranchers, and study at Adams State, not downhill ski.

Even if one merely wanted to cross-country ski or snowshoe, he or she would be hard-pressed to do so anywhere on the Valley floor, for, as has been noted, the various mountains create a rain shadow that denies the valley quantities of snow necessary for the Nordic skier and snowshoe-er.  Rafting and kayaking on the Rio Grande in the Valley’s heart lack excitement, for here the river, even when swollen, is bereft of whitewater.  About the only outdoor recreation the Valley can truly tout, beyond soaking in a number of modestly-developed natural hot springs and raising dust on some federal flatlands on motorized vehicles, is romping up and down on foot the remarkable dunes of the Great Sand Dunes National Park.

The size of Connecticut (population 3,565,000), the San Luis Valley has a population of about 48,000.  Alamosa has a permanent population of about 8,000.  The population increases to 10 or 11,000 when Adams State University is in session.  A little less than half the population of Alamosa is Latino, and the Valley thus comprises the largest conglomeration of Latinos in Colorado.  The Valley also has more poverty―roughly 18% of its population―than any other region of Colorado.    

Many of the residential buildings in the heart of Alamosa look as if they’d been imported from the middle-class neighborhoods of Ames, Iowa; others, from the impoverished rural areas of our home in New Mexico’s Doña Ana County.  Most of the houses are of wood clapboard, brick, and, in the case of the single- and double-wide trailer homes, aluminum.  Log homes are occasionally seen, as are geodesic domes constructed of various materials.  The half-dozen homes that comprised our neighborhood were of the pueblo-revival style.    

The San Luis Valley’s beauty and affordability attracts artists; several art galleries are located on Alamosa’s main street.  The city has an independent bookstore, an “emergency shelter” partially supported by a downtown coffeehouse, and a food bank.  The city has a National Public Radio-affiliated station―with a satellite office in Taos―whose signal reaches all of the San Luis Valley and much of north-central New Mexico.  The Valley has environmental advocates who, in the interests of the area’s farming operations large and small, in the nineties successfully fought a corporate effort to mine the Valley’s underground water and pipe it to the population centers along Colorado’s front range.  Alamosa has a government-funded medical clinic, with satellite clinics throughout the Valley, for the area’s indigent population; Linda was initially employed at the Alamosa location.  Huddled in the foothills of the Valley’s northeast corner is the former mining town of Crestone, an interesting bastion of New Age thought that includes a school of massage therapy and a world-renowned “Zen center.”

What Linda and I liked about Alamosa was its combination of leisurely pace, affordability, rural surroundings, breathtaking views, and a substantial politically-liberal population.  Latinos are generally liberal―that is, they acknowledge the value and importance of government―and thus tend to vote Democratic, and Alamosa’s large Latino population meant the city had a healthy Democratic base.  When we arrived, its representative in Congress was a Republican, but I attributed that to the fact that Alamosa is in a congressional district that includes a chunk of Colorado’s conservative eastern plains and all of the state’s conservative western third.  (Five years after our arrival, a Democratic Latino from Alamosa won the seat.) 

Finally, I was delighted to realize a railroad serves the Valley.  During our time in Alamosa, the line had a succession of owners: the Denver and Rio Grande Western Railroad, Rail America, the San Luis and Rio Grande Railroad, and Permian Basin Railways.  The single-track line enters the Valley from the Sangre de Cristo Mountains at the foot of La Veta Pass, east of the town of Fort Garland.  At the west end of downtown Alamosa, just beyond the city’s railroad station, the line splits into two branches, one traveling south, where it dead-ends in Antonito, and the other venturing northwest, where it dead-ends in Creede, Colorado; near the town of Monte Vista, the northwest branch branches even further to serve agricultural interests in the center of the Valley.  The railroad’s business is conducted in offices at the Alamosa station.  When I lived in the Valley, a freight the train arrived from the east―specifically, from Walsenburg, Colorado, where the line links up with a main line of the Burlington Northern Santa Fe Railroad―every weekday morning and returned to Walsenburg every weekday evening.  In addition to agriculture, the railroad served a mining company in Antonito.  The south-branching track ran a quarter-mile from our house, and we crossed it daily.  The relatively slow-moving trains, usually consisting of a single locomotive pulling a dozen cars, sounded their whistles at the crossing, and this delivered me pleasantly back to my days of lying a-bed on hot summer nights and listening to the heavy traffic on the Erie-Lackawanna Railroad not far from our New Jersey house.

Yes, there is glamor in Alamosa, but it is distant.  Yet those distant mountains surround the Valley’s bread and butter: a vast flatland of pastures stocked with cattle and millions of acres of potatoes, barley, alfalfa, wheat, and lettuce.  So Alamosa is a curious mixture of poverty, agribusiness, and the summons of a vast, raw wilderness.

Uncategorized

The Wild Earth’s Nobility

In late May, Linda and I drove to the San Luis Valley and Alamosa to hunt for our third house.  Entering the 7,500-foot-high San Luis Valley was, in some respects, like being thrust back into my native Northeast.  It was still spring in the valley: 70°F, twenty-five degrees cooler than Anthony.  There was a generous smear of high clouds above Alamosa, creating a filtered light that soothed eyes more accustomed to the striating Chihuahuan Desert light. 

On the east side of the valley, the Sangre de Cristo Mountains rose steeply from the valley floor, climbing to altitudes of 13,000 and 14,000 feet and thus presenting awesome reliefs of 6,000 to 7,000 feet; they looked almost unscalable.  At that time of the year, their higher elevations were piled with snow, recalling my depressing days of briefly living among the Gore and Williams Fork ranges to the north.  However, now a fundamentally happier person who’d grown weary of the desert fires, I looked at this range with a longing to explore. 

The west side of the valley was bordered by the more gradually-inclining San Juan range, peaks that ran from 10,000 to 13,000 feet.  The south end of the valley was peppered with individual hills and a large mesa, and included a range called the Piñon Hills.  And there was a remarkably vast and towering dune field―when we arrived, a national monument, today a national park―on the east side of the valley.  At 8,000 square miles, the valley was massive and, for the most part, implacably flat: at times during our visit, in my billed cap and with my head tilting downward, I felt like I was peering into western Nebraska. 

Mountain and valley snowmelt fed streams that ran to the Rio Grande and the Rio Conejos, the valley’s two major rivers.  Canals and ditches drew from these sources for agricultural purposes; meanwhile, water pumped from the underground aquifer and distributed with massive center-pivot sprinklers irrigated hundreds of fields developed for crops.  In the northern reaches of the valley, however, there were vast stretches of gray desert scrublands.  Except in the towns and along the rivers, the valley had few trees. 

Through Alamosa, the Rio Grande, though abundant with spring runoff, ran almost imperceptibly.  As in Albuquerque, it was bordered by stately cottonwoods, but a different specie of the cottonwood: the narrowleaf. 

Architecturally, Alamosa was almost completely wood, brick, and stone.  Yet, beyond the town limits, there were a number of pueblo-revival style houses, and one of them for sale, on a treeless acre of scrub in a new and sparsely populated housing development two miles south of downtown, interested us greatly.  We made an offer, and it was accepted.  Before leaving Alamosa, Linda took me to her newly-discovered Mexican restaurant just beyond the river at the east end of downtown.  Our Southwest saga would now continue in el norte.