by Jon Krakauer
“Chris was crazy about Buck,” Carine says. “That summer he disappeared he’d wanted to take Buck with him. After he graduated from Emory, he asked Mom and Dad if he could come get Buck, but they said no, because Buckley had just been hit by a car and was still recovering. Now, of course, they second-guess the decision, even though Buck was really badly hurt; the vet said he’d never walk again after that accident. My parents can’t help wondering—and I admit that I can’t, either—how things might have turned out different if Chris had taken Buck with him. Chris didn’t think twice about risking his own life, but he never would have put Buckley in any kind of danger. There’s no way he would have taken the same kind of chances if Buck had been with him.”
Standing five feet eight inches tall, Carine McCandless is the same height as her brother was, maybe an inch taller, and looks enough like him that people frequently asked if they were twins. An animated talker, she flips her waist-length hair from her face with a toss of her head as she speaks and chops the air for emphasis with small, expressive hands. She is barefoot. A gold crucifix dangles from her neck. Her neatly pressed jeans have creases down the front
Like Chris, Carine is energetic and self-assured, a high achiever, quick to state an opinion. Also like Chris, she clashed fiercely with Walt and Billie as an adolescent. But the differences between the siblings were greater than their similarities.
Carine made peace with her parents shortly after Chris disappeared, and now, at the age of twenty-two, she calls their relationship “extremely good.” She is much more gregarious than Chris was and can’t imagine going off into the wilderness—or virtually anywhere else—alone. And although she shares Chris’s sense of outrage over racial injustice, Carine has no objection—moral or otherwise-—to wealth. She recently bought an expensive new home and regularly logs fourteen-hour days at C.A.R. Services, Incorporated, the auto-repair business she owns with her husband, Chris Fish, in the hope of making her first million at an early age.
“I was always getting on Mom and Dad’s case because they worked all the time and were never around,” she reflects with a self-mocking laugh, “and now look at me: I’m doing the same thing.” Chris, she confesses, used to poke fun at her capitalist zeal by calling her the duchess of York, Ivana Trump McCandless, and “a rising successor to Leona Helmsley.” His criticism of his sister never went beyond good-natured ribbing, however; Chris and Carine were uncommonly close. In a letter delineating his quarrels with Walt and Billie, Chris once wrote to her, “Anyway, I like to talk to you about this because you are the only person in the world who could possibly understand what I’m saying.”
Ten months after Chris’s death, Carine still grieves deeply for her brother. “I can’t seem to get through a day without crying,” she says with a look of puzzlement. “For some reason the worst is when I’m in the car by myself. Not once have I been able to make the twenty-minute drive from home to the shop without thinking about Chris and breaking down. I get over it, but when it happens, it’s hard.”
On the evening of September 17,1992, Carine was outside giving her Rottweiler a bath when Chris Fish pulled into the driveway. She was surprised he was home so early; usually Fish worked late into the night at C.A.R. Services.
“He was acting funny,” Carine recalls. “There was a terrible look on his face. He went inside, came back out, and started helping me wash Max. I knew something was wrong then, because Fish never washes the dog.”
“I need to talk to you,” Fish said. Carine followed him into the house, rinsed Max’s collars in the kitchen sink, and went into the living room. “Fish was sitting on the couch in the dark with his head down. He looked totally hurt. Trying to joke him out of his mood, I said, ‘What’s wrong with you?’ I figured his buddies must have been razzing him at work, maybe telling him they’d seen me out with another guy or something. I laughed and asked, ‘Have the guys been giving you a hard time?’ But he didn’t laugh back. When he looked up at me, I saw that his eyes were red.”
“It’s your brother,” Fish had said. “They found him. He’s dead.” Sam, Walt’s oldest child, had called Fish at work and given him the news.
Carine’s eyes blurred, and she felt the onset of tunnel vision. Involuntarily, she started shaking her head back and forth, back and forth. “No,” she corrected him, “Chris isn’t dead.” Then she began to scream. Her keening was so loud and continuous that Fish worried the neighbors were going to think he was harming her and call the police.
Carine curled up on the couch in a fetal position, wailing without pause. When Fish tried to comfort her, she pushed him away and shrieked at him to leave her alone. She remained hysterical for the next five hours, but by eleven o’clock she had calmed sufficiently to throw some clothes into a bag, get into the car with Fish, and let him drive her to Walt and Billie’s house in Chesapeake Beach, a four-hour trip north.
On their way out of Virginia Beach, Carine asked Fish to stop at their church. “I went in and sat at the altar for an hour or so while Fish stayed in the car,” Carine remembers. “I wanted some answers from God. But I didn’t get any.”
Earlier in the evening Sam had confirmed that the photograph of the unknown hiker faxed down from Alaska was indeed Chris, but the coroner in Fairbanks required Chris’s dental records to make a conclusive identification. It took more than a day to compare the X rays, and Billie refused to look at the faxed photo until the dental ID had been completed and there was no longer any doubt whatsoever that the starved boy found in the bus beside the Sushana River was her son.
The next day Carine and Sam flew to Fairbanks to bring home Chris’s remains. At the coroner’s office they were given the handful of possessions recovered with the body: Chris’s rifle, a pair of binoculars, the fishing rod Ronald Franz had given him, one of the Swiss Army knives Jan Burres had given him, the book of plant lore in which his journal was written, a Minolta camera, and five rolls of film—not much else. The coroner passed some papers across her desk; Sam signed them and passed them back.
Less than twenty-four hours after landing in Fairbanks, Carine and Sam flew on to Anchorage, where Chris’s body had been cremated following the autopsy at the Scientific Crime Detection Laboratory. The mortuary delivered Chris’s ashes to their hotel in a plastic box, “I was surprised how big the box was,” Carine says. “His name was printed wrong. The label said CHRISTOPHER R. MCCANDLESS. His middle initial is really J. It ticked me off that they didn’t get it right. I was mad. Then I thought, ‘Chris wouldn’t care. He’d think it was funny.’”
They caught a plane for Maryland the next morning. Carine carried her brother’s ashes in her knapsack.
During the flight home, Carine ate every scrap of food the cabin attendants set in front of her, “even though,” she says, “it was that horrible stuff they serve on airplanes. I just couldn’t bear the thought of throwing away food since Chris had starved to death.” Over the weeks that followed, however, she found that her appetite had vanished, and she lost ten pounds, leading her friends to worry that she was becoming anorectic.
Back in Chesapeake Beach, Billie had stopped eating, too. A tiny forty-eight-year-old woman with girlish features, she lost eight pounds before her appetite finally returned. Walt reacted the other way, eating compulsively, and gained eight pounds.
A month later Billie sits at her dining room table, sifting through the pictorial record of Chris’s final days. It is all she can do to force herself to examine the fuzzy snapshots. As she studies the pictures, she breaks down from time to time, weeping as only a mother who has outlived a child can weep, betraying a sense of loss so huge and irreparable that the mind balks at taking its measure. Such bereavement, witnessed at close range, makes even the most eloquent apologia for high-risk activities ring fatuous and hollow.
“I just don’t understand why he had to take those kind of chances,” Billie protests through her tears. “I just don’t understand it at all.”
THE STIKINE ICE CAP
I grew up exuberant in body but with a nervy, craving mind. It was wanting something more, something tangible. It sought for reality intensely, always as if it were not there….
But you see at once what I do. I climb.
JOHN MENLOVE EDWARDS,
“LETTER FROM A MAN”
I cannot now tell exactly, it was so long ago, under what circumstances I first ascended, only that I shuddered as I went along (I have an indistinct remembrance of having been out overnight alone),—and then I steadily ascended along a rocky ridge half clad with stinted trees, where wild beasts haunted, till I lost myself quite in the upper air and clouds, seeming to pass an imaginary line which separates a hill, mere earth heaped up, from a mountain, into a superterranean grandeur and sublimity. What distinguishes that summit above the earthly line, is that it is unhandselled, awful, grand. It can never become familiar; you are lost the moment you set foot there. You know the path, but wander, thrilled, over the bare and pathless rock, as if it were solidified air and cloud. That rocky, misty summit, secreted in the clouds, was far more thrillingly awful and sublime than the crater of a volcano spouting fire.
HENRY DAVID THOREAU,
JOURNAL
In the final postcard he sent to Wayne Westerberg, McCandless had written, “If this adventure proves fatal and you don’t ever hear from me again I want you to know you’re a great man. I now walk into the wild.” When the adventure did indeed prove fatal, this melodramatic declaration fueled considerable speculation that the boy had been bent on suicide from the beginning, that when he walked into the bush, he had no intention of ever walking out again. I’m not so sure, however.
My suspicion that McCandless’s death was unplanned, that it was a terrible accident, comes from reading those few documents he left behind and from listening to the men and women who spent time with him over the final year of his life. But my sense of Chris McCandless’s intentions comes, too, from a more personal perspective.
As a youth, I am told, I was willful, self-absorbed, intermittently reckless, moody. I disappointed my father in the usual ways. Like McCandless, figures of male authority aroused in me a confusing medley of corked fury and hunger to please. If something captured my undisciplined imagination, I pursued it with a zeal bordering on obsession, and from the age of seventeen until my late twenties that something was mountain climbing.
I devoted most of my waking hours to fantasizing about, and then undertaking, ascents of remote mountains in Alaska and Canada—obscure spires, steep and frightening, that nobody in the world beyond a handful of climbing geeks had ever heard of. Some good actually came of this. By fixing my sights on one summit after another, I managed to keep my bearings through some thick postadolescent fog. Climbing mattered. The danger bathed the world in a halogen glow that caused everything—the sweep of the rock, the orange and yellow lichens, the texture of the clouds—to stand out in brilliant relief. Life thrummed at a higher pitch. The world was made real.
In 1977, while brooding on a Colorado barstool, picking unhappily at my existential scabs, I got it into my head to climb a mountain called the Devils Thumb. An intrusion of diorite sculpted by ancient glaciers into a peak of immense and spectacular proportions, the Thumb is especially imposing from the north: Its great north wall, which had never been climbed, rises sheer and clean for six thousand feet from the glacier at its base, twice the height of Yosemite’s El Capitan. I would go to Alaska, ski inland from the sea across thirty miles of glacial ice, and ascend this mighty nordwand. I decided, moreover, to do it alone.
I was twenty-three, a year younger than Chris McCandless when he walked into the Alaska bush. My reasoning, if one can call it that, was inflamed by the scattershot passions of youth and a literary diet overly rich in the works of Nietzsche, Kerouac, and John Menlove Edwards, the latter a deeply troubled writer and psychiatrist who, before putting an end to his life with a cyanide capsule in 1958, had been one of the preerninent British rock climbers of the day. Edwards regarded climbing as a “psycho-neurotic tendency”; he climbed not for sport but to find refuge from the inner torment that framed his existence.
As I formulated my plan to climb the Thumb, I was dimly aware that I might be getting in over my head. But that only added to the scheme’s appeal. That it wouldn’t be easy was the whole point.
I owned a book in which there was a photograph of the Devils Thumb, a black-and-white image taken by an eminent glaciologist named Maynard Miller. In Miller’s aerial photo the mountain looked particularly sinister: a huge fin of exfoliated stone, dark and smeared with ice. The picture held an almost pornographic fascination for me. How would it feel, I wondered, to be balanced on that bladelike summit ridge, worrying over the storm clouds building in the distance, hunched against the wind and dunning cold, contemplating the drop on either side? Could a person keep a lid on his terror long enough to reach the top and get back down?
And if I did pull it off… I was afraid to let myself imagine the triumphant aftermath, lest I invite a jinx. But I never had any doubt that climbing the Devils Thumb would transform my life. How could it not?
I was working then as an itinerant carpenter, framing condominiums in Boulder for $3.50 an hour. One afternoon, after nine hours of humping two-by-tens and driving sixteen-penny nails, I told my boss I was quitting: “No, not in a couple of weeks, Steve; right now was more like what I had in mind.” It took me a few hours to clear my tools and other belongings out of the crummy job-site trailer where I’d been squatting. And then I climbed into my car and departed for Alaska. I was surprised, as always, by how easy the act of leaving was, and how good it felt. The world was suddenly rich with possibility.
The Devils Thumb demarcates the Alaska-British-Columbia border east of Petersburg, a fishing village accessible only by boat or plane. There was regular jet service to Petersburg, but the sum of my liquid assets amounted to a 1960 Pontiac Star Chief and two hundred dollars in cash, not even enough for one-way airfare. So I drove as far as Gig Harbor, Washington, abandoned the car, and inveigled a ride on a northbound salmon seiner.
The Ocean Queen was a stout, no-nonsense workboat built from thick planks of Alaska yellow cedar, rigged for long-lining and purse seining. In exchange for a ride north, I had only to take regular turns at the helm—a four-hour wheel watch every twelve hours—and help tie endless skates of halibut gear. The slow journey up the Inside Passage unfolded in a gauzy reverie of anticipation. I was under way, propelled by an imperative that was beyond my ability to control or comprehend.
Sunlight glinted off the water as we chugged up the Strait of Georgia. Slopes rose precipitously from the water’s edge, bearded in a gloom of hemlock and cedar and devil’s club. Gulls wheeled overhead. Off Malcolm Island the boat split a pod of seven orcas. Their dorsal fins, some as tall as a man, cut the glassy surface within spitting distance of the rail.
Our second night out, two hours before dawn, I was steering from the flying bridge when the head of a mule deer materialized in the spotlight’s glare. The animal was in the middle of Fitz Hugh Sound, swimming through the cold black water more than a mile from the Canadian shore. Its retinas burned red in the blinding beam; it looked exhausted and crazed with fear. I swung the wheel to starboard, the boat slid past, and the deer bobbed twice in our wake before vanishing into the darkness.
Most of the Inside Passage follows narrow, fjordlike channels. As we passed Dundas Island, though, the vista suddenly widened. To the west now was open ocean, the full sweep of the Pacific, and the boat pitched and rolled on a twelve-foot westerly swell. Waves broke over the rail. In the distance off the starboard bow, a jumble of low, craggy peaks appeared, and my pulse quickened at the sight. Those mountains heralded the approach of my desideratum. We had arrived in Alaska.
Five days out of Gig Harbor, the Ocean Queen docked in Petersburg to take on fuel and water. I hopped over the gunwale, shouldered my heavy backpack, and walked down the pier in the rain. At a loss for what to do next, I took refuge under the eaves of
the town library and sat on my load.
Petersburg is a small town, and prim by Alaska standards. A tall, loose-limbed woman walked by and struck up a conversation. Her name was Kai, she said, Kai Sandburn. She was cheerful, outgoing, easy to talk to. I confessed my climbing plans to her, and to my relief she neither laughed nor acted as though they were particularly strange. “When the weather’s clear,” she simply offered, “you can see the Thumb from town. It’s pretty. It’s over there, right across Frederick Sound.” I followed her outstretched arm, which gestured to the east, at a low wall of clouds.
Kai invited me home for dinner. Later I unrolled my sleeping bag on her floor. Long after she fell asleep, I lay awake in the next room, listening to her peaceful exhalations. I had convinced myself for many months that I didn’t really mind the absence of intimacy in my life, the lack of real human connection, but the pleasure I’d felt in this woman’s company—the ring of her laughter, the innocent touch of a hand on my arm—exposed my self-deceit and left me hollow and aching.
Petersburg lies on an island; the Devils Thumb is on the mainland, rising from a frozen bald known as the Stikine Ice Cap. Vast and labyrinthine, the ice cap rides the spine of the Boundary Ranges like a carapace, from which the long blue tongues of numerous glaciers inch down toward the sea under the weight of the ages. To reach the foot of the mountain, I had to find a ride across twenty-five miles of saltwater and then ski thirty miles up one of these glaciers, the Baird, a valley of ice that hadn’t seen a human footprint, I was fairly certain, in many, many years.