
Lower Latourell Falls, a single ribbon of water carving basalt for centuries.
I drove east from Skamania Lodge this morning, the Columbia River off my shoulder and the day so clear it almost rang. September-blue sky. Sun bright enough to make the river flash like a blade. My grandson, Jordan, told me Friday with precision: autumn arrives Monday at 2:19 p.m. Eastern. Out here, that’s 11:19 a.m.—still ahead of me as I wound into the Gorge toward Latourell Falls.
Autumn carries a certain somberness for me, a quieting. Not sadness exactly—more like the sound turns down so you can hear what’s underneath. Maybe that’s why I felt pulled to the trail. I wanted to walk into the season rather than let it arrive without me.
At the trailhead, a tour group had just gathered for the lower falls. Laughter, a few wool caps, an airhorn of enthusiasm. I smiled, stepped aside, and chose the upper falls first—the steeper, quieter way. I wasn’t looking to be alone, exactly; I was looking for the kind of company a forest keeps.
Within a few minutes, the Gorge did what it always does—it closed the door on the highway and pulled me into its own weather. Ferns stitched the ground, their fronds beaded with last night’s damp. Moss softened every trunk and limb as if the trees had been given green coats for the season ahead. The air smelled like earth made new, like stone rinsed clean. Even as I climbed, it felt like a descent into a sanctuary—cooler with every turn, light growing spare and slanted. Morning clouds had pooled in the ravine and hung there, a gauzy haze caught in the evergreens. Some places down here probably never see direct sun. They don’t need it. They glow on their own.
I thought of the Corps of Discovery—how often I do. Did Lewis or Clark, or any of their men, step into a bowl of forest like this and go quiet because there was nothing else to do? The Gorge isn’t the Missouri, but wonder travels well. The particulars change—rock, water, tree—but the feeling is the same: smallness that enlarges you.

This place surely carried another name, spoken in a language older than maps.
I also thought of the Indigenous peoples who walked this land long before Lewis and Clark, long before any of us. What drew them to these falls? Did the sound carry meaning, the mist hold stories, the basalt cliffs serve as markers? Surely this place, with its power and beauty, carried a name of its own—a name rooted in language older than English, older than the maps I’ve studied. I wondered what ceremonies, what moments of gathering or prayer, may have happened on these same stones where I now stood, a guest in their homeland.
And then, as always, I thought of Carmen. I miss her in places like this with an ache that’s both tender and grateful. I wish she could see what I’m seeing, breathe this somewhere-between-summer-and-fall air, hear the steady hush of water working the canyon. She has a way of noticing beauty that makes my noticing better. It’s one reason I’m writing Uncharted Moments—to gather these places and hours, to honor the way they’ve shaped us, to invite readers into the country we fell in love with (despite its flaws), the land itself and the people whose homelands these are, and the love story that carried us along.
That’s the challenge I carry up trails like this: how to translate a feeling into words without dulling its edge. How to write a scene so true you can smell the moss and taste the spray. How to talk about the wonder that arrives unannounced and refuses to be photographed. I want Uncharted Moments to do that—to rise, chapter by chapter, into a kind of crescendo that isn’t noise but resonance. Not louder, truer.
The path leveled, and the sound of water shifted from rumor to presence. At a break in the trees, the upper falls appeared—veil and plunge, a white ribbon slicing the basalt. I stood and let time do what it does in front of moving water: lengthen and loosen. You don’t measure a waterfall; it measures you.
On the way down, I rejoined the lower trail, and the crowd’s energy returned in bits and pieces—footsteps, voices, the happy clatter of trekking poles. I rounded a bend just as a woman—seventies, camera in hand, careful on the narrow path—rounded from the other side. She looked up, caught her first sight of the lower falls, and her face opened. It was all there at once: surprise, delight, reverence. A smile that belonged equally to her and to the water. Pure joy. Pure “oh my God.”
I wish I had taken a picture. I didn’t. The moment kept moving, as it should. But it stayed with me, because that expression—hers—was the mirror I needed. That’s what I’m trying to write toward. Not a catalog of places, not a ledger of miles, but that spark of recognition when beauty strikes and we say, without words: yes.
If you’ve followed my work for a while, you know how often I return to rivers and trails, to the Lewis & Clark story that first sent Carmen and me west, to the way travel can teach you to listen. You also know my bias: the land is a mentor if we let it be. It slows you down, insists on your senses. In a ravine like Latourell’s, you start to notice things you’d otherwise miss—the way the spray cools the air twenty paces before you see the falls, how moss drinks light, how a single cedar can hold the smell of a decade. The world doesn’t have to shout here. It just is, and that’s enough.
I think that’s why autumn carries that somberness for me. Not because something ends, but because the world invites you closer. Leaves turn, not to be dramatic, but to mark the shift. The river lowers. The light sharpens. The calendar clicks forward—11:19 a.m. Pacific, the equinox arrives—and whether you’re ready or not, the season proceeds on.
Driving back west toward Skamania, the sun a little higher, I thought about that smile again and what it asked of me as a writer, a husband, a grandfather. Pay attention. Say what you mean. Carry the moment carefully and then set it down so others can pick it up. Uncharted Moments isn’t a museum of our travels; it’s a living room. I want readers to walk in, sit with the stories, and feel the same quiet joy I felt on that trail—or the grief we’ve carried, or the stubborn hope that keeps us going. I want them to meet Carmen on these pages the way I’ve met her on a hundred trails and riverbanks: steady, brave, eyes bright at the edge of a view.
The Gorge didn’t try to make a speech today. It offered a handful of simple things: cold air, wet stone, trees in their green coats, a waterfall doing its work, a stranger’s face turned to wonder. That’s plenty. That’s abundance. And it’s enough of a map for me to keep writing, to keep trusting that the right words will arrive, as seasons do, right on time.
Autumn is here—my grandson’s clock confirms it. The light is already different. I’m grateful for a morning that let me walk into it on purpose, east from Skamania, up into the hush, and back again with one small, perfect reminder: joy is often just around the bend, waiting to be reflected.

Beauty reflected back in the faces of those who find it.