After years of planning, I was finally heading for the Galápagos: my long-awaited retirement gift to myself. I had bid a teary farewell to my last-ever group of natural-history students. I had enjoyed the closing parties: the celebration for all my university’s retirees, the reception for the new faculty emerti, the departmental gathering just for me. I had packed. I had given my last final exam, turned in my final final grades that same day.
Forty-eight hours later, Rob and I were, at long last, on the plane to Guayaquil, Ecuador. We spent a couple of days recovering from jet lag by basking in the soft tropical air by the wide brown Rio Guayas, watching mats of vegetation float by on their journey toward the Pacific, fifty miles away.
Recuperated and restored, we finally departed for the islands themselves. I was giddy with excitement at the prospect of wandering through a tropical paradise filled with exotic birds, which had been so critically important to my hero Darwin.
But I’d been so busy bringing closure to a thirty-year career that I hadn’t wedged in a lot of time for trip research. So when our planeful of fellow voyagers started its descent into Baltra, I’m embarrassed to admit I was startled by the bare brown landscape below me. Where was all that lush jungly green we’d admired around Guayaquil?
Although the Galápagos Islands are on the equator, which is generally pretty rainy around the globe, it turns out that they’re desert islands. Three cold ocean currents converge there, chilling the air enough to discourage the cheerful abundant plant growth of coastal Ecuador. And the islands, created just a few million years ago by a volcanic hot spot, are so removed from the mainland that it’s hard for plants and animals to get there to colonize and soften their rocky faces. (Some of those floating mats we’d seen on the Guayas may have brought the first seeds.)
At Baltra we boarded the friendly Samba, our floating home for our fortnight in the Galápagos.
Lava was the language of landscape on each island we visited. Its dialect might be pahoehoe (smooth) or a’a (craggy), but in each place, fractures in the fresh-made land told stories of its birth from water, birth in fire.
Viewed from a higher perspective, these fractures tell the deeper stories of the island’s sepia faces. The curved concentric cracks around Darwin Bay at the island of Genovesa were formed when the underlying magma pool drained and the rocks above it collapsed.
To those who can read its wrinkled language, this lava landscape tells its life story: tales of explosion and collapse, of inexorable erosion and stressful seas.
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We tend to think of beauty in terms of smooth curves and vibrant colors. Look what shows up when I do an image search on “beauty in nature”:
The resulting images are bright, oversaturated, mostly with a soft feel. So the face of the Galápagos’ harsh landscape, with its craggy wrinkles and sepia palette, might seem unlovely; hard to love. But such fractured faces have their own beauty.
Climbing such challenging landscapes brings its own rewards as well as new vistas:
Wrinkles bring character and depth to noble coppery visages:
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Somewhere in my family’s photo collection is a bunch of old black-and-white photos of my older relatives. Among the great-aunts and second cousins once removed, there are jagged holes. These are where my grandmother Mimi cut her face out of the photos. She was recognized as a beauty in her youth—
—and I’m guessing that she couldn’t stand to see her face with the wrinkles etched by hard times and good: the storylines of her life.
Searching recently through the vast photo collection in boxes in my father’s attic, I could only find a couple of images of my grandmother that had escaped the sharp edges of her scissors—including this one from my mother’s wedding day.
Over her decades, my mother’s smooth face grew similarly storied, and even more beautiful than in her youth.
And now it’s my turn to work toward the peace my grandmother could never achieve regarding wrinkles.
Like the Galápagos Islands’, like my mother’s and her mother’s, my own wrinkles are the storylines of my life, rendered in sepia. All of the women in my family, as all women and men everywhere, are born from water, formed of fire, sculpted by exuberance and by wear.
Bright colors and smooth surfaces aren’t the only shapes beauty takes in landscapes, reptiles, pelicans or people. Those that catch my eye and touch my heart are the etched, lined, fractured faces—the ones with the wisdom of wrinkles.