Route 66, the “Mother Road,” as it is affectionately named, was officially decommissioned in 1984, but still clings to life in fits and starts across eight states and three time zones. What once was a major transportation artery across America from Chicago to Los Angeles, providing fuel and sustenance to travelers in oasis stops, now harbors ghosts of its past. Ruth and I simply can’t resist the magnetic pull of abandoned kitscheterias, trinket shops, gas stations, and cafes, providing a fresh marquee for graffiti and social commentary.
When we cross fenced barriers, open broken doors, and step across rubble-strewn entranceways, we hear voices echoing in time.
Around us are the artifacts of a not-too-distant past, once discarded in the American dream of rapid interstate transportation, that stimulate reflective awakening and pining for a simpler time. The adventure of discovering unique food, lodging, and inhabitants exclusive to the region faded away from the Mother Road like upstart children grown out and away from the old ways.
There is a move afoot to restore much of this once grand road, and it is all not driven by commerce. Two-lane Route 66 traverses barren country, connecting small towns and historical, geographical, and geological points of interest. We hunger to escape the highway of mundane, ordinariness, mediocrity of chain stores and restaurants—mind-numbing mall uniformity—exchanging comfort for quirky, off-base stimulation.
While ruin-spelunking we discovered some elegant graffiti conceived by a poetic peripatetic traveler with the moniker of Boots, who states on her Instagram page, “I write poetry while traveling, photographing, and spray painting my poems in abandoned places.” She, like many others, has left her mark on the canvas of remnants and ruins, to breathe art and awakening form to ephemeral spirits within deserted places.
Our stopping point along a multi-week progress along the Little Colorado River brings us to Homolovi State Park, where we continue our exploration of a chain of archaic indigenous peoples’ habitations. Petroglyphs, relics, rubble, and remnants of primeval lives lay scattered about partially excavated mounds of former thriving communities.
Messages—graffiti, if you will—abound from the past telling stories we strive to decipher. New American immigrants, explorers, and trailblazers “discovered” the ancient petroglyphs and, in kind, added their own “tags,” memorializing the primordial urge to proclaim, “We were here!”
It appears quite clear that images of animals, humans, and nature, so carefully pecked into ancient desert varnish-baked rock faces, are not all about life’s essentials, or to simply make our mark, but an enduring expression of passionate art. For this reason, I am drawn to these symbolic voices from the past, for they are OUR declaration: “We were here, we are here, and we will be here.”