Friday, March 06, 2009

Lost in a sea of bolts

By Rod Smith

It seems a funny thing to go all the way to Tassie – home of the brutal crack and bastion of trad climbing – to clip bolts.

Rick Fielding and I hadn’t intended it to be that way. But after a day at Ben Lomond, and on the way to more trad climbing at Freycinet, en route to the East Coast via the Lake Leake Highway the sign to Lost Falls beckoned us.

After three summer trips to Tassie in as many years we both knew that Lost Falls contained two 96m slab routes. Sport climbs, they sit side by side on the pleasant dolerite slabs that become the Lost Falls in winter and after heavy rain.

At 8am on a perfect summer morning we geared up in the car park before making the literally 5-minute walk to the triple rings at the top of the falls.

Well-bolted, the climbs are broken into three pitches, with each having independent first and second pitches before sharing the final easy pitch. Both climbs share three triple-ring belays/rap points.

After some arduous and unsuccessful attempts to prevent our double ropes falling into the remnant pools created by the trickle of water that is Lost Falls in summer, I set off with damp ropes up the first pitch of the first route, Ride the Dragon (15).

Despite looking slippery, the rock provided good friction, even the bits that were covered in dried, black slime. I was quickly at the top of the first pitch.

Rick led the champagne second pitch, the crux. At 50m in length and on the grade, it was a pleasant excursion even on second. Although slabby, the rock holds enough small fissures to render it easier to climb than say the granite slabs at Tarana, near Lithgow.

The third pitch was more of a formality than anything before we were once again tossing our ropes in every pool we could find, abseiling down to climb the next route, Black Dawg.

Black Dawg’s crux is its second pitch which is graded at 19. This time the champagne pitch went my way as we climbed the harder liner closest to where the waterfall develops after rain.

Delicate rockover moves and plenty of toeing and palming nuances in the slab made for absorbing and technical climbing. Seventeen draws were needed to complete the 50m second pitch.

Rick and I both agreed that the grade of the crux pitch was probably more in the hard 17/easy 18 range – or it may have been the euphoria of spending a few hours climbing a couple of four-star routes in the calming surroundings of the Tasmanian bush that made it seem easier.

Tragic history of climbing’s lost boys

Book Review

By Rod Smith

In the 1970s and ‘80s Britain lost some of its best mountaineers at an alarming rate.

This was no mass death caused by the sky collapsing, or too many people getting caught out in bad weather on overcrowded routes.

To the contrary these men – and they were all men – were climbers who were pushing the boundaries of alpinism, using techniques developed in the European Alps to climb the monster peaks of the Himalayan and the Karakoram.

Rouse, Clough, Haston, Estcourt, Boardman, Tasker are the familiar names among the dead whose lives are charted by Clint Willis in his book The Boys of Everest (Portico, London).

Subtitled Chris Bonington and the Tragedy of Climbing’s Greatest Generation, the book is a thick volume that attempts to draw together the disparate characters who climbed with Bonington on his many expeditions.

All of these stories have been told before, many by Sir Chris himself. Indeed much of the source material that Willis draws on is from well-known expedition books by the likes of Haston, Boardman, Tasker and Haston.

However, the strength of this volume is that it is a potted history of British climbing triumph and tragedy from Bonington and Hamish MacInnes on the Bonatti Pillar in 1958 to the deaths of Tasker and Boardman on Everest in 1982 and Bonington finally climbing Everest in 1985 at age 50.

Over 536 pages – complete with an index – the story unfolds as a type of combined formal history and adventure novel.

Willis’s ability to condense the factual side of the story and at the same time combine it with a novelist’s sense of storytelling highlights what a fine writer he is.

Like a novelist, he ascribes motivations and emotions to each of the key characters. For instance as the all-seeing narrator Willis tells us what Bonington thinks about a certain team member or why Douglal Haston and Don Whillans worked as a team despite Haston not caring much for Whillans as a human being.

Such information has been gleaned from interviews Willis conducted researching the book and it is woven into the characters of these real-life dramas, making the climbers human rather than one-dimensional heroic and tragic figures.

But if this style is Willis’ strength it could also be seen as his weakness: At times his writing moves from living history to pure fiction such as when the unknowable thoughts of dying climbers’ are described in purplish prose.

Thus when Willis tells us what Peter Boardman was thinking as he and Joe Tasker died on the Northeast Ridge of Everest the thrilling history is replaced by wild invention.

This would seem to be the domain of the pure fiction writer, not the practitioner of new journalism.

What we do know is that Boardman’s body was found 10 years after he died and that, to date, Tasker’s has never been found. The knowledge of that is poignant enough.