In the morning we travel in wild-looking high valley country where thick pine forests cluster on the flats along cliff edges undercut by the river. The snow-ribboned flanks of Nilghiri and Tukuche Peak rise above, and the turquoise Kali Gandaki winds far below in a maze of earth. It’s a wonder how much stone the world has in it. But more of it is visible from this spot than most. We start out the day walking on the easy grade of the new road.
In the midmorning we cross a long cable bridge over a tributary canyon and stand among the outpost buildings of Lete, a station called Lete-Khola. A mule train we saw from across the gorge as it descended a steep switchback arrives in a few minutes, and the animals file onto the bridge ahead of their drivers. On a flat rooftop nearby a man in a wool cap is taking an adz to sheep bones on a chopping block made from an upright log. He chops each bone until it’s shredded and the marrow is dangling out, then puts it in a large aluminum bowl and selects another. The bowl looks like it contains an entire sheep in bloody disarray, except for the skin, which is staked out wool down and raw side up on the ground in a yard to the side. After the mule train has left, two women and a boy we’d seen foraging firewood off the precipitous side of the new road arrive across the bridge, carrying their loads of wood on their backs in hand-woven baskets slung with tump lines from their foreheads. The boy stops at the station house, presumably to add his load to the wood stacked all along the wall, while the women head for the switchback. A man arrives after that carrying a wire frame box on his back that’s neatly packed with goods. He’s smartly dressed, well groomed, middle-aged, as broad as he is tall. He looks like he could carry a mule. He’s a traveling one-man dry goods shop. He has batteries, wire scrubbies, fuses, ramen noodles, soap. Bungeed on top of it all is his transistor radio playing the news.
After a few minutes we go on. The foot trail cuts a steeper and more direct route across the wider curves of the new road, to the top of yet another tableland. There’s always another higher tier of land here. We cross past meadows, some bordered by stone walls, and through the shadows of a dense fragrant pine woods, and along a granite-flagged road into the town of Lete. Here the houses are white-painted stone with roofs made from thatch and hand-hewn logs with the bark still on them. The windowframes and doors are painted cheery blue, others are minutely carved unpainted wood. Prayer flags fly from poles made from pine saplings with their crown branches still on. The women wear bright reds and purples and yellows and have weathered dark skin. The way they wear their headscarves tight across their foreheads completes a slightly more than passing likeness to some Native American peoples, and here in a landscape reminiscent of the grandeurs of the American mountain west, but on an even greater scale. The foothills have their heads in clouds and are streaked with snow up above the treeline. The mountains are only visible this morning from their glaciered hems downward. Dhaulagiri’s massive icefall can be seem up above the town like a rampway into the clouds but the bulk of the mountain is hidden, sixteen thousand feet of it still above us. Behind us, Nilghiri’s peaks can be seen. They’re six thousand feet lower than Dhaulagiri, but still large enough to dwarf everything else in our view.
We walk a mile through the town between stone walls picture perfect and comparable, according to both Becca and Sean, to places in Ireland. We see a big Mahindra tractor and wonder how it got here. We see a man rolling red propane tanks over the flagstones, which makes a noise almost like a mule bell. We stop for lunch—a plain but satisfying dal bhat—in a village where most of the guest houses are closed for the season. Timur and red chiles are laid out on nanglos in the courtyard for the sun to dry.
From this place the road descends to a broad place where the river, in another season, has enough water in it to fill a basin half a mile wide. Now it’s a broad gray playa. We photograph a mule train crossing this space, bells clunking, loads jostling, their drivers jogging along behind in the dust they raise. Then we start across.
Streams have to be crossed on bridges that are nothing more than pine poles with their branches stripped off. A tractor is traversing the riverbed a quarter mile away to our left, towing a small trailer whose rattling and banging over the rocks can be heard as clearly as thunder. We take a road that cuts across a hillside rather than follow the wide bend of the riverbed. It’s a steep road that winds up through pine woods and then descends again onto a second, vaster riverbed, a mile wide or more. It’s as if we’re standing on the edge of a desert. We cross among stands of dry thicket and sea buckthorn where stray cows are grazing. There are towering mountains ahead and behind. We are on a plain of gray sand and smooth stones. At its far edges are slopes of red soil and steep pine woods perching and clambering and ascending over a thousand feet above this unexpected level place. Two men on trotting ponies ride past us. We emerge from the thickets and come to three rough huts made of bark and clearly not wind-tight. Two children emerge from one and stare at us. A man and a woman and a child emerge with loads of handwoven baskets on their backs and head off in the same direction we’re traveling. We take photos. A 360° panorama is about the only way I can attempt to sum it up with a camera. Then we continue across.
There are ridges of sand piled by the wind in the innumerable dry watercourses. Sometimes we cross the turquoise streams split and wandering in their landlocked beach, and we cross on pine poles. The final crossing is on a plank bridge that Krishna says, come summer, “Kali Gandaki eat.” The idea of the river filling its bed shoulder to shoulder is a little frightening. In all it’s taken us nearly two hours to cross. We catch up and keep pace for a while with the family of basketmakers. Krishna talks with them as we walk. The wind has picked up to a steady rush and waves of dust roll across the valley floor and scour our windbreakers. We pass fields with stone walls that have full-height wooden doors standing in archways. They are only fields but they seem like the ruins of giant storehouses, and this impression and the blowing dust lend an apocalyptic air to the place. Krishna points out Tukche away across the riverbed but it’s impossible to judge the distance. Everything seems out of scale. Sean is limping. We’re not sure if we’ll be straggling into town after dark for a third night running. But gradually a few buildings along the west shore of the riverbed become visible and we have something to measure our progress by. A side canyon opens up. High on the ridge we can see colorful flags flying, a monastery with a broad view of the gorge. We cross a stream, we pass men bearing loads of goods setting out even at this late hour from Tukche, and we arrive at the village gate.
Tukche feels like a refuge after crossing the arid riverbeds. The village feels particularly old-fashioned and solid and colorful. The rooftops are stacked with cordwood. Cows and dogs and chickens roam in the streets, ponies stand unsaddled and resting, there’s a motorcycle repair shop, a wide schoolyard empty other than a patrolling red rooster. There’s a colorful monastery with prayer flags whipping in the wind, there’s a distillery of apple brandy. We walk through most of the town before arriving at the Yak Hotel, Kalpana’s parents’ hotel, where we’ve planned all along to spend a night.
The hotel is sturdy and cozy. With the dust and wind picking up outside, the light inside is dim. The walls are white-painted wood with exposed beams. Our rooms are off a short corridor on the second floor, where a railing overlooks the common room lit in soft gray light falling down the high narrow space from skylights on the third floor. There’s a dining room on the second floor as well, cheery with plants. Outside, clouds are wrapping themselves around the mountain as the sun goes down and a fierce wind is whipping dust through the streets. On the neighboring roof a man is tossing armloads of cordwood down to the street.
We rest a while in the room and enjoy hot showers. It hasn’t been cold enough until now for me to wear my flannel-lined jeans. I brought them because I have no wind pants so they’re the next best thing, and I pull them out of my backpack now realizing that they’re clean. Changing into them makes me feel like a new person, albeit a new person with very, very stiff legs. In a little while I hobble down the steep stairs to the dining room, where an electric heater is in a pit under the table, and the draped tablecloth keeps our legs and feet toasty. For dinner, it’s some soup, and then dal bhat, and then some apple momos with custard on them and a little bottle of apple brandy, of which Sean and I only drink a tiny amount before retiring to our room, our sleeping bags, the big thick blankets on the beds, the comfort of being snug while the wind moans outside.
The family that chews together, moos together
A stream of the Kali Gandaki river, actual color
The riverbed of the Kali Gandaki a few miles south of Tukche
The view south down the riverbed from Tukche
At the south gate of the village of Tukche




























