The country surrounding Davis Gulch is a desiccated expanse of bald rock and brick-red sand. Vegetation is lean. Shade from the withering sun is virtually nonexistent. To descend into the confines of the canyon, however, is to arrive in another world. Cottonwoods lean gracefully over drifts of flowering prickly pear. Tall grasses sway in the breeze. The ephemeral bloom of a sego lily peeks from the toe of a ninety-foot stone arch, and canyon wrens call back and forth in plaintive tones from a thatch of scrub oak. High above the creek a spring seeps from the cliff face, irrigating a growth of moss and maidenhair fern that hangs from the rock in lush green mats.

Six decades ago in this enchanting hideaway, less than a mile downstream from where the Mormon steps meet the floor of the gulch, twenty-year-old Everett Ruess carved his nom de plume into the canyon wall below a panel of Anasazi pictographs, and he did so again in the doorway of a small masonry structure built by the Anasazi for storing grain. “NEMO 1934,” he scrawled, no doubt moved by the same impulse that compelled Chris McCandless to inscribe “Alexander Supertramp/May 1992” on the wall of the Sushana bus-an impulse not so different, perhaps, from that which inspired the Anasazi to embellish the rock with their own now-indecipherable symbols. In any case, shortly after Ruess carved his mark into the sandstone, he departed Davis Gulch and mysteriously disappeared, apparently by design. An extensive search shed no light on his whereabouts. He was simply gone, swallowed whole by the desert. Sixty years later we still know next to nothing about what became of him.

Everett was born in Oakland, California, in 1914, the younger of two sons raised by Christopher and Stella Ruess. Christopher, a graduate of Harvard Divinity School, was a poet, a philosopher, and a Unitarian minister, although he earned his keep as a bureaucrat in the California penal system. Stella was a headstrong woman with bohemian tastes and driving artistic ambitions, for both herself and her kin; she self-published a literary journal, the Ruess Quartette, the cover of which was emblazoned with the family maxim: “Glorify the hour.” A tight-knit bunch, the Ruesses were also a nomadic family, moving from Oakland to Fresno to Los Angeles to Boston to Brooklyn to New Jersey to Indiana before finally settling in southern California when Everett was fourteen.

In Los Angeles, Everett attended the Otis Art School and Hollywood High. As a sixteen-year-old he embarked on his first long solo trip, spending the summer of 1930 hitchhiking and trekking through Yosemite and Big Sur, ultimately winding up in Carmel. Two days after arriving in the latter community, he brazenly knocked on the door of Edward Weston, who was sufficiently charmed by the overwrought young man to humor him. Over the next two months the eminent photographer encouraged the boy’s uneven but promising efforts at painting and block printing, and permitted Ruess to hang around his studio with his own sons, Neil and Cole.

At the end of the summer, Everett returned home only long enough to earn a high school diploma, which he received in January 1931. Less than a month later he was on the road again, tramping alone through the canyon lands of Utah, Arizona, and New Mexico, then a region nearly as sparsely populated and wrapped in mystique as Alaska is today. Except for a short, unhappy stint at UCLA (he dropped out after a single semester, to his father’s lasting dismay), two extended visits with his parents, and a winter in San Francisco (where he insinuated himself into the company of Dorothea Lange, Ansel Adams, and the painter Maynard Dixon), Ruess would spend the remainder of his meteoric life on the move, living out of a backpack on very little money, sleeping in the dirt, cheerfully going hungry for days at a time.

Ruess was, in the words of Wallace Stegner, “a callow romantic, an adolescent esthete, an atavistic wanderer of the wastelands”:

At eighteen, in a dream, he saw himself plodding through jungles, chinning up the ledges of cliffs, wandering through the romantic waste places of the world. No man with any of the juices of boyhood in him has forgotten those dreams. The peculiar thing about Everett Ruess was that he went out and did the things he dreamed about, not simply for a two-weeks’ vacation in the civilized and trimmed wonderlands, but for months and years in the very midst of wonder…

Deliberately he punished his body, strained his endurance, tested his capacity for strenuousness. He took out deliberately over trails that Indians and old timers warned him against. He tackled cliffs that more than once left him dangling halfway between talus and rim… From his camps by the water pockets or the canyons or high on the timbered ridges of Navajo Mountain he wrote long, lush, enthusiastic letters to his family and friends, damning the stereotypes of civilization, chanting his barbaric adolescent yawp into the teeth of the world.

Ruess churned out many such letters, which bore the postmarks of the remote settlements through which he passed: Kayenta, Chinle, Lukachukai; Zion Canyon, Grand Canyon, Mesa Verde; Escalante, Rainbow Bridge, Canyon de Chelly. Reading this correspondence (collected in W. L. Rusho’s meticulously researched biography, Everett Ruess: A Vagabond for Beauty), one is struck by Ruess’s craving for connection with the natural world and by his almost incendiary passion for the country through which he walked. “I had some terrific experiences in the wilderness since I wrote you last-overpowering, overwhelming,” he gushed to his friend Cornel Tengel. “But then I am always being overwhelmed. I require it to sustain life.”

Everett Ruess’s correspondence reveals uncanny parallels between Ruess and Chris McCandless. Here are excerpts from three of Ruess’s letters:

I have been thinking more and more that I shall always be a lone wanderer of the wilderness. God, how the trail lures me. You cannot comprehend its resistless fascination for me. After all the lone trail is the best… I’ll never stop wandering. And when the time comes to die, I’ll find the wildest, loneliest, most desolate spot there is.

The beauty of this country is becoming part of me. I feel more detached from life and somehow gentler… I have some good friends here, but no one who really understands why I am here or what I do. I don’t know of anyone, though, who would have more than a partial understanding; I have gone too far alone.

I have always been unsatisfied with life as most people live it. Always I want to live more intensely and richly.

In my wanderings this year I have taken more chances and had more wild adventures than ever before. And what magnificent country I have seen-wild, tremendous wasteland stretches, lost mesas, blue mountains rearing upward from the vermilion sands of the desert, canyons five feet wide at the bottom and hundreds of feet deep, cloudbursts roaring down unnamed canyons, and hundreds of houses of the cliff dwellers, abandoned a thousand years ago.

A half century later McCandless sounds eerily like Ruess when he declares in a postcard to Wayne Westerberg that “I’ve decided that I’m going to live this life for some time to come. The freedom and simple beauty of it is just too good to pass up.” And echoes of Ruess can be heard, as well, in McCandless’s last letter to Ronald Franz (see pages 56-58).

Ruess was just as romantic as McCandless, if not more so, and equally heedless of personal safety. Clayborn Lockett, an archaeologist who briefly employed Ruess as a cook while excavating an Anasazi cliff dwelling in 1934, told Rusho that “he was appalled by the seemingly reckless manner in which Everett moved around dangerous cliffs.”