Between a Rock and a Hard Place - Aron Ralston [29]
One of the more important concerns I’ve been trying to address is how much of the boulder’s weight my wrist is supporting. If it’s holding barely any weight, the amount of rock I need to remove is less. The more the boulder is being propped up by my hand and wrist, the more it will settle as I remove weight-bearing material. In fact, for me to get my hand free in that case, the rock will have to settle completely onto the wall. Unfortunately, there’s a good probability that since there’s a gap between the stone and the north canyon wall immediately below and above my wrist, the boulder is not resting cleanly on the wall. The rock will settle; I’ll be working on a subtly moving target. I can only guess how much this will affect my chances of freeing my wrist, so I table the question and return to scraping and pecking at the boulder with my knife.
I try not to think about the fact that I am stuck. Though it’s an irrepressible reality, thinking about it doesn’t help my situation. Instead, I concentrate on finding small weaknesses in the face of the boulder just above and to the left of my trapped right wrist. My earlier instincts led me to etch a demarcation line above the softball-sized volume of rock that I have decided I must eradicate to gain my freedom. I’m speculating on a flaw in the rock’s structure, in a slight concavity that’s above the bulge almost six inches from my wrist; the demarcation line runs through this concavity. I start at my line, high on the face of the rock but a few inches below the top, and hack downward, attacking as near to my mark as I can manage. Tapping, then pounding, my multi-tool’s three-inch stainless-steel blade against the stone, I try to hit the same spot with each strike.
Everything else—the pain, the thoughts of rescue, the accident itself—recedes. I’m taking action. My mind seems determined to find and exploit any seams or natural cleavage of the chockstone to hasten the removal of material. Every few minutes, I pause to look over the boulder’s entire surface to make sure I’m not missing a more obvious target.
But the going is imperceptibly slow. I unfold the metal file from the tool, and for five minutes, I use it to etch the boulder. It works only marginally better than the knife, and only when I turn it on its side and saw down at the line. The rock is clearly more durable than the shallow rasps of the file. When I stop to clean the file, I see the grooves are filled with flecks of metal from the tool itself. I’m wearing down the edge without any effect on the chockstone. I inspect the boulder again, and noting the nonuniform coloring, its relative hardness compared to my knife and the walls, and its similarity to the chockstones of the gauntlet up above, I realize this boulder isn’t strictly sandstone. It seems to have come from the darker-colored layer within the Navajo sandstone that formed the overhanging lip a hundred yards upstream near the S-log at the head of this lower slot canyon, the one I’d hung from before dropping irreversibly into the sand about two hours ago.
“That’s bad news, Aron,” I think. “The rock layer formed that ledge because it’s more erosion-resistant than the rest of this canyon. This chockstone is the hardest thing here.” I wonder if it wouldn’t be faster to carve out the wall instead of the boulder, and decide to give that a try. Switching from the file back to the three-inch blade, I strike the multi-tool against the wall above my right wrist. The knife skitters across the pink sloping canyonside. Very close to stabbing myself in the arm at every blow, I conclude the geometry is prohibitive—I can’t slash at the wall in the right spot because my arm is in the way.
I pause to rest my left arm and hand and brush a little pulverized grit from