When I decided to visit Machu Picchu, I was so focused on getting to Peru that I kept delaying another important decision: Which route would I take to access the sacred site?
You’ve probably seen this before. It’s what everyone pictures when they think of Machu Picchu—the verdant network of stone terraces, temples, and open-walled houses; the soaring peaks of Huayna Picchu framing the dramatic scene. When I arrived at Peru’s “lost” Inca citadel in the clouds, I was expecting to round the path beneath the guardhouse, walk through…
In the course of researching where I wanted to go in Colombia, the place I looked forward to visiting most was the Guajira Peninsula, a vast, arid desert that juts out into the Caribbean Sea like a fisted forearm.
For travelers looking to immerse themselves in a destination’s traditions and ways of life, homestays are a perfect entry point. They are the very definition of local travel, getting visitors on the ground as soon as possible and plunging them into the deep end of a new place.
It is my first day in the tropical rain forests of northeast Colombia and, along with about a dozen other hikers, I am on the trail to La Ciudad Perdida, or the Lost City. The pre-Colombian city was built around 800 A.D., making it some 650 years older than its Inca Empire counterpart, Machu Picchu, in Peru.
Here on Salt Spring Island in western Canada, inside a 20-foot-wide canvas yurt—modeled after the round, portable dwellings of nomads in Mongolia and Central Asia—I feel closer to nature than ever. And yet the first thing I do upon waking is reach above me, retrieve my iPod Touch from the headboard, and refresh my Gmail inbox. In a matter of seconds, I find myself present everywhere but here.
The idea of documenting a trip through art isn’t a particularly new one. Aboard Captain Cook’s second voyage to the Pacific was oil painter William Hodges; artist Edward Wilson accompanied Robert Scott as he explored the Antarctic; even a 22-year-old Jacqueline Bouvier and her sister Lee completed sketches of their European tour in 1951. Three years ago, I decided to give this tradition a try. My first sketch was hastily drawn, with rows of capital Ls for windows and messy scribbles for trees, but I immediately noticed two effects the process had on me…