The Land of Desolation: Being a Personal Narrative of Observation and Adventure in Greenland

In Short

This travelogue documents an 1869 expedition to Greenland aboard the steam-yacht Panther, led by the artist William Bradford and accompanied by a small party of scientists and adventurers. Moving from the southern Danish colonies to the formidable glaciers of the far north, the narrative balances scientific observation—detailed accounts of iceberg formation, local geography, and Northman ruins—with the social realities of life in an isolated, frozen territory. It serves as an evocative, if occasionally opinionated, window into the intersection of Victorian exploration, colonial administration, and the stark, indifferent majesty of the Arctic.

The Story

The narrative begins with the departure of the Panther for Greenland, a venture driven by a desire for artistic discovery and geographical inquiry. The author, a seasoned Arctic traveler, joins the party to assist with the survey and to document the journey. Upon reaching the southern settlement of Julianashaab, the group finds a surprising degree of order, facilitated by the Danish government’s presence. The author describes with fascination the local infrastructure—the churches, schools, and even a parliament—that allows this small, isolated community to function under the watchful eye of Danish governors and missionaries.

As the expedition moves north, the tone shifts from ethnographic curiosity to the raw tension of survival and discovery. The party navigates the treacherous fiords and Melville Bay, where the Panther occasionally finds itself trapped by the shifting ice pack. The author details the constant, rhythmic labor required to keep the vessel moving, noting the persistent threat of being forced to overwinter in the "pack."

The heart of the journey lies in their engagement with the environment. The explorers spend significant time documenting the life cycle of glaciers and the spectacular, violent "birth" of icebergs, which the author describes as a sublime, convulsive natural force. These encounters are interspersed with hunting trips and lighthearted, if sometimes tense, social interactions among the crew and the native populations. The group visits the ruins of ancient Northman settlements, reflecting on the historical persistence of these early inhabitants and the eventual decline of their Episcopal sees.

Throughout the narrative, the author is keenly aware of the isolation of the Danish residents. He reflects on the "one ship of the year"—the annual vessel bringing supplies and news from home—which highlights the profound separation between this "Land of Desolation" and the rest of the world. The expedition eventually pushes toward the northern limits of the voyage, witnessing the grandeur of peaks like Kresarsoak. After surviving the hazards of the ice and the relentless summer mosquitoes, the crew makes their way home, leaving the Arctic behind but carrying with them the indelible impression of a landscape that defies human scale. The narrative concludes with a sense of accomplishment, having successfully balanced the scientific goals of the voyage with the sheer adventure of traversing one of the world's least hospitable environments.

How It Unfolds

The voyage begins The party sets out in the steam-yacht Panther, filled with high spirits and the specialized tools of their trade: cameras, sextants, and hunting rifles. They transition from the stifling heat of New York to the cooling, light-filled atmosphere of the Arctic, marking a stark contrast in human experience.

Life in the colonies The explorers arrive at Julianashaab and are greeted by Danish officials who manage a surprisingly stable society in the wilderness. The author observes how these settlers maintain their European customs and religious life despite the profound isolation of their surroundings.

Historical reflections The group visits the ruins of ancient Northman settlements, where the author recounts the saga of bishops and early Christians who once thrived in these fiords. He traces the history of the See of Gardar, drawing a line from the medieval past to the present-day reality of the colonial missions.

The battle with the ice The Panther journeys northward into the unpredictable waters of Melville Bay, where the crew must constantly maneuver through ice fields. They witness the massive, awe-inspiring calving of a glacier, an event that underscores the chaotic, powerful forces of the Arctic environment.

The final surveys The party concludes their work by attempting to reach the Jacobshavn glacier, eventually retreating to the safety of the colony. After dining with the local population and reflecting on the endurance of the missionaries and their families, they turn their bow toward home, leaving the silence of the North behind.

The People

The narrative is populated by a diverse cast that includes the "Arctic Six"—a group comprising artists, photographers, and scientists—and the rugged crew of the Panther. William Bradford, the owner of the yacht, provides the artistic impetus, while the Captain represents the indomitable, "roaring" spirit of the mariner who thrives on the challenge of the ice. The author, Dr. Hayes, acts as the steady, observational center of the party, bringing his past Arctic experience to bear on their current trials.

Among the local figures, Mr. Kursch, the governor of Julianashaab, represents the quiet, competent face of Danish administration, while the various missionaries stand as symbols of persistence, often living in stark isolation with their families. The native inhabitants are described with a mix of curiosity and cultural distance; characters like Hans are presented through the lens of Victorian perceptions regarding "civilization," often highlighting the author's skepticism toward simplistic portrayals of local character. Finally, the Prince—a member of the expedition who injects a sense of aristocratic leisure into the harsh surroundings—provides a foil to the earnest, scientific focus of the others, often leading the party into moments of unexpected social levity, such as dancing in the ruins of a Norse cemetery.

In Its Own Voice

“If my first introduction to the Land of Desolation had been somewhat rough, my first intercourse with its people (barring the fishy odor which they carried about with them) was decidedly pleasant.”

The author reflects on his initial impressions of the Danish colonial settlement at Julianashaab.

“Could those ancient priests, with the bishops at their head, have arisen then and there, they would doubtless have anathematized the whole party on the spot; for others were not slow to follow, and the dance did not wind up until they had gone through with several hornpipes and Greenland reels.”

The author describes a surreal moment of modern celebration occurring amidst the solemn, ancient ruins of a Norse churchyard.

What It's Really About

The book explores the tension between human ambition and the absolute indifference of the natural world. It investigates the ways in which civilization—represented by the Danish colonial administration, the church, and the scientific apparatus of the explorers—attempts to map, name, and tame a territory that refuses to be mastered. Beneath the descriptions of icebergs and geography lies a deeper, more existential question: what does it mean to build a home in a place that is fundamentally "desolate"? The text serves as a meditation on the fragility of human institutions when placed against the backdrop of deep time, represented by the slow, inexorable movement of glaciers and the ruins of vanished cultures.

Why Read It Today

Readers who appreciate the intersection of natural history and the "gentleman explorer" tradition will find this book particularly rewarding. It provides a vivid, firsthand look at a period when the Arctic was still a place of immense mystery and danger for those operating with limited technology. The prose is warm and observant, capturing the shift from the scientific rigor of daytime surveys to the social, often humorous dynamics of the crew at night.

However, a contemporary reader must approach it with an awareness of its time. The author’s language frequently reflects the colonial and Eurocentric attitudes of the late nineteenth century, particularly in his descriptions of indigenous populations and missionary work. The text also includes a significant amount of period-specific detail—technical lists of equipment and long digressions on historical figures—which may feel slow to those accustomed to modern, fast-paced narratives. Yet, the reward for this patience is an immersive, atmospheric account that succeeds in bringing the reader onto the deck of the Panther. The feeling of being "cut off" from the world, the awe of the shifting ice, and the quiet dignity of the missionaries remain powerful, resonant themes that linger long after the final page is turned.