Sometime in the 1990s, I became aware of the broader world of rock climbing. Growing up in the Deep South, I wasn’t blessed with endless cliffs or high mountains, and places such as Yosemite, the Dolomites, the Hand of Fatima in Africa, and the Verdon Gorge of Southern France became dream places to visit. I lived with the idea that somehow, one day I might be able to visit those places, and if I was lucky enough, I might even be able to climb there at a level that would make me proud. While I dreamed and trained in a hot and humid garage climbing gym, a lot of classic history had already been made. Those places which had so inspired me were falling out of vogue in exchange for a steeper, more gymnastic type of free climbing. But there was something about the bold run-out, very delicate style of climbing in places like the Verdon that were alluring to me. “There was something about the bold run-out, very delicate style of climbing in places like the Verdon that were alluring to me.” —Katie Lambert Situated on a fault line in the Provence region of France, the Verdon Gorge establishes a border between the high mountains of the Hautes-Alpes and the lush rolling hills and valleys of Provence. Through the ages, the river of the Verdon has carved a canyon through the Jurassic age limestone, creating striking gold and gray walls up to 1,500 feet tall. Realizing that these cliffs were prime for climbing, routes started to become developed in the late 1960s. The first features that were climbed followed cracks, fissures and ledges up the imposing cliffs, and everything in the Verdon was established ground up. Classic and historical routes such as La Demande, Ula and Luna Bong are results of this era of climbing in the Verdon. However, if men of staunch tradition could not free-climb their way through sections, then they resorted to aid techniques. This practice, which was commonplace the world over, started to take a different shape when more technically advanced free climbers like Patrick Edlinger, Jacques Perrier, Jean Marc Troussier, J.B. Tribout, Patrick Berhault, and the Le Menestrel brothers started to push the limits of possibility in the Verdon in the 1980s and 1990s. The ground-up, all-trad approach was left behind for bolted faces established from the top down. With a road running the course of the lip of the gorge and every cliff being accessible by rappelling into it, it only seemed obvious to start developing routes in what would become known as “rap-bolting.”

This approach opened the door to possibilities, because instead of having to follow the obvious weaknesses up the wall, the “rap-bolting” approach made it possible to piece together the thin and seemingly blank faces, and with that a new wave of hard free climbing was born. With the rap-bolting also came “hang-dogging,” which involves hanging on a rope to sort out the moves and sequences of the climb in order to free climb the route in its entirety without falls or hanging. Not only were new routes being established from the top down, but previously ground up aid routes were now being free climbed thanks to the hang-dogging and top down “sussing out.” At the time, both rap-bolting and hang-dogging were highly controversial for the “old guard” and brought the ethics of climbing into question, not only in France but the world over. However, these new tactics resulted in not only the development of harder routes but also helped to push the limits of what humans were capable of as far as physical prowess. The dawn of a new era had arrived and technical masterpieces were the result. “In September 2014, my long-held dream of visiting the Verdon Gorge had come to fruition when I met up with Caroline George for a weeklong foray into the miles of blue limestone walls. I wanted to share a quintessential Verdon experience with her, and my list of potential routes to do was seemingly endless.” —Katie Lambert In the Verdon Gorge, one of the most famous routes of this nature was established in the mid-1970s by Stephane Troussier and Jacques “Pschitt” Perrier. The two used fixed ropes from the top to find the line of holds and features that would became the 10 pitch traversing route known as Pichenibule. The route was not climbed all in one go until 1980, when the great Patrick Berhault climbed it at a grade of 6c+/AO (5.11c/A0), which was soon followed by the first female ascent of this rating by Marisa Montes. But it was in 1985 that Catherine Destivelle made the first free ascent of this route at a very sandbagged 7b++ (5.12c++) grade, quite an impressive feat, as this was at the top of the level in those days. Through the years, as the grades started to climb, the ratings of many of the original free climbs of the Verdon have leveled out and Pichenibule has finally started to settle around the more appropriate grade of 7c+ (5.13a). In September 2014, my long-held dream of visiting the Verdon Gorge came to fruition when I met up with Caroline George for a weeklong foray into the miles of blue limestone walls. I wanted to share a quintessential Verdon experience with her, and my list of potential routes to do was seemingly endless. Then she suggested Pichenibule. This route would offer up everything the Verdon meant to me: a test of finger strength, technique, and nerve to try the run-outs. I had been made aware that the crux pitch, if done free, was quite hard. I wanted the odds in our favor for making a team free-ascent of this historical line, so I decided to stick with the style of the area and preview the pitch from the top.

I rappelled into the route with a fixed line and two micro-traxions (self-belay devices). The river raged 1,500 feet below and the walls swept away below me. The exposure wasn’t too bad, but as I looked at the holds on my way down, glistening in the sun, I realized this pitch was indeed going to be hard. I clipped into the belay, arranged my gear, and set off on a solo mission to solve the puzzle. I was greeted with powerful moves, very technical footwork and handholds, which were more like single-finger holds that were impossible to grip in the heat of the sun. I had to hand-over-hand up the rope to easier ground and then climb out to the top. I felt a little overwhelmed by the prospect of freeing this route. A little later in the day, after the sun had dropped below the mountains, I went back down to see if it was any better in the shade. The grip was better but the moves were still hard. The Verdon was showing me that the climbing there was tough, and I wondered if I wasn’t being too audacious. A couple of days later, after better acquainting ourselves with the climbing of the Verdon on the beautiful Surveiller et Punir, we roped up to try our luck on Pichenibule. After rappelling into the wall some 900 feet down, we led out, swapping leads through the run-outs, traverses and gouttes d’eau before finally arriving at the crux 10th pitch. We had timed it all just right so that the wall was now in the shade. Relieved at this, I tightened my shoes, had a few sips of water, double-checked my knot and got reassurance from Caroline that she would give me a soft catch if I fell. Then I set off. I climbed up the bouldery intro sequences to the very reachy and thin crux. I struggled to bring my left foot up in order to reach easier ground, and then I fell. I soared through the air and came to rest a few feet above Caroline. My fingers ached with numbness from gripping too hard and I yelled out in frustration and pain. Despite having fallen, the climbing actually felt achievable, but I wondered if I could do it again. I lowered back to Caroline, tied into the anchor, pulled my rope and set off again. The climbing seemed automatic. I wasn’t really thinking about what to do as much as I was just doing it. Before I knew it, I was back where I had fallen, bringing my left foot up and reaching for the better incut crimp. My fingers latched the hold and I exhaled with relief. I rested there for a little while before climbing the last 15 feet to the anchor. I had done it.,I had managed to free climb the notorious 10th pitch of Pichenibule! I belayed Caroline up and then set off again on the last run-out pitch to the top. As I sat there, belaying her up and watching the clouds turn a beautiful pink and gold with the sunset, I felt really proud to have found the sequence that the greats like Stephane Troussier and Jacques “Pschitt” Perrier had seen as possible, and that Patrick Berhault and Catherine Destivelle had unlocked. I had finally arrived in the Verdon, with a great and supportive partner, and had climbed at a level that made me proud.