By Hannah Provost
Originally published in Guidebook XVIII.
The American Climbing Journal (ACJ) is a new publication of the AAC. Building on the 97-year history of The American Alpine Journal, the ACJ will be the journal of record for the most significant rock climbs each year, covering sport climbing, single-pitch trad, bouldering, and shorter multipitch climbs in sport style, as well as performance-oriented achievements such as outdoor speed climbing and link-ups. AAC members can expect to receive the very first edition of the ACJ in the fall of 2026.
Editor’s Note: The following discussion includes a lot of sidebars, as Matt Samet managed his cockatiel, Gandalf, who was flying around Samet’s home office and making a ruckus as we chatted. Sidebars to Gandalf are noted in parentheses.
Matt Samet: [Referencing the cockatiel on his hand] He’s been flinging fruit pellets at me all day. He’s such a f#@ker. Gandalf?
Hannah Provost: Is that just a plea for attention?
MS: Well, he likes to sort through and get the seeds he wants, but some of it’s just, yeah, being a bird—being a brat. Look at that: Are you a brat? Yes, you are.
HP: Haha. Well, let’s get started. Why is there a need for something like The American Climbing Journal [ACJ]—why should it exist if we have the internet? I.e., what’s the argument for your relevance, Matt?
MS: I think it’s important to have a journal of record for rock climbing, just as it’s been important to have a journal of record for alpinism, like we’ve had with The American Alpine Journal [AAJ] for 97 years now. Rock climbing in the last 40 years has become just as relevant as alpinism, I think. For years, the magazines functioned in that capacity with news departments, features, articles about areas, and profiles on climbs. The magazines were the keepers of that record. Before the internet, they were the only way you could find out what had been done.
(Hi, Gandalf. You are a pretty birdie. You’re a very pretty birdie. He’s ridiculous, isn’t he?)
So, with Drifter’s Escape, the 5.15a traditional climb that Connor Herson freed in Squamish, Connor did something that’s very trendy these days, where he waited to post about it online—some kind of punk-rock marketing, I suppose. But how deep can any Instagram post ever go?
My goal with the ACJ would be to get Connor to write a first-person story and to help fill in the details, which he and a Squamish local and climbing historian, Nat Bailey, did an incredible job of. That way, it’s preserved forever in journal form. And then we have a searchable archive like we have with [the] AAJ, and you can be like, Hey, when was Drifter’s Escape done? and get detailed answers about the facts, but also a first-person description of the experience. It’s also important to have these facts, not because names, grades, and dates matter so much, but because there is a continuum and a living history that’s still evolving, and in very unique and unpredictable ways.
It’s important to have as much documentation as you can for old, geeky history nerds like me, but also for people new to the sport.
(Gandalf, are you a pretty birdie or are you just a pain in the ass? You are a pretty birdie.)
HP: Definitely pretty birdie. Haha. Okay, well, how is the ACJ structured, and in what ways is it similar to or different from the AAJ?
MS: We have our primary features, which aren’t necessarily just the most important things that happened in 2025—they’re also the ones that lend themselves to the best storytelling.
So, for example, there’ll be [Adam] Ondra’s flash of Lexicon, the world’s first flash of an E11—basically a 5.14 death route. Seb Berthe doing the fourth ascent of the Dawn Wall— he took a boat over here twice to get it done, because he’s committed to green travel. Sasha DiGiulian and her first female ascent of the Platinum Wall, a 39-pitch 5.13d on El Cap.
Hamish McArthur, with his astonishing V17 repeats. Connor Herson, as I mentioned, doing Drifter’s Escape, perhaps the first-ever 5.15a trad pitch. Katie Lamb talking about being the first woman to do a V16 “twice,” and what that meant.
Then we get into the gallery section, with photos of [climbs] that are stunning and/or difficult across the world and country, with longer captions that offer deeper storytelling from the people who did the climbs. We’ll also have images of new areas (and newly protected old areas) that have opened (or reopened) up because of successful pushes by local climbing organizations and the Access Fund—places like The Venue at the Red, Farley Ledges in Massachusetts, and Howard Knob in North Carolina.
And then we have a section that’s new in the sense that you wouldn’t necessarily see it in the AAJ: Crag Profiles, which are basically what they sound like. This edition, we have the Ships Prow in Rocky Mountain National Park, and then Cheat Canyon, West Virginia, which is this crazy bouldering, soloing, highballing, off-the-radar gritstone area.
Then we have our American Rock section, which features regional reports on climbs significant to their area. And then World Rock, which is the international version. One idea with some of these American Rock and World Rock reports is that we also want to clue people into areas they might not have heard about—kind of like the Climbs & Expeditions section in the AAJ.
(Stop eating a $10 bill, you f#@ker.)
HP: One of my favorite things about working with Dougald [MacDonald, editor of the AAJ] and Pete [Takeda, editor of Accidents in North American Climbing] is that they’re both big personalities. You are also a big personality, and of course, so is your bird Gandalf...
MS: He’s a bigger personality than me—look at this. Now he wants scritches, or he’s going to bite me.
HP: So what’s your background in editing, and what parts of your professional and climbing background are you bringing to the ACJ?
MS: I’ve been climbing since age 15. I’m 54 now, so we’re coming up on four decades of climbing. Primarily rock climbing, a little bit of alpine rock here and there. I’ve always been into performance rock climbing; at one point, like, in my teenage years and into my 20s, I was a sponsored climber.
In 2002, I started working at Climbing Magazine after getting my BA in journalism and then a master’s in English/creative writing. I’ve been involved nonstop in editing or writing about climbing since then. So, 24 years of editorial experience, working as a desk editor at Climbing, at Rock & Ice, at Alpinist. I have twice been the editor-in-chief at Climbing, though it wasn’t quite as, umm, glorious as it sounds, because at times I had no staff other than myself. Like 100-hour weeks—I wouldn’t care to do that again.
And I’ve been involved with the AAJ as a freelancer since 2022. I’ve edited a lot of outdoor books and memoirs, too—through Mountaineers Books, Di Angelo Publications, Patagonia, things like that.
HP: Do you ever get bored with climbing stories?
MS: I don’t. I did get bored of climbing stories when I was at the magazines, and the frequency was 10 to 12 issues a year, and my workload was insane. Now, with the longer timeline to put a journal together, I get to spend more time with the stories.
For me, the coolest part is helping climbers/ writers find their voice and their story. When someone’s done a cool climb, but they haven’t quite figured out how to translate that to the page so that other people can experience it with them, it’s a really cool thing to be that conduit or bridge.
When you get into the details of climbing, it becomes this really fascinating thing, because it’s an experiential sport. Being at your limit is a universal experience, right? No matter what the grade or the climb is, we all have to dig deep in the same way in order to succeed at our physical or mental limit. When you’re able to take a climb that’s also at the very cutting edge and translate that climber’s experience into something rooted in details, and that feels universal, it makes for really cool storytelling.
Have you seen the video of Adam Ondra doing Lexicon? It’s insane. He talks [in his article for the ACJ] about the two minutes before he got on the wall, being scared. Here’s the world’s best climber admitting he was scared. That’s such a beautiful thing, because we all get scared. It’s this profound and very real and very human moment we can translate into our own experience. As a dedicated and passionate climber myself, I can see myself and my love of the sport in all these stories.
HP: In the course of sharing your answers to the previous questions, you gave us some sneak peeks of some stories. But can you tell us in detail about a story that really surprised you?
MS: There’s this Korean boulderer, Sungsu Lee, who’s extremely strong. In May 2025, he repeated Burden of Dreams, the world’s first V17, in Finland. But on the successful ascent from the ground, he pulled on, cocked, and maybe bounced off the pads, but maybe not. It’s hard to tell, because he had a baggy T-shirt on. Then he got to the top, and everyone’s like, “Yay!” And he has his celebratory beer.
But you could see something in his eyes where he’s like, Eh, I don’t know if I did it or not. So he went back and repeated it. We have an interview with him that a friend of his, Brian Kim, helped translate, getting into the mindset of why Sungsu went back to do it again. The second time, he did it with his shirt off, which I thought was funny.
To me, this all showed the sense of absurdity but also the seriousness with which we interpret climbing. I mean, someone who’s not a climber, if you tried to explain to them why this guy’s T-shirt and maybe butt bouncing off these foam landing mats below this tiny rock mattered, they’d be like, “Wait, what?”
But to a climber, to the diehards who are our Club members and readers, it’s everything.
Style is everything.
HP: You’ve been an obsessed climber for decades. Is there a climb that still haunts you?
MS: Okay, there’s one I haven’t done that I bolted that I’ve been trying now for three years. It’s up in Skunk Canyon in the Flatirons here above Boulder, Colorado, where I live. It’s 21 bolts long, and my friend Brandon and I bolted it in the fall of 2022. I did the first half of it that season. And I didn’t expect the second half to be that much harder, so I thought, I’ll come back next season and finish it off.
I’ve probably been up there 100 days since then, just trying to do the second half by itself.
Last fall, I almost did it—the second pitch. It’s essentially like V10 into a difficult clip, straight into a V9, on a 35° overhanging panel on small, awkward holds. I had my hand on the jug at the end of the hardest part. And all I needed to do was bring my feet up and bring my other hand in. And I just couldn’t—my elbows were in the sky.
I was very excited to train for it this winter, but then my right pinky finger got infected, as did the tendon. I haven’t been able to train, but I hope to be able to train in the summer and go back in the fall. I mean, at age 54, I don’t know if I can, but I know that it’s now or never. I’d like to do this route because I think it would mark the culmination of everything I’ve worked toward in four decades of climbing. And also to show that as you age, you can still push yourself.
The first half is called The Alpha. The second half is called The Omega. Together, they are The Alpha and The Omega.
HP: What’s an example of a unique challenge that you had to deal with when compiling the ACJ?
MS: The biggest challenge was coming in, and there was no ACJ, no template. We’ve had to develop it from scratch, which initially was very intimidating. We didn’t even quite know what this was—and we needed to get it done by spring 2026. But obviously, you, me, Dougald, and Shane [Johnson, the Vice President of Media at the AAC] put our heads together on it. I’m very grateful for all the help that you guys have given me. And I think the ACJ is going to keep evolving, too. I’m excited to see how people respond once the Journal is out in the world.
