5 miles
bottom of franklin turn around
70 degrees / dew point: 63
So much sweat! The bill of my cap, the end of my ponytail, the tip of my nose dripping before I finished the first mile. Ran 3 without stopping, then walked until my heart rate was down to 135. Started running again to the metronome at 175 and finished with my winter playlist — time for a new playlist!
I liked running to the metronome (through my headphones, from the metronome/tuner app on my phone). I was able to match my foot strikes with the beat fairly quickly, but it took a few minutes for it to lock in. When that happened, I could feel the transformation from the edge of the beat (just before or after it) to the deep center of it. My foot strike seemed different, more solid and strong. The beat sounded different, less generic and more connected to a physical source (my foot). And I felt different, inside the beat, no longer a body but that steady clicking sound. Very cool.
It’s not quite the same, but I’m thinking of myself as Annie Dillard’s bell being struck. Also, Emily Dickinson and these lines:
As all the Heavens were a Bell,
And Being, but an Ear,
And I, and Silence, some strange Race,
Wrecked, solitary, here –
10 Things
- slashes of red in the bushes
- a pinkish-orangish clump of leaves
- almost all green in the floodplain forest
- a shimmering circle of light: the sun on the river through a gap in the trees
- a steady stream of commuting cars
- mostly overcast, with occasional sun, enough sun for me to see my shadow as I walked home
- at the beginning of my run, a for sale sign in a front yard, by the end of my run, it was gone
- running down franklin, the trees were a yellowish green
- at least one roller skier — maybe 2, unless it was the same skier
- the bright, generous smile of a woman walking past me
Yesterday, I came across this cool poetry project, The BardCode Project:
In the BardCode Project Gregory Betts has analysed and mapped the rhyme patterns within Shakespeare’s 154 sonnets. Shakespeare built his famous sonnets by a unique sound pattern of rhymes in the final syllable, the tenth column, of each line. Betts asks, and answers, the question: What was Shakespeare doing in the rest of the sonnet?
The BardCode project maps out the full sound pattern of rhymes in all ten columns across all of Shakespeare’s sonnets. Colour coding these sound-codes results in a visual text rich with the sonic patterns of the poems. Suddenly, for the first time, you can see the BardCode.
BardCode Projects