Author: Sara Puotinen

may 20/5 MILES

46 degrees
mississippi river road path south/mississippi river road path north/greenway

Almost a repeat of Monday, except I ran with Scott and we ran south first. For most of the run it was raining, although it was a soft rain and I was sweating, so it was hard to tell. I greeted lots of other runners with a perky “good morning!,” partly to be friendly but mostly to check my effort level. As long as I could get out the full phrase and not sound like I was dying, I wasn’t running too fast. The last time Scott and I ran together, I suggested that we should come up with a longer phrase that we could use to check how hard we were running. I can’t remember his suggestion, but I know it involved speaking with an Irish brogue. (I just read this part to him and he told me that it was “Top o’ the morning to you.”) Maybe I should come up with some poetic line? Or what about a koan/unanswerable question?

After we got back, as I was eating my favorite breakfast–cheerios, bananas, walnuts–I started reading one of the books I just picked up from the library, Flanuese: Women Walk the City in Paris, New York, Tokyo, Venice, and London by Lauren Elkin. On page 2, she writes:

women came to the city…to pass unnoticed, but also to be free and to do what they liked, as they liked.

Then she describes “the key problem of the urban experience”:

are we individuals or are we part of the crowds? Do we want to stand out or blend in? Is that even possible? How do we–no matter what our gender–want to be seen in public? Do we want want to attract or escape the gaze? Be independent or invisible? Remarkable or unremarked-upon?

My immediate reactions to these passages include:

  • Yes! I want to go unnoticed so that I can do what I like, as I like!
  • You mean other people feel that way too? I’m not the only one?
  • Being able to go unnoticed requires a lot of privilege. Who can choose to be invisible (as opposed to being rendered invisible) and who is always hyper-visible?
  • Wow, I’m only on page 2 and this book already has me thinking about so many things.
  • I want to write about this in my log entry because one aspect of running that I’ve barely addressed but that certainly subtly shapes my experiences, is being a woman running in public.

Question

  • What does it mean to be a woman running in public?
  • What does it mean to be this woman running in public?
  • What does it mean to be this white woman running in public?
  • What does it mean to be this white, middle-class woman running in public?
  • What does it mean to be this white, middle-class, healthy-looking woman running in public?
  • What does it mean to be this white, middle-class, healthy-looking woman running in public spaces that are well-maintained and safe?
  • What does it mean to be this white, middle-class, healthy-looking woman running in public spaces that are well-maintained and fairly safe, but still seem haunted, perhaps only slightly, by the threat of an unwanted encounter or assault?

In thinking about running in public l want to link my experience to the larger history of women in running (less than 100 years ago, a woman wasn’t supposed to run for fear that her uterus would fall out! Kathryn Switzer was attacked by the race director while running in the Boston Marathon in 1967. The woman’s marathon wasn’t in the olympics until 1984.) and women in public, including: women and safety and women and sexual harassment/assault. Of course, you also can’t leave out exploring an intersectional history of who is allowed to occupy public space and how running bodies get read by others–are they seen as exercising or running from a crime, for example. Both of those are heavily shaped by race. And, what about the types of public spaces runners have access to–dedicated paths? busy sidewalks? In what parts of the city do they exist?

Scroll over the first paragraph to reveal the hidden poem.

may 19/6 MILES

47 degrees
the franklin hill turn around

It was cooler today but I didn’t mind. I like running when it’s cooler. Lately I’ve been thinking about the biomechanics of walking and running and how they differ. After looking at a few online sources, including this, I tried the following Please Add to This List experiment: “in a poem, list what you know” (20). I’m not sure if mine is a poem, but I like it.

DID YOU KNOW

that the main difference between running and walking is that in walking you always have one foot on the ground and in running both feet are in the air at the same time mid stride? So in walking you’re always grounded, in running you get to fly.

that the flying occurs just before the foot makes “initial contact” with the ground, either via the heel, midfoot or forefoot? I usually strike midfoot.

that the flying is referred to as the “float phase”? I’d prefer the “flying phase” or the “who needs the ground? Not my feet!” phase.

that the flying happens so quickly that you don’t even notice it? I bet your body and soul do. Or should I say “does”? In “I Sing the Body Electric” Walt Whitman believes that the body is the soul.

that when I wrote the preceding “fact” about Walt Whitman, I mistyped his name as Walk Whitman? He did love walking and wrote many poems about it, including Song of the Open Road. Would you mind if I referred to him, from now on, as Walt “the Walk” Whitman? Or, is Walt “the Walker” Whitman better?

that after flying you do a “controlled landing” and enter the “brake absorption” phase? I’m starting to feel like a plane. I don’t like planes or flying in them. The only flying I like is the kind that I do when I’m running.

that USA Track and Field officially defines race walking as: “a progression of steps so taken that the walker makes contact with the ground so that no visible (to the human eye) loss of contact occurs”? Have you ever tried race walking? I have, sort of. I went on a training walk with my best friend who was planning to race walk a marathon, which she eventually did a few months later. It was hard preventing my body from flying. And hard to walk that fast. She was fast!

that I like running because it lets me fly and, at least for a millisecond, allows me to lose contact?

that I like walking because it keeps me grounded and tethers me to the world so I don’t just fly (or float) away?

that I often feel like I’ve failed if I stop and walk during a run or a race? I’m working to change this attitude. Walking is not failing; it’s still moving.

that in his running memoir, Haruki Murakami, wrote that his tombstone should say: “At least he didn’t walk”? I wonder if now, many years later, he still feels that way.

that I have tendency to wander, physically and mentally? Sometimes this is helpful, sometimes it is not. Walking, especially at a slow pace and with no destination in mind, encourages it. While running, which enforces limits—my body can only run so far and for so long, discourages it. When I want to wander, I walk. When I don’t, I run.

that I have almost too much energy? Sometimes this energy is physical, sometimes it’s mental. If I don’t use it up, I become restless. Walking is more likely to wear out my brain, running, my body.

I was trying to think about walking and running during my run today. I did, for a a few miles. But then the Franklin hill appeared and I needed to craft some new “running rhythms” to chant as I ran up.

as I ran up the hill

I am climbing up a hill

rhythm: I am climbing (4 eighth notes) + up a hill (3 eighth notes) = 7 steps/1 per eighth note

I
am
climb
ing
up
a
hill

rhythm: 7 quarter notes = 14 steps/2 per quarter note

to get my heart rate down

I need to go slower
so that my pulse will lower

rhythm: I (quarter note) + need to (2 eighth notes) + go (quarter note) + slower (2 eighth notes) = 8 steps/2 per quarter + 1 per eighth
So (quarter note) + that my pulse will lower (6 eighth notes) = 8 steps/2 per quarter + 1 per eighth

to celebrate running

I am flying,
I am free
I am where
I want to be

rhythm: 4 eighth notes per line = 4 steps/1 per eighth

After composing and  reciting the rhythms several times as I ran, I made a recording while I continued running:

These small chants are fun to compose and help a lot with my running.

may 18/REST

Technically I’m supposed to be cross-training today, but I probably won’t really start cross training until open swim season begins in a month (only a month!). Just came across this really cool project (via Runner’s World) about an artist/illustrator who does a sketch inspired by something she sees on each of the training runs. Her one rule: the drawing has to be done in the same amount of time as the training run.

Here’s one of her sketches for three miles:

and another one for 12 miles:

I love this idea!

A few sources:

may 17/5 MILES

64 degrees
humidity 86%/light rain
mississippi river road path north/south/north/south

Severe thunderstorms? 80% chance of rain? I risked it and ran anyway. No thunderstorms and only a light drizzle. Take that faulty forecast! Just in case it started to rain really hard, I altered my route so that I could end it sooner if I needed. I ran one mile north, turned around and ran back to the start, then ran one mile south, turned around and ran back to the start, then ran 1/2 mile north and turned around again. It worked out well. I like running in the rain when it’s a light drizzle. I didn’t feel wet, just refreshed.

I’m entering in a new phase of my training: training for the 1/2 marathon in July. I need to work on conditioning my body to run (or just move, with an elevated heart rate) for longer periods of time. I need to get used to running on sore legs and moving for 2 hours without stopping. I wonder how this will affect my creative thinking and experimenting? 

I’ve decided to give myself running advice in different poetic forms. The last time I did this, I used terza rima to remind myself to go slow. Now, I’m using 2 different versions of the cinquain and a triolet to tell myself to stop thinking about pace or miles and start thinking about duration. I think I’d like to try at least one other form.

Cinquain

Variation One
5 lines
rhyme scheme: abaab

Up until now, I’ve mostly been building up a base
of miles, strengthening my legs and working on my aerobic fitness.
My focus was on maintaining a very slow pace.
But now marathon training must start. Such a long race
requires building up the time spent running, more than the distance.

Variation Two
5 lines
created by Adelaide Crapsey (what a name!), usually about nature
no rhyme
22 syllables in total: 2/4/6/8/2

It’s May
and time to start
training for duration
more than pace or number of miles.
Do it!

Triolet

8 lines
Line 1 repeats on lines 4 and 7.
Line 2 repeats on line 8.
Only two rhymes used throughout.

I need to train
to move longer
be mentally stronger.
I need to train
to run when drained
when legs are strained.
I need to train
to move longer.

may 16/3.3 MILES

64 degrees
muggy and windy
mississippi river road north

Was able to get in a quick run between thunderstorms. It’s funny how the winter weather didn’t prevent me from running outside, but these spring thunderstorms are. So humid. At one point during the run, when the walking path dips down and follows alongside the wooded gorge, everything looked weird, almost like I was seeing it through a filter. I wondered if it was my vision then I realized it was steam, trapped in the trees! Yuck.

Before and after the run I worked on having more fun with medical terms. Specifically, more fun with the biomechanics of walking. So much fun! When I started it, I had no idea where it would lead me. This is the unexpected result:

It starts with a step, versions and variations

Version One:

“Where does it start? Muscles tense. One leg a pillar, holding the body upright between the earth and sky. The other a pendulum, swinging from behind. Heel touches down. The whole weight of the body rolls forward onto the ball of the foot. The big toes pushes off, and the delicately balanced weight of the body shifts again. The legs reverse position. It starts with a step and then another step and then another that add up like taps on a drum to a rhythm, the rhythm of walking (Rebecca Solnit, Wanderlust).”

variation
It starts with a step:
heel touches down
weight rolls forward
onto ball of foot
big toe pushes off
body shifts
legs reverse
step + step + step + step + step + step + step = walking

Version Two:

The biomechanics of a step: The Stance Phase in 5 parts

  1. Heel strike/the heel first touches ground
  2. Early flatfoot/from when the foot is flat until body’s center of gravity passes over foot, here the foot is loose and floppy
  3. Late flatfoot/body past center of gravity, heel beginning to lift, foot is rigid
  4. Heel rise/the heel rises off the ground
  5. Toe off/the toe lifts off the ground.

variation
the heel strikes
on the ground,
not out at the plate or
because of unjust working conditions.

early flatfoot
a police officer with a morning shift.

late flatfoot
another officer, working the night shift.

heel rise
apparently I was wrong about why the heel was striking.
It is because of unjust working conditions.
She and other foot workers are refusing to lift anything off the ground until their demands are met, namely adequate health care.
They are rising up!

toe off
Management is becoming increasingly irritated by the peaceful strikers.
All mechanical operations have been shut down.
How can the toe be lifted off the ground when the heel won’t do her job?
The early and late flatfoots, who have both finished their shifts, are called in to force the heel and her compatriots to submit.
Neither of them are happy about it.
They’re tired and want to go to bed.
Besides, they agree with the heel and are angry with management.

Version Three:

The biomechanics of a step: The Muscles

During the heel strike/early flat foot phase the anterior compartment muscles work to gently lower the foot onto the ground. The anterior compartment muscles are the tibialis anterior muscle, the extensor hallicus longus, and the extensor digitorum longus. .

During the late flatfoot to heel rise phase the posterior compartment muscles control the body so it doesn’t fall forward. The posterior compartment muslces are the gastrocnemius, the soleum and the plantaris.

variation
During the strike, the heel is confronted by some well-meaning but naive co-workers who are urging her to reconsider her tactics. “Why not ask nicely?” the tibialis anterior muscle suggests. “Yes!” agree the extensor hallicus longus and the extensor digitorum longus, “if we take a gentle approach and try to reason with them, management is sure to see that we deserve better!”

Listening in on their conversation, early flatfoot rolls her eyes and can be heard to mutter dismissively to late flatfoot, “yeah right.”

Heel refuses to listen to the anterior compartment muscles. “We will strike!” she declares. She is joined by many others, including the posterior compartment muscles. The gastrocnemius and the soleum help by reassuring the crowd of striking workers and the plantaris delivers the strikers’ demands to management.

Version Four:

The biomechanics of a step: The Swing Phase in Three Parts

  1. early swing/after toe is off the ground, just until it is next to opposite foot
  2. midswing/the swinging foot passes by the opposite foot
  3. late swing/lasts from end of midswing until heel strike

variation
The striking heel, along with the toe and the ball of the foot, soon realize that their tactics are not working. Management is refusing to consider their demands. They reluctantly determine that their only option is to walk out. To do this, they need the help of the other foot. The dorsiflexors of the ankle joint are enlisted to initiate the swing phase so that the toe can try to convince the workers in the opposite foot to collaborate on the direct action. The big toe is successful with her negotiations. So successful that not only does the opposite foot agree to the plan, but so do early and late flatfoots. Slowly and steadily the feet trade off steps. One heel strikes, one foot is flat, one toe lifts off. The other heel strikes, the other foot is flat, the other toe lifts off. Step. Step. Step. Step. Step. Step.

note: The technical information for the versions comes from these sources:

I had not intended to write about the heel striking, but I’m glad I did. At some point, pretty far into the process, I realized that the management was me. And the workers were going on strike because I wasn’t taking care of myself properly. This version of the biomechanics is very different from Solnit’s romantic understanding of walking. I think I went in the direction that I did because I associate learning/being curious about the technical aspects of walking with injury. Why else would I want to dissect the process and learn the specific names of muscles, bones and joints?

may 14/4.2 MILES

60 degrees
mississippi river road path north

I didn’t have time to post my log entry yesterday so I’m posting it now. A decent run. My legs were pretty sore after running for over 90 minutes on Saturday. Having heard Britney Spear’s “Toxic” on the radio and remembering how I had put it on a playlist from 2012, I decided to add it to a playlist I’m using now. As usual, I put the music on shuffle and here’s what came up:

I Sing the Body Electric/Fame
The Jeffersons/Ja’net Dubois
Landslide/Fleetwood Mac
Love Song/Sara Bareilles
Let’s Go Crazy/Prince
Body Count/Justin Timberlake
Cheap Thrills/Sia
Sorry/Justin Bieber
The Flesh Failures (Let the Sunshine In)/Hair
Toxic/Britney Spears
She’s A Bad Mama Jama/Carl Carlton
Renegade/Styx

Last week I mentioned listening to Prince’s “Let’s Go Crazy.” Looking up the lyrics for it, I’m struck by how few of them I had ever actually understood or paid attention to. I never realized he sang, “search for the purple banana” or “We’re all excited/But we don’t know why/Maybe it’s cause/We’re all gonna die.” At the beginning of the song he speaks: “Electric word, life” which makes me think of the first song I heard during my run: “I Sing the Body Electric.” This song is from the movie Fame and takes its title, I assume, and nothing else from the Walt Whitman poem of the same name.

I like this idea of the body as electric. As something charged with meaning and energy, exciting, alive. To be celebrated. To be used. To be used to experience and express joy. I’ve been working on a poem the past few days that speaks to this celebration of the body electric, although I haven’t been framing it that way. Maybe I should. Something doesn’t seem quite right about the poem so far:

The Joy of Running

The joy of running is not
reckless abandon
an all out sprint,
arms flailing,
feet fleeing
from the imaginary monsters on the playground.
And it’s not focused aggression
lungs burning
muscles aching
mind calculating 
better splits and faster races.
The joy of running is
the confident grace
of a body that knows its value
and celebrates movement’s magic
gliding easily through the world.
One foot striking the ground and then the other
feeling the grit on the path
but not the mechanics of the motion.

This poem is a reaction to, and perhaps rejection of, the idea that to run joyfully is to run like you did as kid: unhinged. It’s inspired by my deep appreciation for confident, graceful bodies moving fluidly and with little effort. And it’s an attempt to put into words my thoughts, started in this entry, about magic and the mechanics of walking.

I like Leaves of Grass–the parts of it that I’ve read. I should really read the whole thing carefully. Just now, I read “I Sing the Body Electric.” Intense, especially the section on the bodies of slaves at the auction. He concludes the poem with this celebration of various body parts:

excerpt from I Sing the Body Electric

Head, neck, hair, ears, drop and tympan of the ears,
Eyes, eye-fringes, iris of the eye, eyebrows, and the waking or sleeping of the lids,
Mouth, tongue, lips, teeth, roof of the mouth, jaws, and the jaw-hinges,
Nose, nostrils of the nose, and the partition,
Cheeks, temples, forehead, chin, throat, back of the neck, neck-slue,
Strong shoulders, manly beard, scapula, hind-shoulders, and the ample side-round of the chest,
Upper-arm, armpit, elbow-socket, lower-arm, arm-sinews, arm-bones,
Wrist and wrist-joints, hand, palm, knuckles, thumb, forefinger, finger-joints, finger-nails,
Broad breast-front, curling hair of the breast, breast-bone, breast-side,
Ribs, belly, backbone, joints of the backbone,
Hips, hip-sockets, hip-strength, inward and outward round, man-balls, man-root,
Strong set of thighs, well carrying the trunk above,
Leg fibres, knee, knee-pan, upper-leg, under-leg,
Ankles, instep, foot-ball, toes, toe-joints, the heel;
All attitudes, all the shapeliness, all the belongings of my or your body or of any one’s body, male or female,
The lung-sponges, the stomach-sac, the bowels sweet and clean,
The brain in its folds inside the skull-frame,
Sympathies, heart-valves, palate-valves, sexuality, maternity,
Womanhood, and all that is a woman, and the man that comes from woman,
The womb, the teats, nipples, breast-milk, tears, laughter, weeping, love-looks, love-perturbations and risings,
The voice, articulation, language, whispering, shouting aloud,
Food, drink, pulse, digestion, sweat, sleep, walking, swimming,
Poise on the hips, leaping, reclining, embracing, arm-curving and tightening,
The continual changes of the flex of the mouth, and around the eyes,
The skin, the sunburnt shade, freckles, hair,
The curious sympathy one feels when feeling with the hand the naked meat of the body,
The circling rivers the breath, and breathing it in and out,
The beauty of the waist, and thence of the hips, and thence downward toward the knees,
The thin red jellies within you or within me, the bones and the marrow in the bones,
The exquisite realization of health;
O I say these are not the parts and poems of the body only, but of the soul,
O I say now these are the soul!
——–

The body electric as the soul. I want to think about that some more.

may 13/10 MILES

60 degrees
mississippi river road north/hennepin bridge/stone arch bridge/mississippi river road south

Scott and I ran together this morning. A tough run. Why? Not sure. Maybe it was the hills: the Franklin hill and the I-35W hill. Or maybe it was the temperature. Warmer with more sun. My body hasn’t adjusted to it being warmer yet. Had a few moments on the run where I wanted to stop and probably would have if Scott hadn’t been there to encourage me to keep going. My legs felt so tired. Not injured, just tired. Favorite part of the route was running downtown. Scott stopped at the halfway point to take this photo on the Hennepin Avenue bridge:

A post shared by Scott Anderson 📎 (@room34) on

may 12/3 MILES

mississippi river road north
57 degrees

Another great morning and another great run. Found myself composing poems to keep my rhythm. At first, the chant was pretty mundane: this is the path/that I like to/take all the time or this is the path/that I run on/most of the time. I came up with a variation on this that had 2 lines with four beats and one with three, like 2 measures with eighth notes and one with a triplet, but I can’t remember it. I played around a lot with how I matched my feet to the words. Sometimes I chanted a word–mostly in my head, but occasionally out loud–with each step. I did this when I wanted to go a little faster.

this is the path
step, step, step, step or ♩♩♩♩

When I wanted to go slower, I chanted one word for each two steps.

this step is step
the ♩ path ♩

So much fun. I’m a musician who played clarinet for over 20 years (only occasionally now), so I like to think about things musically. Rhythm and beats might become a new focus on some of my runs.

In the last mile, I came up with a different chant. It was inspired by Marie Howe’s discussion of poetry as counter-spell in her interview for On Being:

Poetry has a kind of trancelike quality still. It has the quality of a spell still. My daughter came home one day and she said — she did this whole snappy thing. “Don’t make me snap my fingers in a Z formation, explanation, talk to the hand, talk to the wrist. Ooh, girl, you just got dissed.” And it’s this whole thing the girls were doing when they were 11. And I said — a counter spell. It was like a counter spell for a mean girl. And I thought this is what we all need to walk around with, a handful of counter spells. And, and poetry, when you think of its roots, is that.

this is my charm
against all harm
this is my spell
as you can tell
it works real well
I mean really
but it did not
work in the rhyme

It’s a fun challenge to try and compose lines on the spot, while you’re running at a brisk pace (8:45 minute per mile, at that point). I wasn’t happy with the last two lines and how they didn’t work for the cadence. So, after I finished my run, I came up with these lines instead:

I hope you see
but it did not
fit in the slot

this is my spell
as you can tell
it works real well
I mean really
I hope you see
but it did not
fit in the slot

may 11/XT

Does walking the dog three times (about 5 miles total) and vacuuming the downstairs count as cross training? Not sure, but that’s what I did today for “exercise.” While I was walking on the Winchell Trail with Delia, approaching the mesa, I recorded some of my thoughts about medical terms and the mechanics of walking. Here they are, with a few edits and additional ideas:

The other day I looked up the mechanics of walking and I was overwhelmed by all the technical descriptions and the elaborate medical jargon used to describe the different bones and muscles and ligaments involved in the process of walking. I spent some time with the jargon and attempted to make sense of it. Then, I thought about it while I was walking today, trying to isolate the movements and the muscles in my body as I shifted my legs and my hips and swung my arms for balance. At what point were my semitendinosus and semimembranosus rotating in, while my biceps femoris was rotating out? It wasn’t enjoyable. I couldn’t figure out what was happening and when, and focusing on the movements made them feel awkward and forced. I wondered, why do I want to know how this works? Why take away the magical quality of walking?

Then, I realized something: we can try to understand how to walk. We can break it down and reduce it to the minute moments and movements and manipulations of muscles and ligaments and joints. But we can’t ever fully understand it and take away how magical it is. Walking is magical. The body is magical. All the complicated elements that are invisible but work together for us to walk. Magical. Even the highly scientific terms used to describe it, like the muscles in the foot, are magical–mysterious and fantastical in their almost inscrutability:

gastrocnemius
soleum
plantaris
tibalis posterior and anterior muscles
flexor hallucis posterior
flexor digitorum longus
extensor digitorum longus
hallucis longus

Why use the word “magical”? I’m thinking about mystery and wonder and ineffability. I’m also thinking about an On Being interview I heard with Marie Howe and her discussion of poetry as counter-spell. And I’m thinking about Harry Potter. I’ve been watching the entire series with my family for the past few weeks.

may 10/3 MILES

62 degrees
mississippi river road south

Didn’t have to wear my pink jacket today, which is great because it means it was warm enough to run just in a t-shirt but also annoying because it means I no longer had a pocket for my iPhone and had to wear an armband to carry it.  Listened to a different playlist. The final song that played before I finished was Prince’s “Let’s Go Crazy.” I had put that on the playlist right after he died last spring. I listened to it on my first runs (more like, run/walks) after the injury where my knee so swollen that I couldn’t walk. My knee didn’t really hurt, it just wouldn’t work and I didn’t know how to walk. Such a strange and unsettling feeling. I never think about how to walk.

How does walking work? I think it’s time for more fun with medical terms!

More Fun with Medical Terms!

Walking involves: 1. moving your hips and thighs backwards as you push off, 2. moving your legs forward, 3. striking the floor with your foot in a heel to toe action and 4. shifting your weight as you move from one leg to the other. A ton of muscles, with fantastical, sometimes ridiculous, often overly-complicated, names are used in this process. Such as the following:

semitendinosus, semimembranosus, biceps femoris
the first two terms
aren’t that hard to figure out how to pronounce
so I’ll focus on the third.
I’d like to say that the femoris in biceps femoris is pronounced: fee moor is
like some sort of Harry Potter spell.
I’d like to say that
but I can’t
because it’s pronounced: femme a ris

semitendinousus, 
semimembranosus, 
biceps femoris
There’s a nice cadence to these three
semi tendi nou sus
/ ♫ ♫ ♩ ♩
semi membra nou sus/ ♫ ♫ ♩ ♩
bi ceps fem o ris/ ♩ ♩ ♪♪♪

semitendinosus, semimembranosus, biceps femoris
are all hamstring muscles
that come from the ischial (iss keel) tuberosity of the pelvis
which is, according to the Merriam Webster medical dictionary,
“a bony swelling on the posterior part
of the superior ramus
of the ischium
that gives attachment to
various muscles and
bears the weight of the body in sitting.”
What’s the ramus, you might ask,
and what makes it so damn superior
(and gives me such a headache)?*
Would you settle for:
part of the hip bone,
along with the ilium and pubis?
It’s superior because THEY said so and
because it’s not the other two parts: the body or the inferior ramus.
speaking of the THEY,
as I attempt to read and understand
these medical terms,
I’m struck by how alienating they are.
who, but a select few, can actually
understand and retain this stuff?
Scott generously suggests that
these terms are complicated and abstract
so as to help doctors have some professional distance
from people,
to be able to put their feelings aside
and focus on doing their job: healing patients.
maybe
but I also think it’s a way to safeguard an industry and
to alienate us from our own bodies.
how many of you can imagine the “ischial tuberosity”
as a real part of yourself?
I’ll admit
sonically, ischial (iss keel) tuberosity is intriguing
I might go hear the lead singer of a band with that name
as long as I brought ear plugs.
but, when I hear those words, I don’t immediately think,
oh yeah, the sitting bones,
which is what they are—
the bones that make it possible for us to sit—and
what, I learned only after reading wikipedia,
they are informally called.

*Someone else gets this reference, right? I’m not the only one who has random lyrics from musicals like Hair pop into their head, am I? Of course not!

note: the initial source for this experiment was Muscles Engaged While Walking, an popular article for a fitness site. I tried to start with more technical sources, but they made my brain start to melt, so I eased my way into it with this article and then, after some exposure to the terms, moved on to other sites.

Sadly, I’ve run out of time to have even more fun with medical terms. Sometime soon I’d like to play around with sartorius, which is the longest muscle in your body, stretching down form top of your thigh, curving inside your thigh, ending at the inside part of your knee.