Ran the hill again today. Ran down all of it and up most of it. Then walked for a few minutes to recover. Felt pretty good. Listened to music because I felt like I needed it but now I wonder if it wouldn’t have been better to try running without headphones. Beautiful light this morning, especially filtered through the bare trees and across the gorge. The muted tans and browns and golds make me happy. My shadow led me today and I enjoyed watching her run. Sometimes I marveled at her form, other times I imagined she was my mom. She followed me on the way back, after I had warmed up and was feeling strong. Every so often, when I turned back to see if anyone was coming, I noticed her.
Running when it’s in the 50s is so much better than running in the mid 60s! It was a beautiful morning for a run. I felt strong and not too tired. I ran the first half without stopping, then took a brief walking break at the top of the hill and another one at some point during the run–I think? After spending a lot of time thinking/writing about the run to lake harriet and how it wanders beside the creek, I was struck by how straight the path to downtown is. While it occasionally strays from the biking path, they are usually right next to each other. And the path crosses under several bridges–Lake Street, the Railroad Trestle, Franklin Avenue, I-94, Washington Avenue, the biking/walking bridge to the East Bank of the U of M,10th Avenue and 35W–but not over them. You also don’t cross any roads. The biggest features of this route are the two hills: Franklin and 35W. And the river, the gorge, the views of the U of M campus and the Minneapolis skyline.
I picked up Mary Oliver’s collection of essays/poems, Long Life, from the library yesterday and started it after my run. I haven’t even made it through the forward and I’m already inspired!
Writing poems, for me but not necessarily for others, is a way of offering praise to the world. In this book you will find, set among the prose pieces, a few poems. Think of them that way, as little alleluias. They’re not trying to explain anything, as the prose does. They just sit there on the page, and breathe (xiv).
No Explanation Necessary
What a thing to do!
To sit and just breathe.
How novel,
how necessary,
how different from what is expected.
Who needs an explanation
when there’s inspiration
and expiration
and alleluias?
And, here’s one of Oliver’s Alleluias:
Can you Imagine? by Mary Oliver
For example, what the trees do not only in lightening storms or the watery dark of a summer night or under the white nets of winter but now, and now, and now–whenever we’re not looking. Surely you can’t imagine they just stand there looking the way they look when we’re looking; surely you can’t imagine they don’t dance, from the root up, wishing to travel a little, not cramped so much as wanting a better view, or more sun, or just as avidly more shade–surely you can’t imagine they just stand there loving every minute of it, the birds or the emptiness, the dark rings of the years slowly and without a sound thickening, and nothing different unless the wind, and then only in its own mood, comes to visit, surely you can’t imagine patience, and happiness, like that.
I’ve just been editing a piece in which I reflect on what leaves on a tree are for and last month I pondered whether or not trees sigh and why. Now, I want to imagine more about what trees do when we’re not around. As I wrote this last line, I remembered by Modern Philosophy class from college and studying the empiricist George Berkeley and the classic question prompted by his suggestion that “The objects of sense exist only when they are perceived: the trees therefore are in the garden, or the chairs in the parlour, no longer than while there is some body by to perceive them”: If a tree falls in the forest and no one is there to hear it, does it still make a sound?
Maybe I should play with this question? Here’s a link I found to how some people in the UK respond.
This run felt hard and I wasn’t sure I’d be able to do it. But I did, with the help of several walks. I’m surprised at how little it bothers me that I’m walking so much during these runs. Or that I’m going so slow. Have I given up or just become wiser and more measured in my approach? Or some thing else that I can’t quite figure out? Whatever it is, I’m continuing to train and survive and have moments that I deeply enjoy. I would like to work on pushing through some of the more difficult moments.
For the first half of the run, I listened to an old On Being episode with Mary Oliver. I love Mary Oliver. Here are a few lines that I particularly liked:
What is the meaning of life?
“have no answers but have some suggestions.” I was expecting her to end her line with: “have lots of questions.” I like that she didn’t and I like the idea that we can make suggestions instead of assertions or claims. These suggestions offer insight without definite answers. I’d like to do a writing experiment organized around the idea of having suggestions instead of answers.
writing while walking
They discuss how Oliver writes on her many walks through the woods. A notebook is mentioned. I’d like to know, in more detail, her process of walking and writing. A few months ago, I read about Jamie Quattro and how, if she got an idea while she was running for a story, she would stop and find a stick and then scratch some notes on her arm (or in her hand?). I’ve tried composing lines while running by speaking them into my voice memo app. But, how does Oliver do it? Maybe she writes about it somewhere?
listening convivially
Krista Tippet references Mary Oliver’s suggestion to “listen convivially” while walking. Where does Oliver say this? In a poem? Prose? An interview?
convivially: good company, joyful/agreeable attitude, greeting others/the world with delight
For me, listening in such an important part of the process of running and paying attention. I like the idea of being convivial as we listen. What are the subtle (and maybe not so subtle) differences between being convivial and generous or open?
attention without feeling is only a report
“You need empathy with it rather than just reporting. Reporting is for field guides. And they’re great. They’re helpful. But that’s what they are. But they’re not thought provokers. And they don’t go anywhere. And I say somewhere that attention is the beginning of devotion, which I do believe.” Attention/Devotion/Rumination/Engagement/Feeling the Force of Ideas and Experiences and Moments.
mystery is in that combination of discipline and the convivial listening
I’m really interested in how being disciplined and undisciplined combine to generate creativity and a more meaningful life. Limits, in the form of structure–Oliver discusses how one of her most famous poems, “Wild Geese,” began as a writing exercise in using end-stopped lines–and freedom, in the form of experimenting, taking risks, imagining new ways of writing, being, doing.
Such wonderful ideas! I can’t wait to read more.
Here are 2 of her poems that I found and want to spend more time with: Spring and What is it?
And here’s my attempt at playing around with Oliver’s idea of suggestions, not answers.
a suggestion on suggestions
I’ve never been good with answers,
giving them, that is.
I can handle accepting them,
as long as they aren’t final
or firm
or boring,
lacking imagination and a wonder
that is necessary for joyful living.
I used to believe that this was a problem,
my refusal to give answers.
It certainly is for some people.
But, no longer for me.
Answers are overrated and too easy.
Even sometimes lazy.
I always want questions.
And now, having heard Mary Oliver utter it in an interview,
suggestions.
Possibilities to explore, entertain, use in our experiments.
Proposals that might fit the facts and feelings.
Things to consider
and ruminate over as I wander through the woods
or run on the path that stretches ahead of me for miles.
And, a poem inspired by Oliver’s exercise in combining end-stopped lines with enjambment and by Gros (Philosophy of Walking) and his use of Nietzsche and the question from The Gay Science about the value of a book or dance or musical composition: “Can they walk?”
How Does Your Writing Move?
With ideas that end when the line or the path does.
And ideas that wander, traveling over
the edge, maybe down
into the gorge, where mystery lives,
behind the green veil that covers the trees from mid-May to early October.
In forms that hold tight with elbows at a 90 degree angle.
And forms that sprawl
all over the place. Messy moments
transformed into words that spill across
the page, leaking energy (and black ink).
Using syntax that remains steady and even.
And syntax that starts. Stops. And starts again,
moving slowly through ideas and experiences and feelings and images.
Then, rapidly.
Like jagged breathing during a tempo run.
60 degrees! I run so much better when the weather is cooler. Today was a very good run. I ran up and down both hills without stopping and felt strong and happy to be running.
I’m collecting fragments for (maybe?) a collage on bad air, which at this point I’m defining as humidity, heat and dew point. Here are two more things to add:
1
the effects of heat on my running
a
bright red face, an increase in coughing and
clearing my throat, a strong
desire to stop doing anything,
especially running, very
few happy thoughts
going through my
head, shallow
inhaling,
jagged breathing, no
kick in my stride,
legs feeling
mushy,
not strong
or
powerful, all
quickness
rapidly evaporating while
sweat refuses to do the same,
too much moisture for that, so it pools
under my baseball cap and down to the
very tip of my ponytail, a
wick that collects the
(e)xtra water then drops it on my arm or leg or bright
yellow shirt, sometimes making
zigzag patterns on it.
2
Do point me to the pool or the lake or the air conditioning or anywhere that isn’t here, where the temperature is high, the heat index is higher and my desire to do anything but run is at its highest.
3
Hugh, mid tee or Hugh, mid t (shirt) or hew, mid tree?
open swim
3 loops: 3600 yards
My longest swim of the season. Great conditions for it. Overcast. No wind. Cooler. Felt good. On the way out of the water, I dropped and lost my nose plug. The first causality of the season. No big deal; nose plugs are under $10.
Today I woke up tired and discombobulated. Decided that my playlist was definitely needed for blocking out the world. It worked. It was a good run. I felt disconnected, almost in a trance. Especially while running up the hill. As I made my way up it, I stared at the bridge at the top, only seeing it as a hulking shape. Quick flashes of movement entered by peripheral vision as bikers whizzed by. So cool.
Several miles later the trance-like feeling was replaced by a euphoria. Was it endorphins kicking in? Maybe. Does it matter if it can be explained chemically, scientifically? There is still something magical or mystical or sacred that can happen in those moments.
In an op-ed for The New York Times a few years ago the runner/author Jaime Quatro suggests that the high that runner’s get from running has three layers. Layer one is the conventional runner’s high, the sense of euphoria. Layer two is a feeling of invincibility; you can do anything! save all the starving children! garner massive applause from adoring crowds! Today, I felt like I could almost outrun the cars. If you’re lucky, which I was not, you can reach layer three:
a state of prayerlike consciousness. Past the feel-good vibes, past the delusions, my attention moves outward: I’m intensely aware of the cadence of a bird’s song, cherry blossoms weighted-down after a rain. Things light up and I experience an interior stillness that somehow syncs me more profoundly with the exterior world. It’s a paradox: only when I’m fully present in my body do I begin to experience the absence of myself.
As we move outward, we stop thinking so much about ourselves and start paying attention to the world. So much to say about this! About care, curiosity, Weil’s idea of attention. But I have to sort it out first. Maybe I’ll try to do that on my run tomorrow.
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.
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:
Wow! Another beautiful morning. Can it be like this all year? Wasn’t planning to, but as I ran towards the Franklin hill I started composing a poem in my head. Is it a poem? Or just a rhythm to repeat in order to create a steady cadence? Whatever it is, it was fun and it worked. My running felt strong and steady. And the chant helped me to slow down my heart rate after the tough hill. Because I didn’t want to forget it, as I was running, I recorded myself reciting it into my voice memo app.
There’s a path
there’s a path
there’s a path
that was closed
that was closed
up until
up until
late last fall
late last fall
there’s a path
that was closed
up until
late last fall
there’s a path
that was closed
up until
late last fall
then they opened it back up
then they opened it back up
to the runners thump thump
and the bikers thump thump
and the walkers thump thump
and the drivers thump thump
on the path
on the path
there is a hill
there is a hill
a steep, long hill
a steep, long hill
as you turn back up the hill
you’ll see a bridge at the top
look at it, look at it
never stop, never stop
there
was
a
hill
there
was
a
hill
that
I
climbed
up
that
I
climbed
up
now
that
I’m
done
slow
down
the
run
now
that
I’m
done
slow
down
the
run
As I ran, I tried to keep thinking about poets, intense feelings, whether or not living “like an engine with the governor off” is a good thing and how this relates to running. I couldn’t. Not because I don’t have any thoughts about these issues, but because I was distracted by an impulse to monitor my pace, heart rate and running form. And preoccupied with thoughts of leg injuries and how I probably need to strengthen my core.
What else do I remember? There was wind in my face as I ran north and at my back, helpfully pushing me along, as I turned around and went south. The Franklin hill wasn’t too bad. My pulse seemed to go slower as I went faster. The trees at my favorite part of the gorge are covered in leaves, making it hard to see the floor of the gorge. I think I encountered 4 or 5 dogs and about 15 humans, some walking the dogs, some walking alone, some running and some biking. I smiled at several of them, but didn’t speak. Neither did they. I don’t remember hearing a single bird or the wind rustling or the gravel crunching or traffic moving.
Even if I don’t remember thinking about poetry and intense feelings, I’m sure I did, at least fleetingly. And, even if I didn’t think about it consciously, the ideas were there, hovering around me as I ran, inspired by the discussion I started about George Sheehan in my log entry yesterday.
Sheehan argues that we should try to be poets, “responding to everything around us and inside us as well,” like engines with the governor off. Then he adds: “The best most of us can do is be a poet an hour a day.” And laments: “There are times, more often than the good times, when I fail. I never do pierce the shield. I return with a shopping list of things to do tomorrow. The miraculous has gone unseen. The message has gone unheard.” His words got me thinking and inspired me to create:
A 60-minute Poet
George Sheehan claims that,
for an hour a day,
while we’re running,
we can try to be poets.
Feeling everything intensely and without restrictions.
Like an engine with its governor off.
We can try.
But we’ll frequently fail
A thick smog of obligations, worries and regrets
makes it harder to breathe.
And to see.
And to feel.
And to remember to let go and let in
more air,
more ideas,
more of the world.
A Deep Core Workout for 60-minute-a-day Poets?
60 minutes a day of intense feelings seems like a lot.
How can we train ourselves to feel deeply for that long?
What sort of strength and stretching exercises do we need to build up our “deep core” feelings?
To prevent hyper-awareness related injuries brought on by overuse or improper form?
To help us stretch our imagination?
Limber up our ideas, so we can bend, twist, contort them?
Strengthen our resolve against the worries and regrets that distract us?
Lengthen our vision to extend farther, beyond our myopic preoccupations?
Quicken our reflexes for faster responsiveness?
Attune our senses to the too-often invisible or ignored encounters?
I’m thinking about “core” workouts lately because so many things that I’ve been reading recommend core exercises for preventing injuries. A strong core stabilizes your bones, joints, muscles and internal organs. I’m terrible with scientific/medical terminology–I can’t seem to retain the information that I read or hear–but I’m fascinated by the names and some the descriptions of the “deep core” muscles, especially the multifidus.
The Multifidus
The multifidus pronounced: mull tiff a dus
The muscle consisting of a number of fleshy not flashy or flesh-eating or flesh-colored or thin, but plump and succulent and tendinous sounds like tenderness or tendon-less, even though it means “consisting of tendons” fasciculi, pronounced: fa sick you lee or fa sick you lie, depending on if you want to rhyme it with an old oak tree or a key lime pie
which fill up the groove the groove in the dirt trail, winding through the gorge? the groove of a Funkadelic album? what you’re in when it’s going well?
on either side of the spinous processes of the vertebrae, not a process but a bony protrusion where the muscle attaches to the vertebrae
from the sacrum pronounced: say crum, as in, “say crumb, why don’t you hop into my mouth?”
to the axis aka C-2, aka epistropheus. Contains a bony protuberance, another fun word to say, on which the C-1 vertebrae rotates.
Another great morning for running. Intended to ruminate on the differences between running and walking in terms of how I think and generate ideas for the entire 46 minute run. It didn’t happen. I can’t really remember much of anything that I thought about. Devoted most of my attention to my running form and keeping my pulse steady.
Running Form
Keep it slow
don’t start fast
Keep it steady
find your rhythm
Breathe i n
Breathe o u t
Check your pulse
Lift, lift, lift the knees
squeeze the glutes, squeeze the glutes
breathe in, 2, 3
out, 2, 3
drop your shoulders
lead with your chest
relax your arms
loosen your hands
roll an imaginary pencil between your thumb and fingers l e a n forward
lift, lift, lift, lift, lift, lift the knees
raise your eyes, stare blankly at the top of the bridge
check your pulse
keep it steady
don’t lose your rhythm
breathe in, 2, 3
out, 2, 3
lift, lift, lift, lift the knees
slow it down
squeeze the glutes, squeeze the glutes
relax your arms
drop your shoulders
breathe in, 2, 3
out 2, 3
check your pulse
lift
lift
swing
swing
pump
breathe in out in out
pump
pump
lift
lift
breathe in out in out
in out in out
in out in out in out
FLY l e a n lift
breathe i n
breathe o u t
relax your arms
slow your pace
stop.
