Upright and Outside, Moving

Wandering Two: staying upright (RUN! may 30, 2017)

“And since we will be
horizontal ourselves
for so long,
let us now honor
the gods of the vertical” (Paston, Vertical)

Sunday morning—23 degrees, both ponds frozen and glassy. Six miles. About an inch of ice on the trail—frozen snow-melt, frozen slush—but I managed to stay upright….What Wittgenstein wanted from philosophy in the second half of his career was a way to stay upright. ‘We have got onto slippery ice where there is no friction,’ he warned, turning his gaze away from perfection and trying to make out how people actually move and think and make connections…It’s the dailiness of these runs I like

Gardner, 54

One goal of my running? Staying upright. Active. Moving. Grounded. Connected. In conversation with the world, with my body, with my breathing, with dreaming and wondering and real possibilities, rooted in the realities of my limits. Resisting restlessness.

god/ Sara Lynne Puotinen

today I saw god
near the end of my long run
a verb not a noun
the act of being upright
performed by Daily Walker

since starting to run
and to write while running this
walker has been here
faithfully walking moving
being outside near the gorge

today I noticed
and said “good morning” instead
of just running by
an act of pure attention
performed beside the river

Can they dance?

We do not belong to those who have ideas only among books, when stimulated by books. It is our habit to think outdoors—when walking, leaping, climbing, dancing, preferably on lonely mountains or near the sea where even the trails become thoughtful. Our first questions about the value of a book, of a human being, or a musical composition are: Can they walk? Even more, can they dance?” (Gros, 18, org. from Nietzsche, Gay Science).

Poetry and Associations

The drifting, associating, linking experience that poetry creates is central to the way it makes meaning.

Poetry by its nature makes meaning by revealing hidden connections.

Associative movement can manifest in metaphor or other figurative language. It can be in the juxtaposition of facts that do not ordinarily belong tougher, but that the poem makes seem inevitably related. Or in a leap in the narrative of a poem. Or something musical, like rhyme or some other sound association….Something that literally or conceptually rhymes or chimes with what has come before (129-130, Why Poetry/ Zapruder).

Vigor, not Rigor