“If You Get There Before I Do", by Dick Allen

“Air out the linens, unlatch the shutters on the eastern side,
and maybe find that deck of Bicycle cards
lost near the sofa. Or maybe walk around
and look out the back windows first.
I hear the view's magnificent: old silent pines
leading down to the lakeside, layer upon layer
of magnificent light. Should you be hungry,
I'm sorry but there's no Chinese takeout,
only a General Store. You passed it coming in,
but you probably didn't notice its one weary gas pump
along with all those Esso cans from decades ago.
If you're somewhat confused, think Vermont,
that state where people are folded into the mountains
like berries in batter. . . . What I'd like when I get there
is a few hundred years to sit around and concentrate
on one thing at a time. I'd start with radiators
and work my way up to Meister Eckhart,
or why do so few people turn their lives around, so many
take small steps into what they never do,
the first weeks, the first lessons,
until they choose something other,
beginning and beginning their lives,
so never knowing what it's like to risk
last minute failure. . . .I'd save blue for last. Klein blue,
or the blue of Crater Lake on an early June morning.
That would take decades. . . .Don't forget
to sway the fence gate back and forth a few times
just for its creaky sound. When you swing in the tire swing
make sure your socks are off. You've forgotten, I expect,
the feeling of feet brushing the tops of sunflowers:
In Vermont, I once met a ski bum on a summer break
who had followed the snows for seven years and planned
on at least seven more. We're here for the enjoyment of it, he said,
to salaam into joy. . . .I expect you'll find
Bibles scattered everywhere, or Talmuds, or Qur'ans,
as well as little snippets of gospel music, chants,
old Advent calendars with their paper doors still open.
You might pay them some heed. Don't be alarmed
when what's familiar starts fading, as gradually
you lose your bearings,
your body seems to turn opaque and then transparent,
until finally it's invisible--what old age rehearses us for
and vacations in the limbo of the Middle West.
Take it easy, take it slow. When you think I'm on my way,
the long middle passage done,
fill the pantry with cereal, curry, and blue and white boxes of macaroni, place the
checkerboard set, or chess if you insist,
out on the flat-topped stump beneath the porch's shadow,
pour some lemonade into the tallest glass you can find in the cupboard,
then drum your fingers, practice lifting your eyebrows,
until you tell them all--the skeptics, the bigots, blind neighbors,
those damn-with-faint-praise critics on their hobbyhorses--
that I'm allowed,
and if there's a place for me that love has kept protected,
I'll be coming, I'll be coming, too."

“Stumps. Railroad tracks. Early sicknesses,

the blue one, especially.

Your first love rounding a corner,

that snowy minefield.

Whether you step lightly or heavily,

you have to get over to that tree line a hundred yards in the distance

before evening falls,

letting no one see you wend your way,

that wonderful, old-fashioned word, wend,

meaning “to proceed, to journey,

to travel from one place to another,”

as from bed to breakfast, breakfast to imbecile work.

You have to get over your resentments,

the sun in the morning and the moon at night,

all those shadows of yourself you left behind

on odd little tables.

Tote that barge! Lift that bale! You have to

cross that river, jump that hedge, surmount that slogan,

crawl over this ego or that eros,

then hoist yourself up onto that yonder mountain.

Another old-fashioned word, yonder, meaning

“that indicated place, somewhere generally seen

or just beyond sight.” If you would recover,

you have to get over the shattered autos in the backwoods lot

to that bridge in the darkness

where the sentinels stand

guarding the border with their half-slung rifles,

warned of the likes of you."

“What You Have to Get Over", Dick Allen

“I wonder about the trees.
Why do we wish to bear

Forever the noise of these

More than another noise

So close to our dwelling place?

We suffer them by the day

Till we lose all measure of pace,

And fixity in our joys,

And acquire a listening air.

They are that that talks of going

But never gets away;

And that talks no less for knowing,

As it grows wiser and older,

That now it means to stay.

My feet tug at the floor

And my head sways to my shoulder

Sometimes when I watch trees sway,

From the window or the door.

I shall set forth for somewhere,

I shall make the reckless choice

Some day when they are in voice

And tossing so as to scare

The white clouds over them on.

I shall have less to say,

But I shall be gone."

“The Sound of Trees", Robert Frost

“I drifted about from rock to rock, from stream to stream, from grove to grove. Where night found me, there I camped. When I discovered a new plant, I sat down beside it for a minute or a day, to make its acquaintance and hear what it had to tell. ... I asked the boulders I met, whence they came and whither they were going."

John Muir

“I shuffled through red dust for a decade,

but often dreamed of verdant mountains.

The purple cord of court seals doesn't rival peaceful sleep.

Grand gates of red don't compare to having less.

Swordsmen protecting a sickly lord,

the song of raucous drunkards: how disgusting.

I'm toting my old books back to my hermitage,

back to flowers and birdsong and familiar spring."

Ch'en Tuan

“Gradually the idea for a book began to take shape. It was to be a wildly ambitious and intolerant work, a kind of ‘Anatomy of Restlessness' that would enlarge on Pascal's dictum about the man sitting quietly in a room. The argument, roughly, was as follows: that in becoming human, man had acquired, together with his straight legs and striding walk, a migratory 'drive' or instinct to walk long distances through the seasons; that this 'drive' was inseparable from his central nervous system; and, that, when warped in conditions of settlement, it found outlets in violence, greed, status-seeking or a mania for the new. This would explain why mobile societies such as the gypsies were egalitarian, thing-free and resistant to change; also why, to re-establish the harmony of the First State, all the great teachers - Buddha, Lao-tse, St Francis - had set the perpetual pilgrimage at the heart of their message and told their disciples, literally, to follow The Way.” 

Bruce Chatwin, Anatomy of Restlessness: Selected Writing, 1969-1989

“Many paths lead
from the foot of the mountain,
But at the peak
We all gaze at the
Single bright moon"

Ikkyu

"There is but one world and everything that is imaginable is necessary to it. For this world also which seems to us a thing of stone and flower and blood is not a thing at all but is a tale. And all in it is a tale and each tale the sum of all lesser tales and yet these are also the selfsame tale and contain as well all else within them. So everything is necessary. Every least thing. This is the hard lesson. Nothing can be dispensed with. Nothing despised. Because the seams are hid from us, you see. The joinery. The way in which the world is made. We have no way to know what could be taken away. What omitted. We have no way to tell what might stand and what might fall. And those seams that are hid from us are of course in the tale itself and the tale has no abode or place of being except in the telling only and there it lives and makes its home and therefore we can never be done with the telling. Of the telling there is no end. And in whatever place by whatever name or by no name at all, all tales are one. Rightly heard all tales are one."

Cormac McCarthy, The Crossing

“To carry yourself forward and experience myriad things is delusion. That myriad things come forth and experience themselves is awakening."

Dogen, Genjo Koan 

“A fish swims in the ocean, and no matter how far it swims there is no end to the water. A bird flies in the sky, and no matter how far it flies, there is no end to the air. However, the fish and the bird have never left their elements. When their activity is large their field is large. When their need is small their field is small. Thus, each of them totally covers its full range, and each of them totally experiences its realm."

Dogen, Genjo Koan 

“Pan came out of the woods one day,--
His skin and his hair and his eyes were gray,
The gray of the moss of walls were they,--
And stood in the sun and looked his fill
At wooded valley and wooded hill.
He stood in the zephyr, pipes in hand,
On a height of naked pasture land;
In all the country he did command
He saw no smoke and he saw no roof.
That was well! and he stamped a hoof.
His heart knew peace, for none came here
To this lean feeding save once a year
Someone to salt the half-wild steer,
Or homespun children with clicking pails
Who see no little they tell no tales.
He tossed his pipes, too hard to teach
A new-world song, far out of reach,
For a sylvan sign that the blue jay's screech
And the whimper of hawks beside the sun
Were music enough for him, for one.
Times were changed from what they were:
Such pipes kept less of power to stir
The fruited bough of the juniper
And the fragile bluets clustered there
Than the merest aimless breath of air.
They were pipes of pagan mirth,
And the world had found new terms of worth.
He laid him down on the sun-burned earth
And ravelled a flower and looked away--
Play? Play?--What should he play?"

Robert Frost, “Pan With Us"

“I went to the woods because I wished to live deliberately, to front only the essential facts of life, and see if I could not learn what it had to teach, and not, when I came to die, discover that I had not lived. I did not wish to live what was not life, living is so dear; nor did I wish to practise resignation, unless it was quite necessary. I wanted to live deep and suck out all the marrow of life, to live so sturdily and Spartan-like as to put to rout all that was not life, to cut a broad swath and shave close, to drive life into a corner, and reduce it to its lowest terms, and, if it proved to be mean, why then to get the whole and genuine meanness of it, and publish its meanness to the world; or if it were sublime, to know it by experience, and be able to give a true account of it in my next excursion."

Thoreau, Walden

“I took a walk on the railroad track.

Followed that for a while

and got off at the country graveyard

where a man sleeps between

two wives. Emily van der Zee,

Loving Wife and Mother,

is at John van der Zee's right.

Mary, the second Mrs. van der Zee

also a loving wife, to his left.

First Emily went, then Mary.

After a few years, the old fellow himself.

Eleven children came from these unions.

And they, too, would all have to be dead now.

This is a quiet place. As good a place as any

to break my walk, sit, and provide against

my own death, which comes on.

But I don't understand, and I don't understand.

All I know about this fine, sweaty life,

my own or anyone else's,

is that in a little while I'll rise up

and leave this astonishing place

that gives shelter to dead people. This graveyard.

And go. Walking first on one rail

and then the other."

“A Walk", Raymond Carver

“Every child should have one, a pair, really,

a matched set, set apart just the right width

so that one foot pressed against each one

leaves you stretched out about as far

as you can go, unable to move, feeling

almost trapped, almost actually in danger.

And every child should walk them as if

that's what they were intended for,

leading out of town, around the curve,

along the river, revealing the backsides

of people's homes, clotheslines and refuse,

the yards you weren't supposed to see.

And every child should learn to balance

atop the railhead without the constant

unsightly tipping from side to side,

should be able to step exactly the distance

between the ties consistently, almost

marching without kicking up ballast.

And every child should have a bridge

they go under to hide and look

at dirty magazines and smoke cigarettes

and place coins on the rails to flatten

and see if this could be the one

to cause the train to leap the tracks.

And every child should know the lonely

distant sound of late night travel

when bad dreams have kept them awake

wondering where they come from, what

they bring or take, and where when it's all

done they might return and call home."

Scott Owens, “Rails"