Rebecca Solnit, Kenneth Grahame and Robert Walser on the art of walking
Rebecca Solnit, in her 2000 book Wanderlust: A History of Walking, writes how the act of walking and observing opens the door to scholarship:
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 toe 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. The most obvious and the most obscure thing in the world, this walking that wanders so readily into religion, philosophy, landscape, urban policy, anatomy, allegory, and heartbreak.
Kenneth Grahame, author of much-loved The Wind in the Willows, talks about the benefit of being a solitary walker in an essay titled The Fellow That Goes Alone:
Nature’s particular gift to the walker, through the semi-mechanical act of walking — a gift no other form of exercise seems to transmit in the same high degree — is to set the mind jogging, to make it garrulous, exalted, a little mad maybe — certainly creative and suprasensitive, until at last it really seems to be outside of you and as if it were talking to you whilst you are talking back to it. Then everything gradually seems to join in, sun and the wind, the white road and the dusty hedges, the spirit of the season, whichever that may be, the friendly old earth that is pushing life firth of every sort under your feet or spell-bound in a death-like winter trance, till you walk in the midst of a blessed company, immersed in a dream-talk far transcending any possible human conversation. Time enough, later, for that…; here and now, the mind has shaken off its harness, is snorting and kicking up heels like a colt in a meadow.
Robert Walser, the Swiss writer and novelist, discusses walking as a kind of meditative practice in his short story, The Walk:
With the utmost love and attention the man who walks must study and observe every smallest living thing, be it a child, a dog, a fly, a butterfly, a sparrow, a worm, a flower, a man, a house, a tree, a hedge, a snail, a mouse, a cloud, a hill, a leaf, or no more than a poor discarded scrap of paper on which, perhaps, a dear good child at school has written his first clumsy letters. The highest and the lowest, the most serious and the most hilarious things are to him equally beloved, beautiful, and valuable. He must bring with him no sort of sentimentally sensitive self-love or quickness to take offense. Unselfish and unegoistic, he must let his careful eye wander and stroll where it will; only he must be continuously able in the contemplation and observation of things to efface himself, and to put behind him, little consider, and forget like a brave, zealous, and joyfully self-immolating front-line soldier, himself, his private complaints, needs, wants, and sacrifices. If he does not, then he walks only half attentive, with only half his spirit, and that is worth nothing.