Nicholas Luard, The Field of the Star, and Alicia Elliott, A Mind Spread Out On the Ground

When the pandemic began, I began finding it difficult to finish books. I would start reading something and then get distracted and put it aside. I just didn’t have the concentration to read anything longer than an article in The Guardian or The New Yorker. It was surprising, and worrying, and I suddenly found myself wondering if I was sharing this experience with my students, many of whom find reading books next to impossible. Attention spans have changed, it seems, and although I’m no expert on the phenomenon, I would guess that those changes are related to the ubiquity of ways of getting information and entertainment other than reading books. Like anything else, reading books takes practice; the more books one reads, the easier reading books becomes.

In any case, as the stress of the pandemic’s first days has receded, I’ve found myself able to read books again. In the past couple of days, I’ve finished two very different books: Nicholas Luard’s The Field of the Star, an account of a walk on the Camino Francés in the early 1990s, and Alicia Elliott’s collection of autobiographical essays, A Mind Spread Out On the Ground. Little connects these books, or their authors, except my interests in walking, pilgrimage, and colonialism, and one formal quality that might hold true for most memoirs that are worth reading.

field of the star

The Field of the Star is, as I suggested, Luard’s 1998 account of a 1,000 mile walk from Le Puy, France, to Santiago de Compostela, Spain, on the Camino de Santiago or, in France, Le chemin de St. Jacques. I ran across a mention of this book in The Vintage Book of Walking, edited by Duncan Minshull—one of the books I started in the pandemic’s early days and then put down—and the excerpt I read was so compelling that I decided to read the book from which it was taken. That excerpt doesn’t appear until the very end of Luard’s memoir, in an appendix that gives advice to those who would embark on a long journey on foot:

Give your feet tender loving care both before you begin and along the Way. The soles, the heels and front pads don’t need to be hard. Paradoxically as it may seem, hard feet on a long tramp are a hazard—the skin tends to crack and bleed. What one needs is an underpinning of skin that is soft and supple, that can bend with the rocks and absorb their impact. The best way to achieve it is with lavish applications of a good lanolin cream. (237)

That’s pretty good advice, and although I have no idea where to find “a good lanolin cream,” I have used both petroleum jelly and Vick’s Vaporub on my feet with good results. But that advice is only a tiny part of Luard’s book. The bulk of it is an account of his journey, which he undertook with his sister, Priscilla, and his sister’s friend Hillary, over three years. They are part-time pilgrims, according to Nancy Louise Frey’s definition, walking for a couple of weeks at a time when they can free themselves of other obligations, rather than making the entire journey in one go (see Frey 20). That journey is juxtaposed against the reason Luard is walking to Santiago—his eldest daughter, Francesca, has contracted HIV/AIDS and, in a time before antiviral drugs, has a short time left to live. (She dies partway through Luard’s pilgrimage.) It might seem strange that his reaction to Francesca’s illness is to walk in France and Spain rather than making arrangements to be with her during the time she has left, but Luard’s relationship with Francesca is rather fraught, and she sounds, from his description of her, like a talented but difficult person. One might say the same of Luard himself. I had never heard of him, but I found an obituary published after his death in 1994 which explained that he was a soldier, that he started a satirical nightclub with Peter Cook in the early 1960s, and that he was a professional writer throughout the 1970s and 1980s. The Field of the Star was his last book. The story of his walk is sometimes interrupted by Luard’s ruminations on political and theological topics. He is a rather cranky old Tory, unhappy with the changes in politics and the Anglican Church he has experienced during his lifetime, and despite (or because of) his experiences as a traveller and explorer in Africa, prone to casual expressions of racism. He dislikes Germans on principle because of the Second World War; he is apparently a supporter of Margaret Thatcher, even though he is also a conservationist; and he dislikes the European Union and complains about bureaucrats in Brussels, which suggests he might’ve been a Leave supporter if he were alive today.

Luard’s account of his journey reinforces something I’ve learned from similar books: the more miserable and difficult the journey is, the more engaging and interesting the writing about the journey will be. During the first leg of their walk, for instance, Luard and his companions experienced long, difficult days of walking in pouring rain; they got lost frequently; and Luard himself had to go home early when he contracted pneumonia. And yet his account of this part of their pilgrimage is much more alive than his narrative of the last part of the journey, which Luard finished by cadging rides from truckers and cab drivers. He had good reasons for taking those shortcuts—he was in mourning for his daughter, and he was physically exhausted by the pilgrimage, interrupted though it was—and yet, it makes for rather dull reading.

a mind spread out on the ground

One reason I enjoyed Luard’s book is that it has little to do with my academic research. I can’t say the same about Elliott’s A Mind Spread Out On the Ground, which I read partly because I’m looking for a memoir that might be appropriate for a class of first-year students at my university, and partly because I was curious about what she has to say about colonialism in Canada—a lot, as it turns out. Unlike The Field of the Star, there is no through line or narrative in Elliott’s book; it’s a collection of essays, primarily autobiographical, but after reading the book, I have an understanding of what life was like for Elliott growing up as a white-looking, half-Tuscarora kid whose impoverished family was sometimes homeless, whose white mother suffers from uncontrolled bipolar disorder, and who, after moving to be near her father’s family at the Six Nations of the Grand River reserve in southwestern Ontario, lived in a trailer without running water. For Elliott, her family’s poverty wasn’t just the result of her mother’s illness or her father’s tendency to relocate the family; it was the result of the racism and white supremacy that are part of colonialism, and that tends to limit economic opportunities for people whose skin is black or brown. We might understand that in a general way from statistics about income and unemployment, but A Mind Spread Out On the Ground puts flesh on those dry bones. For instance, until she moved away from her family’s trailer, Elliott had head lice—years and years of scratching—because there was no running water for shampooing, and no money for medicated shampoo, and no washing machine for sheets and pillowcases, and no time to vacuum the trailer’s carpeted floors. She also had to hide the infestation from teachers and other authorities, because of the chance that social services would apprehend the children (Indigenous children are taken into foster care at astounding rates, because poverty is considered to be parental neglect rather than an effect of colonialism). Elliott also describes her own struggles with depression, which she might have inherited from her mother, and her efforts to escape poverty and mental illness through education and writing.

Elliott now lives in Brantford, my home town, and she might have attended Pauline Johnson Collegiate while my sister Pam was teaching English there, but in every other way we come from different worlds. My grandparents were not rich, and they struggled, but they weren’t sent to the local residential school, the Mohawk Institute (also known as the Mush Hole because of the food served to the children incarcerated there), nor was my grandfather murdered by a white man (as Elliott’s grandfather was). Nothing Elliott says in her book should be a surprise, given what we know about the effects of colonialism, but it’s a testament to the power of her writing that I found myself sometimes catching my breath at the truths I found in this book. For example, she explains the connection between colonialism and depression in a way that helps me to understand the suicide epidemic on some First Nations:

“Can you imagine going to a funeral every day, maybe even two funerals, for five to ten years?” the chief asks. He’s giving a decolonization presentation, talking about the way colonization has affected our people since contact. Smallpox, tuberculosis, even the common cold hit our communities particularly hard. Then, on top of that, we had wars to contend with—some against the French, some against the British, some against either or neither or both. Back then death was all you could see, smell, hear or taste. Death was all you could feel.

“What does that type of mourning, pain and loss do to you?” he asks. We reflect on our own losses, our own mourning, our own pain. We say nothing.

After a moment he answers himself. “It creates numbness.”

Numbness is often how people describe their experience of depression. (6-7)

She continues:

Both depression and colonialism have stolen my language in different ways. I know this. I feel it inside me even as I struggle to explain it. But that does not mean I have to accept it. I struggle against colonialism the same way I struggle against depression—by telling myself that I’m not worthless, that I’m not a failure, that things will get better. (12)

She writes about the privilege of being able to pass as white (22) and about the way racism, sexism, and colonialism keep Indigenous women out of the literary community (25-26). She considers the connection between colonialism and gentrification, the way that early settlers looked at the land “with the eyes of enterprising tourists,” forcing out “the lands’ native inhabitants” and then going about “realizing this land’s ‘potential,’ laying roads and constructing buildings, later putting up condos and converting old restaurants into cafés” (49). She reflects on Colten Boushie’s death and how she felt when a Saskatchewan jury found his killer not guilty of anything, not even manslaughter, and how she felt when Tina Fontaine’s killer was allowed to walk out of a Winnipeg court, a free man. She compares racism to the physicists’ dark matter:

Racism, for many people, seems to occupy space in very much the same way as dark matter: it forms the skeleton of our world, yet remains ultimately invisible, undetectable. This is convenient. If nothing is racism, then nothing needs to be done to address it. we can continue on as usual. . . . We can keep our eyes shut inside this dark room we’ve created and pretend that, as long as we can’t see what’s around us, there’s nothing around us at all. After all, there’s no proof of it. (70)

She recalls the aftermath of being sexually assaulted and the way that “[u]nder capitalism, colonialism and settler colonialism, everything Indigenous is subject to extraction”:

Words from our languages are extracted and turned into the names of cities, states, provinces or, in the case of Canada, an entire country. Resources from our traditional territories are extracted and turned into profit for non-Indigenous companies and strategic political donations. Our own children are extracted so that non-Indigenous families can have the families they’ve always wanted, so our families will fall to ruin and our grief will distract us from resisting colonialism.

Then, after all of this extraction, the nation-state has the audacity to tell us we should be glad, that the theft was for our own good. Or, more recently, politicians will admit that awful things were done, but that they happened in the past and should be forgiven, despite modern-day equivalents still taking place all around us. (213-14)

Elliott’s book is tough, but it’s an important and even necessary read, I think. It won’t matter if you don’t read Luard’s story of his long walk; but it will matter if you ignore the truths Elliott has to tell.

It almost goes without saying that Elliott and Luard have almost nothing in common; he would dismiss her work as political correctness, and she would see him as yet another colonizer despite (or even because of) his honorary membership in the Zulu Nation and his support of the San people of the Kalahari Desert. And I think she would be right. However, both books have something to teach about writing creative non-fiction, about writing memoir: one’s own story needs to be placed alongside another story, another context. For Elliott, that context is Canadian colonialism and racism. For Luard, it is the story of his daughter’s short life and painful death. One might accuse him of constructing a hagiography of his daughter, although surely that is a grieving father’s privilege, but the letters to Francesca that interrupt his account of walking to Santiago de Compostela are essential; they lift his book above mere travelogue, and his walk becomes an expression of sorrow. Other works of creative non-fiction I’ve read recently—Don Gillmor’s To the River: Losing My Brother is another example—all juxtapose the personal against something larger in a similar way. I need to remember that as I write about my walks to and near the Regina Bypass.

Works Cited

Elliott, Alicia. A Mind Spread Out On the Ground, Doubleday Canada, 2019.

Frey, Nancy Louise. Pilgrim Stories: On and Off the Road to Santiago, U of California P, 1998.

Gillmor, Don. To the River: Losing My Brother, Vintage Canada, 2018.

Luard, Nicholas. The Field of the Star: A Pilgrim’s Journey to Santiago de Compostela, Penguin, 1999.

Minshull, Duncan, ed. The Vintage Book of Walking: An Anthology, Vintage, 2000.

 

Walking from León to Somewhere West of Astorga

The virtual walk through Spain continues. The sky looks like it might clear this morning, and if the rain stops, I’ll try to walk a few kilometres west to León.

Here are a few photographs I took on the actual journey several years ago.

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We met on Zoom Monday night—Tuesday at noon for Neil, who is in Australia—and we agreed where we would stop this week, but I can’t remember what we said! I hope my photographs haven’t gone too far ahead on the journey. Once again, I’m surprised by how few photographs I took. Even fewer were successful or worth sharing. I take more pictures now. I’ll take that as a lesson learned.

Looking Back on the Walk From Logroño to Calzadilla de los Hermanillos

My friends and I are still walking virtually through northern Spain. Here are some photos from our walk in 2013.

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Looking back at the photos I took, I wish I had taken more, and more of the people I was walking with. Some days, it seems, the camera didn’t leave its case. And that photo Geoff Travers took of my backpack! What was I thinking, carrying all that extra stuff? Live and learn, I suppose. Walking is like anything else: you learn how to do it by doing it, by making mistakes, and in Spain, I seem to have made a lot of mistakes. I would do things differently now.

One last thing—I was motivated while walking one sunny day after a week of rain to write a poem, and I thought I would share it here:

Picking my muddy way

Along the Rio Ucieza

I pass another field of sunflowers,

Their black and heavy heads

Bowed as if in silent prayer.

 

Why might a sunflower pray?

To give thanks for the season’s rain and sun?

Or to ask for courage against the

Whirling combine, the oil press?

 

Leslie Stephen, “In Praise of Walking”

NPG L238; Sir Leslie Stephen by George Frederic Watts

Portrait of Sir Leslie Stephen by George Frederic Watts, 1878

Sir Leslie Stephen’s essay “In Praise of Walking” was published in his four-volume collection of essays, Studies of a Biographer, which first appeared between 1898 and 1902. I found it on the Internet; I would rather have read a print edition, but the university library is closed because of the ongoing pandemic. This essay is the work of an elderly man looking back on his life and, more specifically, his pedestrian adventures; it begins with the idea that, as we grow older, we “may find consolation for increasing infirmities in looking back upon a well-spent life.” For Stephens, walking is one of the innocent pleasures he can look back on:

Walking is among recreations what ploughing and fishing are among industrial labours: it is primitive and simple; it brings us into contact with mother earth and unsophisticated nature; it requires no elaborate apparatus and no extraneous excitement. It is fit even for poets and philosophers, and he who can thoroughly enjoy it must have at least some capacity for worshipping the “cherub Contemplation.”

Walking isn’t about athletic excellence, although Stephens notes that he retains his youthful admiration for rowers and cricketers, and he acknowledges the abilities of cyclists and golfers. Even though there are professional pedestrians “making records and seeking the applause of the mob,” he writes, 

The true walker is one to whom the pursuit is in itself delightful; who is not indeed priggish enough to be above a certain complacency in the physical prowess required for his pursuit, but to whom the muscular effort of the legs is subsidiary to the “celebration” stimulated by the effort; to the quiet musings and imaginings which arise most spontaneously as he walks, and generate the intellectual harmony which is the natural accompaniment to the monotonous tramp of his feet.

The “celebration” generated by walking consists of “the quiet musings and imaginings” which “arise most spontaneously” as we walk, and for Stephen, there is an ironic harmony between the monotony of walking and the variety of those musings and imaginings.

Those “quiet musings and imaginings” produced by walking are perhaps the reason Stephen is so drawn to it. “[T]he true pedestrian loves walking because, so far from distracting his mind, it is favourable to the equable and abundant flow of tranquil and half-conscious meditation,” he writes. He compares memories of walking to other memories of “‘well-spent’ moments”: most memories “coalesce into wholes,” and become general impressions (of friends or experiences); however, he continues,

The memories of walks . . . are all localised and dated; they are hitched on to particular times and places; they spontaneously form a kind of calendar or connecting thread upon which other memories may be strung. As I look back, a long series of little vignettes presents itself, each representing a definite stage of my earthly pilgrimage summed up and embodied in a walk.

Writing books is one form of memory which tends to “coalesce into wholes”: “The labour of scribbling books happily leaves no distinct impression, and I would forget that it had ever been undergone; but the picture of some delightful ramble includes incidentally a reference to the nightmare of literary toil from which it relieved me.” For Stephen, walking is a relief from writing, rather than (or perhaps in addition to) being a source of inspiration.

Indeed, Stephen suggests that his “pedestrian enthusiasm” ties his days together. “The day on which I was fully initiated into the mysteries is marked by a white stone,” he writes, describing a hike Heidelberg through the Odenwald:

Then I first knew the delightful sensation of independence and detachment enjoyed during a walking tour. Free from all bothers of railway time-tables and extraneous machinery, you trust to your own legs, stop when you please, diverge into any track that takes your fancy, and drop in upon some quaint variety of human life at every inn where you put up for the night. . . . You have no dignity to support, and the dress-coat of conventional life has dropped into oblivion.

He recalls George Borrows’s walks with Roma people in England as a model of the kind of social freedom he found in his walks, and that social freedom must have been revolutionary for a Victorian English gentleman. Stephen remembers all of the details of such journeys: “I kept no journal, but I could still give the narrative day by day—the sights which I dutifully admired and the very stage of my bootlaces. Walking tours thus rescue a bit of one’s life from oblivion.” “The walks are the unobtrusive connecting thread of other memories,” he continues, “and yet each walk is a little drama in itself, with a definite plot with episodes and catastrophes, according to the requirements of Aristotle; and it is naturally interwoven with all the thoughts, the friendships, and the interests that form the staple of ordinary life.”

“Walking is the natural recreation for a man who desires not absolutely to suppress his intellect but to turn it out to play for a season,” Stephen contends. He claims that “[a]ll great men of letters” have “been enthusiastic walkers,” including Shakespeare, Jonson, Coryate, Bishop Hooker, Swift, John Wesley, Fielding, Samuel Johnson, De Quincey, Coleridge, Wordsworth, Scott, Byron, Hobbes, Bentham, James Mill, John Stuart Mill, Carlyle, Ruskin. “The great men, it is true, have not always acknowledged their debt to the genius, whoever he may be, who presides over pedestrian exercise,” he continues. “Indeed, they have inclined to ignore the true source of their impulse. Even when they speak of the beauties of nature, they would give us to understand that they might have been disembodied spirits, taking aerial flights among mountain solitudes, and independent of the physical machinery of legs and stomachs.” Walking, not nature, is the true source of writerly inspiration, Stephen suggests, and I like his emphasis on the grounded nature of walking. For example, he fell in love with the Alps because of Ruskin’s Modern Painters. “I hoped to share Ruskin’s ecstasies in a reverent worship of Mont Blanc and the Matterhorn,” he writes, but instead “[i]t stimulated a passion for climbing which absorbed my energies and distracted me from the prophet’s loftier teaching.” Stephen’s “passion for the mountains had something earthly in its composition”:

It is associated with memories of eating and drinking. It meant delightful comradeship with some of the best of friends; but our end, I admit, was not always of the most exalted or aesthetic strain. A certain difficulty results. I feel an uncomfortable diffidence. I hold that Alpine walks are the poetry of the pursuit; I could try to justify the opinion by relating some of the emotions suggested by the great scenic effects: the sunrise on the snow fields; the storm-clouds gathering under the great peaks; the high pasturages knee-deep in flowers; the torrents plunging through the “cloven ravines,” and so forth. But the thing has been done before, better than I could hope to do it; and when I look back at those old passages in Modern Painters, and think of the enthusiasm which prompted to exuberant sentences of three or four hundred words, I am not only abashed by the thought of their unapproachable eloquence, but feel as though they conveyed a tacit reproach. You, they seem to say, are, after all, a poor prosaic creature, affecting a love of sublime scenery as a cloak for more grovelling motives. I could protest against this judgment, but it is better at present to omit the topic, even though it would give the strongest groundwork for my argument.

The conflict between sublime spaces and grounded walking leads Stephen to suggest that it may be better “to trust the case for walking to where the external stimulus of splendours and sublimities is not so overpowering.” He refers to the division in aesthetics between the sublime and the beautiful—“A philosophic historian divides the world into the regions where man is stronger than nature and the regions where nature is stronger than man”—and suggests that “[t]he true charm of walking is most unequivocally shown when it is obviously dependent upon the walker himself.”

For that reason, he turns away from his memories of hiking in the Alps to walks in England:

Walking gives a charm to the most commonplace British scenery. A love of walking not only makes any English country tolerable but seems to make the charm inexhaustible. I know only two or three districts minutely, but the more familiar I have become with any one of them the more I have wished to return, to invent some new combination of old strolls or to inspect some hitherto unexplored nook.

He tells us that likes walking in the Fens as much as he likes walking in the Lake District: “In a steady march along one of the great dykes by the monotonous canal with the exuberant vegetation dozing in its stagnant waters, we were imbibing the spirit of the scenery.” He also enjoys walking by the sea, but not because the sea suggests, to him, sublimity:

Another set of walks may, perhaps, appeal to more general sympathy. The voice of the sea, we know, is as powerful as the voice of the mountains; and, to my taste, it is difficult to say whether the Land’s End is not in itself a more impressive station than the top of Mont Blanc. The solitude of the frozen peaks suggests tombstones and death. The sea is always alive and at work. The hovering gulls and plunging gannets and the rollicking porpoises are animating symbols of a gallant struggle with wind and wave.

The scenery of various places on the English coast is always delightful, but walking makes it moreso: 

When you have made an early start, followed the coast-guard track on the slopes above the cliffs, struggled through the gold and purple carpeting of gorse and heather on the moors, dipped down into quaint little coves with a primitive fishing village, followed the blinding whiteness of the sands round a lonely bay, and at last emerged upon a headland where you can settle into a nook of the rocks, look down upon the glorious blue of the Atlantic waves breaking into foam on the granite, and see the distant sea-levels glimmering away till they blend imperceptibly into cloudland; then you can consume your modest sandwiches, light you pipe, and feel more virtuous and thoroughly at peace with the universe than it is easy even to conceive yourself elsewhere. I have fancied myself on such occasions to be a felicitous blend of poet and saint—which is an agreeable sensation. 

Note that Stephen isn’t suggesting that he became either a poet or a saint by walking; rather, he imagined himself to be a blend of both. That “agreeable sensation,” however imaginary, is one of the benefits of walking for Stephen.

That “agreeable sensation” is produced by walking on paths or through fields, rather than by walking on roads, and it is “confined to the walker”:

I respect the cyclist, as I have said; but he is enslaved by his machine: he has to follow the highroad, and can only come upon  what points of view open to the commonplace tourist. He can see nothing of the retired scenery which may be close to him, and cannot have his mind brought into due harmony by the solitude and by the long succession of lovely bits of scenery which stand so coyly aside from public notice.

In sentences that echo my friend Matthew Anderson’s work on walking trespassing laws, Stephen boasts that he pays no attention to laws against trespassing: 

To me it was a reminder of the many delicious bits of walking which, even in the neighbourhood of London, await the man who has no superstitious reverence for legal rights. It is indeed surprising how many charming walks can be contrived by a judicious combination of a little trespassing with the rights of way happily preserved over so many commons and footpaths.

Of course, without a tradition of commons or footpaths, and with punitive trespassing legislation, walkers in this province are unfortunately confined to roads.

Stephen provides an account of a recent walk with a companion near London. He is surprised to find rural spaces so close to the metropolis, but he also finds that walking with others stimulates conversation: “Nowhere, at least, have I found talk flow so freely and pleasantly as in a march through pleasant country. And yet there is also a peculiar charm in the solitary expedition when your interlocutor must be yourself.” From here, he shifts to thinking about walking in the city itself, and the effect of the noise and activity of the city on a walker’s thinking. For Stephen, the city’s distractions “become so multitudinous that they neutralise each other. The whirl of conflicting impulses becomes a continuous current because it is so chaotic and determines a mood of sentiment if not a particular vein of reflection.” “[W]hat I please to call my ‘mind’ seems to work more continuously and coherently in a street walk than elsewhere,” he writes. “I do not defend my insensibility nor argue that London walks are the best. I only maintain that even in London, walking has a peculiar fascination.” Perhaps because he is so influenced by Victorian Romanticism, Stephen feels it necessary to apologize for his interest in urban walking:

I can often find occasions in the heart of London for recalling old memories, without any definable pretext; little pictures of scenery, sometimes assignable to no definable place, start up invested with a faint aroma of old friendly walks and solitary meditations and strenuous exercise, and I feel convinced that, if I am not a thorough scoundrel, I owe that relative excellence to the harmless monomania which so often took me, to appropriate Bunyan’s phrase, from the amusements of Vanity Fair to the Delectable Mountains of pedestrianism.

That is where Stephen’s essay ends, with the apparent moral improvement that walking, including urban walking, has had on his character. The word “monomania” suggests an unhealthy obsession with walking, even though he suggests that obsession is “harmless.” I think we would have to know something about Victorian cities—the dirt and smoke and noise of them—and the degree to which Stephen’s intellectual world was suffused by Romanticism (represented, perhaps, by Ruskin’s Modern Painters) in order to understand how odd Stephen’s defence of urban walking actually was. I find myself wondering what Stephen would make of walking along grid roads in Saskatchewan. Would he see parallels between rural Saskatchewan and Victorian London? Rural Saskatchewan is quiet and anything but chaotic, but it is thoroughly shaped by industrial activity in a way that would have been hidden by the beauty of the rural English spaces in which he walked. And yet, the scale of the open landscape, the size of the fields of wheat and canola, the immense sky overhead—all these suggest a form of the sublime. These comparisons point towards the disconnection between English writing on walking, and attempting to walk in this space: the experiences are very different, because of the scale, the colours, the flatness, the lack of footpaths. And yet, I find Stephen’s defence of walking in ordinary places reassuring. He’s a Romantic, but he’s in the process of becoming something else. That something else might be connected to the spaces in which I walk. That’s not to claim Stephen as a precursor to contemporary practices of psychogeography or mythogeography—that would be silly—but at the same time, I don’t think we can simply reject Stephen’s walking as mere Romanticism.

Works Cited

Stephen, Sir Leslie. “In Praise of Walking. Studies of a Biographer, vol. 3, Duckworth, 1902. https://en.wikisource.org/wiki/Studies_of_a_Biographer/In_Praise_of_Walking.