“Nature’s particular gift to the walker… is to set the mind jogging, to make it garrulous, exalted, a little mad maybe — certainly creative and suprasensitive.”
“Every walk is a sort of crusade,” Thoreau wrote in his manifesto for the spirit of sauntering. And who hasn’t walked — in the silence of a winter forest, amid the orchestra of birds and insects in a summer field, across the urban jungle of a bustling city — to conquer some territory of their interior world? Artist Maira Kalman sees walking as indispensable inspiration: “I walk everywhere in the city. Any city. You see everything you need to see for a lifetime. Every emotion. Every condition. Every fashion. Every glory.” For Rebecca Solnit, walking “wanders so readily into religion, philosophy, landscape, urban policy, anatomy, allegory, and heartbreak.”
Perched midway in time between Thoreau and Solnit is a timeless celebration of the psychological, creative, and spiritual rewards of walking by the Scottish writer Kenneth Grahame (March 8, 1859–July 6, 1932), best known for the 1908 children’s novel The Wind in the Willows — a book beloved by pioneering conservationist and marine biologist Rachel Carson, whose own splendid prose about nature shares a kindred sensibility with Grahame’s.
Five years after publishing The Wind in the Willows, Grahame penned a beautiful short essay for a commemorative issue of his old boarding school magazine. Titled “The Fellow that Goes Alone” and only ever published in Peter Green’s 1959 biography Kenneth Grahame (public library), it serenades “the country of the mind” we visit whenever we take long solitary walks in nature.
With an eye to “all those who of set purpose choose to walk alone, who know the special grace attaching to it,” Grahame writes:
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…
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