footage by Amy White
installation by Ken Rumble
Sunday, September 20, 2009
Friday, September 18, 2009
rumble, day of opening, aka day 3 of questions.
ken working on Cliffs (EMPTY). photo by Chris Vitiello.
pringle:A lot of what you are saying here rings [in my mind] to Shklovsky's [and others] defamiliarization.
"The purpose of art is to impart the sensation of things as they are perceived and not as they are known. The technique of art is to make objects ‘unfamiliar’, to make forms difficult, to increase the difficulty and length of perception because the process of perception is an aesthetic end in itself and must be prolonged. Art is a way of experiencing the artfulness of an object; the object is not important." (Art as Technique)
Some of us Durhamites were lucky enough to have the time to go see a Jed Rasula and Jerome Rothenberg lecture on Picasso and Poetry [poets, too] last night. We got to live inside a space of sights and sounds narrated to us... [i had to close my eyes a lot so i could really see]. But, Jed mentioned something about how common it is for audiences / viewers to go "text blind" [or maybe this is me hearing Jed through my own furniture] when viewing dadaist or futurist or psychographic poems.
How much of these ideas inform yr work?
I think what has been so appealing and satisfying to me about yr work is the way in which you are able to be both absent and present... simultaneously [even with Cliffs (EMPTY) you will be hidden and incommunicado but also fully present]....
[is this a question?]
rumble:Hmm, I'm curious about what Jed meant about "text blind" -- like I think I can guess, but would love to hear more about it. So he thinks people become unable to see or engage the work? or that the use of physical letterforms get defamiliarized such that the letter image becomes "just" image? That would be a great thing to do.
Not really all that familiar with Shklovsky actually, so I appreciate the point in his direction -- seems very close to what I think about, want to do, hope I accomplish.
A few small quibbles with that quotation is that I don't really necessarily think "difficult" has to enter into the equation. I know there's a lot of ways to read that word (Randall Jarrell's essay on the "difficulty" or poetry is one that engages that word in a useful way I think), but I'll take the common usage of it. I think that objects, writing can be made that accomplishes what Shklovsky describes while also being really compelling and seductive to audiences both familiar and unfamiliar with the genre/discipline. [Maybe I'll leave it at that for now in hopes you ask another question about it (smile.)]
So that's one quibble -- the other is that I think the object and its artfulness cannot be separated; this is another problem of language -- it's ability to reify ways of thinking about things into actual things themselves. We have words for "outside" and "inside", but those are totally arbitrary ideas, right? Beyond the arbitrariness of links between signifier and signified -- "outside" / "inside" is a language game in the vein of (my amatuerish) reading of Wittgenstein -- the apple is not red.
So words can make one thing (an object which includes its artfulness) appear to be two things (an object and its artfulness) and then we talk about these things and we're just shaking hands with phantoms.
Totally love this "to impart the sensation of things as they are perceived and not as they are known." Hell yeah.
pringle: I think Jed meant that the poems were "unreadable."
rumble:Like the author's wanted them to be unreadable? or that the work "failed" somehow?
pringle:Hmn...
like... unreadable as words.
not so much failure. i'm not sure about intent. either. see this link
today is Rumble's show.
i'm going to try and get him to answer one more question. maybe two. before it opens.
here's the info, from Ken's announcement:
I'm very excited to announce and invite you all to my first ever art installation TODAY, Friday, September 18, from 7:30 to 10 pm at 715 Washington St. in Durham, a part of Durham's monthly 3rd Friday Art Walk.
"Cliffs (Empty)" is an interactive site- and time-specific work that involves the altered environment of the 715 Washington studio space and musical and non-musical performance.
The piece will be open and in existence for two and a half hours though my expectation and intention is that people will drop in and out throughout the duration of the piece, spending perhaps 15 to 30 or so minutes with the work.
Big thanks to my collaborators on this project: Megan Stein, Chris Vitiello, Jen Walker, Molly Renda, Abby Pearce, kathryn l. pringle, Stefanie Conrad, and many others.
I hope you all can make it! Spread the word and bring some friends!
Sound & still & moving image recording permitted.
here's the info, from Ken's announcement:
I'm very excited to announce and invite you all to my first ever art installation TODAY, Friday, September 18, from 7:30 to 10 pm at 715 Washington St. in Durham, a part of Durham's monthly 3rd Friday Art Walk.
"Cliffs (Empty)" is an interactive site- and time-specific work that involves the altered environment of the 715 Washington studio space and musical and non-musical performance.
The piece will be open and in existence for two and a half hours though my expectation and intention is that people will drop in and out throughout the duration of the piece, spending perhaps 15 to 30 or so minutes with the work.
Big thanks to my collaborators on this project: Megan Stein, Chris Vitiello, Jen Walker, Molly Renda, Abby Pearce, kathryn l. pringle, Stefanie Conrad, and many others.
I hope you all can make it! Spread the word and bring some friends!
Sound & still & moving image recording permitted.
Thursday, September 17, 2009
day 2: rumble
pringle: It seems to me that the action of creating / the process // something that is "contentless" and "indivisible" is a huge challenge... and by challenge i mean exciting & manic-work inducing joy... it will be interesting to bring this up again after the show on Friday and see how you feel about it.
my question is, it seems to me that you would have to create something that resisted time & place and stood as pure experience for this to be accomplished....
i'm not even sure that's true... it is just my intuitive response... but it seems like with this project and yr music and yr poetry there is an attempt at a concerted and continuous PRESENCE.
how does that strike you? do you think that's true? and, also, what role does the audience play in this...?
rumble: Yeah, it's a huge challenge -- one that's probably impossible really; part of the way I address the challenge is to make the work really time and place specific -- it will really only exist for 2.5 hours from 7:30 to 10 on Friday, September 18, at 715 Washington St. in Durham. After that, it's gone.
So I don't know that I'd say the piece needs to resist time and space so much as embrace it -- to try to make something (or be open to receiving and relaying something) that is an inextricable part of its world while also creating its own world.
Cliffs (Empty) is really based on and is possible because of the architecture and existence and availability of this enormous empty space. So what I'm creating in that space is kind of contrary to the space (in that I'm going to fill it almost completely) and complementary to the space (because I couldn't fill a small room with so much stuff).
And then beyond that, I've tried to curate (I suppose) as much of the experience of the piece as possible -- so instead of like hanging a piece in a gallery and then stepping away; the piece that I'm making includes some physical construction, musical construction, the way people are first received into the piece, what they see approaching the piece, etc. I've tried and am trying to shape as much of the experience as possible.
And that desire to shape isn't (oddly?) tied to an "idea" other than that I think the experience of an artwork (or experience maybe generally) is something that starts long before you see a piece and maybe doesn't stop till long after.
I started experiencing the Mona Lisa for example as a very small child and experienced it (representations of it) for many years before I finally saw the actual piece. So part of creating that big, indivisible, contentless piece is in making sure (as sure as one can) that conscious decisions have been made about as many aspects of the experience as one has control (however relative) over.
That said though -- there's going to be a lot of chance and randomness in the piece as well -- there will be musical performance occurring which will be largely improvised. The non-musical performers have some vague instructions, but not a script exactly.
So for me, it's about creating, curating, arranging as much as you can and then letting life happen within/around/through the piece.
Yeah, I am interested in presence, in being there and awareness. Sort of like what I was writing about in reference to David's thoughts about meaningless language. The problem (for me, what I see as a problem) is that language allows us to move through the world and actually not pay attention -- words are like a substitute for attention.
And so we (I) pass over and ignore and don't see amazing, amazing things happening all around us, so creating unusual spaces, images, phrases I think roughs up that smooth track we've worn while at the end of our chains.
It makes us (I hope) pay attention and learn how to pay attention and what things it might be possible to pay attention to that we had to that point not even considered as things to possibly pay attention to. And so be open and present and aware of ourselves and worlds.
So the audience here is .... hmmm.... I guess I think the audience makes choices to pay attention or not pay attention -- I think some will and some won't. In this particular piece the audience is going to become a part of each other audience member's experience in perhaps a really dramatic way actually. I think I'm laying out a plate of food and maybe they're hungry and maybe they're not. It's not really my place to decide what an audience needs, so much as it's my place to give the best of what I have to offer.
As someone who reads a lot and enjoys many varieties of artworks, I'm really grateful to the people who have given what they had to offer to the world. I don't know how what I have to offer ranks in the scale of greatness or whatever, but I want to do my part and I enjoy doing my part to offer something to the world, to people that they might enjoy, learn something useful from.
I don't mean to be dismissive of audiences -- I love people and care about them, which is part of why I make my work public, but I think that there's a place at which my ability to influence an audience and "give them" something ends and their autonomy begins, and I value and enjoy other people's autonomy. It's what gives my work that experimental feel -- like "what if I build this crazy space and play some music and invite a bunch of people? what will they think? how will they negotiate this experience?" Those are questions I find really fun to get answers to and to wonder about. So on some level the work doesn't exist without an audience.
[post]
rumble:One more thing about audience and the public nature of art is that I find it hugely important that art/experience be a place around which people can come together and interact over a shared experience. That aspect of artworks for me is equally important to whatever kind of more internal experience someone might have.
(And honestly, that's part of the pull, for me, towards physical work that is manifested as a specific time and place (and why I ran a reading series) -- as opposed to a book or digital art that can be reproduced and spread. Of course people still come together around books and digital art, but I prefer the face-to-face thing.)
my question is, it seems to me that you would have to create something that resisted time & place and stood as pure experience for this to be accomplished....
i'm not even sure that's true... it is just my intuitive response... but it seems like with this project and yr music and yr poetry there is an attempt at a concerted and continuous PRESENCE.
how does that strike you? do you think that's true? and, also, what role does the audience play in this...?
rumble: Yeah, it's a huge challenge -- one that's probably impossible really; part of the way I address the challenge is to make the work really time and place specific -- it will really only exist for 2.5 hours from 7:30 to 10 on Friday, September 18, at 715 Washington St. in Durham. After that, it's gone.
So I don't know that I'd say the piece needs to resist time and space so much as embrace it -- to try to make something (or be open to receiving and relaying something) that is an inextricable part of its world while also creating its own world.
Cliffs (Empty) is really based on and is possible because of the architecture and existence and availability of this enormous empty space. So what I'm creating in that space is kind of contrary to the space (in that I'm going to fill it almost completely) and complementary to the space (because I couldn't fill a small room with so much stuff).
And then beyond that, I've tried to curate (I suppose) as much of the experience of the piece as possible -- so instead of like hanging a piece in a gallery and then stepping away; the piece that I'm making includes some physical construction, musical construction, the way people are first received into the piece, what they see approaching the piece, etc. I've tried and am trying to shape as much of the experience as possible.
And that desire to shape isn't (oddly?) tied to an "idea" other than that I think the experience of an artwork (or experience maybe generally) is something that starts long before you see a piece and maybe doesn't stop till long after.
I started experiencing the Mona Lisa for example as a very small child and experienced it (representations of it) for many years before I finally saw the actual piece. So part of creating that big, indivisible, contentless piece is in making sure (as sure as one can) that conscious decisions have been made about as many aspects of the experience as one has control (however relative) over.
That said though -- there's going to be a lot of chance and randomness in the piece as well -- there will be musical performance occurring which will be largely improvised. The non-musical performers have some vague instructions, but not a script exactly.
So for me, it's about creating, curating, arranging as much as you can and then letting life happen within/around/through the piece.
Yeah, I am interested in presence, in being there and awareness. Sort of like what I was writing about in reference to David's thoughts about meaningless language. The problem (for me, what I see as a problem) is that language allows us to move through the world and actually not pay attention -- words are like a substitute for attention.
And so we (I) pass over and ignore and don't see amazing, amazing things happening all around us, so creating unusual spaces, images, phrases I think roughs up that smooth track we've worn while at the end of our chains.
It makes us (I hope) pay attention and learn how to pay attention and what things it might be possible to pay attention to that we had to that point not even considered as things to possibly pay attention to. And so be open and present and aware of ourselves and worlds.
So the audience here is .... hmmm.... I guess I think the audience makes choices to pay attention or not pay attention -- I think some will and some won't. In this particular piece the audience is going to become a part of each other audience member's experience in perhaps a really dramatic way actually. I think I'm laying out a plate of food and maybe they're hungry and maybe they're not. It's not really my place to decide what an audience needs, so much as it's my place to give the best of what I have to offer.
As someone who reads a lot and enjoys many varieties of artworks, I'm really grateful to the people who have given what they had to offer to the world. I don't know how what I have to offer ranks in the scale of greatness or whatever, but I want to do my part and I enjoy doing my part to offer something to the world, to people that they might enjoy, learn something useful from.
I don't mean to be dismissive of audiences -- I love people and care about them, which is part of why I make my work public, but I think that there's a place at which my ability to influence an audience and "give them" something ends and their autonomy begins, and I value and enjoy other people's autonomy. It's what gives my work that experimental feel -- like "what if I build this crazy space and play some music and invite a bunch of people? what will they think? how will they negotiate this experience?" Those are questions I find really fun to get answers to and to wonder about. So on some level the work doesn't exist without an audience.
[post]
rumble:One more thing about audience and the public nature of art is that I find it hugely important that art/experience be a place around which people can come together and interact over a shared experience. That aspect of artworks for me is equally important to whatever kind of more internal experience someone might have.
(And honestly, that's part of the pull, for me, towards physical work that is manifested as a specific time and place (and why I ran a reading series) -- as opposed to a book or digital art that can be reproduced and spread. Of course people still come together around books and digital art, but I prefer the face-to-face thing.)
comments
hey all --- i have temporarily turned the comment channel off because i really want to have some time "alone" with ken while i work through my own thoughts, as well as kens, re: ART. i chose ken as my first interview ever because i find his projects compelling and pertinent... and i find him someone i feel comfortable talking to about difficult subjects. i will reopen the comments when i have completed my own investigations and feel like opening up the conversation to audience participation can take place.
i just don't want you all influencing my thoughts at this stage... at the same time... i wanted to emulate ken's art practice by going moment-to-moment.
thanks.
i just don't want you all influencing my thoughts at this stage... at the same time... i wanted to emulate ken's art practice by going moment-to-moment.
thanks.
Wednesday, September 16, 2009
a few days of Rumble-- an interview w/ Ken Rumble regarding Cliffs [ ] his new art installation
the next few blog posts will be a series of Q & A w/ Ken Rumble[poet, artist, musician, all-around rad dude]inspired by his upcoming art installation at "the Space," a former garage / warehouse space just off the skirt of downtown Durham. the show is up and ready to investigate this Friday at 715 Washington starting at 7:30 pm, rain or shine. maybe you'll learn more about it before that time rolls in... here's the first exchange....
kate pringle: hey ken, cliffs [ ] is up Friday... can you tell me a little about the project and how it has evolved?
ken rumble:
Well, the project is a time- & place- specific piece that I conceived in relation to the musical projects I've been working on with several local folks and our acquisition of this enormous, 2400 sq ft, very raw, studio space. The music we (Chris Vitiello, Meg Stein, Tony Tost, Brian Howe, Ashley Howe, and myself) play is largely improvisational and atmospheric. We have several loosely organized groups/bands, but we don't really have much/any aim to present those projects in any kind of conventional music-venue type way, so thinking about how to present that music live led me to the idea of Cliffs (Empty).
In terms of evolution -- mostly it's been logistical evolutions. The idea really came to me pretty fully formed. So the changes have been the result of availability of materials, the literal geography of the studio space, time, ability, etc.
But the basic idea hasn't changed much.
pringle: well, let's back up then. what is the basic idea behind Cliffs (Empty) or cliffs [ ]? [should i just use the blip from yr fb announcement and then give you a different question? sorry. and. DUH kate.]
rumble: Well, I can't really say that there is an idea behind Cliffs (Empy) (though I rather like the Cliffs () construction too btw -- hadn't thought of that).
I struggle a lot actually with the idea of there being ideas behind things -- it just really irks me; I want to create things that are things in and of themselves -- not really divisible, not summarizable -- artifacts/experiences that have to be experienced and communicate the conscious act and experience.
This irritation has a lot to do with my work on the poetry piece 24 Hour Breakfast. I began to be really frustrated with language and by extension poetry because there was (at least from critics, from a readerly perspective) some idea about what a work might be about, that there was something "inside" the work to be "discovered." These ideas are of course rooted in the idea that language is a conveyor of information -- a box into which one puts meaning and sends out to someone else for interpreting, for understanding, so that they can get the "meaning" "contained" in the "words."
I wanted to create something beyond (forgive the spatial metaphors) that, create something that was indivisible and contentless for which no interpretation, "unpacking" was really necessary. Which is not to say that I wanted to create something so simple that "anyone could understand it" -- I really just wanted to break down a whole convention about thinking about language. It's a project that many (most) writers are engaged in (perhaps that's ironic?) and certainly the writers I love are engaged with that.
So visual and performing arts for me have become very attractive because -- while there's still the critical language surrounding those disciplines about "understanding" and "meaning" -- objects, colors, sounds, etc. are (I think) so much more concrete (a blender is a blender) and abstract (what does G sharp mean??)
The idea behind Cliffs (Empty) is to make something cool/interesting. If there's a reference point for me, it's the experience I had as a child of crawling through racks of clothing at department stores.
I know, of course, that people experiencing the work will likely interpret it in various different ways and that it will "mean" various things to various people -- and all that is fine and unavoidable. I do it with other's artwork all the time. It's really just that as an artist, as a creator -- I didn't want to start with some "idea" that I wanted to "communicate." If I had an idea like that, why not just write it down? I hope Cliffs (Empty) cannot be easily summarized.
On the other hand, part of my motivation for the piece comes from ideas I have about art, experience, music, geography, people, etc., so I'm reacting/thinking about a lot of different things, but those thoughts don't create in me an idea but rather inform this work which I largely think of as an experiment (like most of my work), so "what if I do......" is kind of the way this piece came together.
Friday, September 11, 2009
Thursday, September 10, 2009
got my reservations....
Picasso Poetry Evening
Thursday September 17, 2009
6 PM
Readings by poet, editor and translator Jerome Rothenberg and Jed Rasula, the Helen S. Lanier Distinguished Professor at the University of Georgia, Athens. Seating is limited. Reservations suggested.
Thursday September 17, 2009
6 PM
Readings by poet, editor and translator Jerome Rothenberg and Jed Rasula, the Helen S. Lanier Distinguished Professor at the University of Georgia, Athens. Seating is limited. Reservations suggested.
tuesday & wednesday
Jamie still had bronchitis Tuesday, and i didn't feel like running alone for an hour.
i should say that the program i've been following breaks the week up as follows:
M : easy run [those go by TIME, not MILES and get progressively longer throughout training. now it is ONE HOUR]
T: cross train [i bike and do crunches / push ups or take really long walks]
W: tempo run // hill charges [these are exhausting]
Th: cross train or rest
F: rest
S: long run
Sun: Rest
this program can be found in Marathoning for Mortals. it is the Run Marathon program. there is also a Run/Walk Marathon program. up until the 14 miler i was thinking all RUN for the marathon... but, after talking to a few others about their first Marathons and the mistakes they made... each one said that they should have included some walk time. so. i am going to test out some run/walk ratios on the next few long runs and see which one feels good.
most people have suggested run 6 / walk 1 [that's minutes, not miles].
anyway...
Tuesday i didn't feel like running alone so i put a call out to the Poets and they showed up to run with me. Vitiello, Rumble, and Stein all met me at the track to run. each had their different time allowances and paces. but they were there for me and that felt really good. [they are also going to the marathon with me. i have really amazing people in my life. i'm very lucky.]
i like running alone a lot. i can get a lot of thinking or not-thinking done. sometimes running is even more relaxing than sleeping for me. my brain can completely shut off and i'm just moving matter in space. not more.
i'm not so good with constant people time. i think running and poetry suit me for this reason.
so, i ended up running for 70 minutes. around Duke's East Campus 1.5 times and the from there to Duke Chapel [on West Campus] back to East and then home. i think that ends up being somewhere between 6 and 7 miles, which felt like NOTHING after 14.
last night i went for an hourlong bike ride. it felt good. it felt really good. after a long day at work? it was amazing.
i was exhausted. i slept well. even though i've been too tired to communicate properly or understand anybody else's english.
today i need to decide if i am doing hill charges or a tempo run. Saturday is only 8 miles [only. you know... i've only been running since February 2008.... it wasn't so long ago running ONE mile felt like a major accomplishment.] i'm going to leave it up to Jamie. if he's back today.
the NFL begins tonight. i hope to be awake through the first half.
i think i'm maybe putting my dinosaur through some rough patches that dinosaurs really don't need.
i can be really hardcore about things.... maniacally hardcore.... i think my friends have noticed. i am demanding and taxing.
it is good in that i can do things like train for a marathon or write a long poem or stay in relationships... it also makes them difficult and rigorous and sometimes maybe it is good to take a little vacation and just watch movies.
which reminds me... i've noticed that since NFL preseason and Tennis started on the TV... i'm totally not watching my Netflix movies. maybe i only need Netflix from the end of Hockey season until the beginning of Football season?
they should have a program for that.
i should say that the program i've been following breaks the week up as follows:
M : easy run [those go by TIME, not MILES and get progressively longer throughout training. now it is ONE HOUR]
T: cross train [i bike and do crunches / push ups or take really long walks]
W: tempo run // hill charges [these are exhausting]
Th: cross train or rest
F: rest
S: long run
Sun: Rest
this program can be found in Marathoning for Mortals. it is the Run Marathon program. there is also a Run/Walk Marathon program. up until the 14 miler i was thinking all RUN for the marathon... but, after talking to a few others about their first Marathons and the mistakes they made... each one said that they should have included some walk time. so. i am going to test out some run/walk ratios on the next few long runs and see which one feels good.
most people have suggested run 6 / walk 1 [that's minutes, not miles].
anyway...
Tuesday i didn't feel like running alone so i put a call out to the Poets and they showed up to run with me. Vitiello, Rumble, and Stein all met me at the track to run. each had their different time allowances and paces. but they were there for me and that felt really good. [they are also going to the marathon with me. i have really amazing people in my life. i'm very lucky.]
i like running alone a lot. i can get a lot of thinking or not-thinking done. sometimes running is even more relaxing than sleeping for me. my brain can completely shut off and i'm just moving matter in space. not more.
i'm not so good with constant people time. i think running and poetry suit me for this reason.
so, i ended up running for 70 minutes. around Duke's East Campus 1.5 times and the from there to Duke Chapel [on West Campus] back to East and then home. i think that ends up being somewhere between 6 and 7 miles, which felt like NOTHING after 14.
last night i went for an hourlong bike ride. it felt good. it felt really good. after a long day at work? it was amazing.
i was exhausted. i slept well. even though i've been too tired to communicate properly or understand anybody else's english.
today i need to decide if i am doing hill charges or a tempo run. Saturday is only 8 miles [only. you know... i've only been running since February 2008.... it wasn't so long ago running ONE mile felt like a major accomplishment.] i'm going to leave it up to Jamie. if he's back today.
the NFL begins tonight. i hope to be awake through the first half.
i think i'm maybe putting my dinosaur through some rough patches that dinosaurs really don't need.
i can be really hardcore about things.... maniacally hardcore.... i think my friends have noticed. i am demanding and taxing.
it is good in that i can do things like train for a marathon or write a long poem or stay in relationships... it also makes them difficult and rigorous and sometimes maybe it is good to take a little vacation and just watch movies.
which reminds me... i've noticed that since NFL preseason and Tennis started on the TV... i'm totally not watching my Netflix movies. maybe i only need Netflix from the end of Hockey season until the beginning of Football season?
they should have a program for that.
Tuesday, September 8, 2009
running now.
hi.
i took the summer off to figure out some things about blogging.
mostly, i just want to talk about running right now. so. i'm gonna do that.
Saturday i ran 14 miles. the last three miles were rough. i ended up starting an hour later than i intended, my training partner for the marathon [Jamie] was sick, so he could only do 4.5 miles... Guillermo met me at noon for what was supposed to be my last 4.5 miles of the 14, but, bc we started so late, it was my second lap.
i had expected it to be mid-80s but it was low-90s. the energy i had at the end of the first lap [4.5 miles] was gone by the time i started out with Guillermo. i think it was too long of a pause between Jamie figuring out he was really too sick [he has bronchitis!] and Guillo getting to the track. i got stiff.
so, i had to eat and hydrate more than i intended [late start means breakfast doesn't last as long means warmer weather means more fluids...] and when i dropped Guillo off before my third lap i was tired.
very tired.
i had to walk more than i wanted, again. and i began to get tight and sore .... by mile 13 i could feel the blisters, i thought maybe i had a small rock in my shoe because i could feel it poking into my foot... but i was afraid to take my shoes off and check. i wasn't sure i'd get them back on and i knew if i was bleeding i wouldn't finish all 14 miles... i'd want to baby myself. so i kept going. my stepmom called about my Dad during mile 12 and i walked and talked a bit with her.
my father has been in and out of the hospital. it has been hard.
my cell phone got all sweaty.
i texted my dinosaur friend just to have contact. and basically limped the last two miles.
on my walk home i stopped and got chocolate muscle milk [lactose free]. that stuff is the best after long runs.
i stretched. rested. walked Bear Dog. and hoped i would still be able to walk on Sunday.
and. i could. in fact. i could've run.
orthotics are good.
hi.
i'm a runner right now. i think about poetry. i even want to write it. i'm not so interested in talking about it here right now.
how was yr summer?
i took the summer off to figure out some things about blogging.
mostly, i just want to talk about running right now. so. i'm gonna do that.
Saturday i ran 14 miles. the last three miles were rough. i ended up starting an hour later than i intended, my training partner for the marathon [Jamie] was sick, so he could only do 4.5 miles... Guillermo met me at noon for what was supposed to be my last 4.5 miles of the 14, but, bc we started so late, it was my second lap.
i had expected it to be mid-80s but it was low-90s. the energy i had at the end of the first lap [4.5 miles] was gone by the time i started out with Guillermo. i think it was too long of a pause between Jamie figuring out he was really too sick [he has bronchitis!] and Guillo getting to the track. i got stiff.
so, i had to eat and hydrate more than i intended [late start means breakfast doesn't last as long means warmer weather means more fluids...] and when i dropped Guillo off before my third lap i was tired.
very tired.
i had to walk more than i wanted, again. and i began to get tight and sore .... by mile 13 i could feel the blisters, i thought maybe i had a small rock in my shoe because i could feel it poking into my foot... but i was afraid to take my shoes off and check. i wasn't sure i'd get them back on and i knew if i was bleeding i wouldn't finish all 14 miles... i'd want to baby myself. so i kept going. my stepmom called about my Dad during mile 12 and i walked and talked a bit with her.
my father has been in and out of the hospital. it has been hard.
my cell phone got all sweaty.
i texted my dinosaur friend just to have contact. and basically limped the last two miles.
on my walk home i stopped and got chocolate muscle milk [lactose free]. that stuff is the best after long runs.
i stretched. rested. walked Bear Dog. and hoped i would still be able to walk on Sunday.
and. i could. in fact. i could've run.
orthotics are good.
hi.
i'm a runner right now. i think about poetry. i even want to write it. i'm not so interested in talking about it here right now.
how was yr summer?
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