The diary is a form of self examination, but I intended to keep the bearer of the self so examined concealed for now. A self is simply a self for now, an effect of the first person, and this should suffice, though a character may later emerge to give it coherence.
Last summer while running shirtless on a leafy residential road I was mortified to pass a professor, out for an evening walk, whom I admire for his William
Jamesian openmindedness and breadth of intellect. We acknowledged each other as we passed but he turned his eyes away first. I've avoided that loop since.
At races, my uncle likes to observe that behind every bib there's a story. There is, and runners are keen to narrate their conversion to running, often a transformation of a less than adequate before into a more self-possessed, more efficiently
oxigenated after. It is a story that usually, though not always, touches on the transformation of the runner's relationship to his or her body. The leaner body weighs lighter on the spirit, the new runner inhabits it deliberately, for the first time.
Runners who are writers often tell these stories in print. Because they are often intellectuals, runners who are writers first express surprise that they have become runners,
embarrassed by their sudden attention to and fascination with this non-sexual aspect of their bodies. Sex writer Susie Bright's reaction, expressed in
an interview with Slate, is typical:
"It just wasn't for me. I thought: I'm a bookworm, and I will never do that. And that has been proved wrong. I can't believe I'm a runner. I still cannot believe that's me. I never
sweated like this in my life. I was 50 when I started becoming athletically active, and it's been quite a shock to me."
Bill
Bowerman said once that anyone who has a body is an athlete. Bookworms are skeptical of this, and find the role of runner a hard one to step into,
Bowerman's athlete an inconceivable, shameful latency. Rachel
Toor's collection of essays,
Personal Record, all center around her evolution "from a bookish egghead who ran only to catch a bus to a runner of
ultramarathons." Of all running writers,
Toor is the best--few practitioners of the genre realize as fully as she does that the running essay cannot interest a reader if it's only about running. Yet even she can't quite get past the sense that
bookishness doesn't belong in a running life. I sometimes agree, but usually, I get through the days reading and running, doing fine with both.
I know how running looks from the outside, and so I fear being recognized when I run around the college town where I live. I hope I register to the eyes of others as runners sometimes register to mine, as anonymous bodies in motion, faceless torsos, legs, and heads. Since I've been running since I was a teenager and am always curious to see who shares my passion, runners rarely look this way to me. But sometimes a runner springs into my field of vision when my mind is drifting and in a short interval of half-awareness I have a perfect impression of his body as simply a running body.
The reason I'm so terribly
embarrassed to be recognized when running has nothing to do with the short-shorts, or the
shirtlessness or anything having to do with the exposure of the body in public. So why? It's partly a sense that if you're a serious runner you're not serious about other things. But there's more to it.
I take heart in knowing that Martha
Nussbaum is a runner. I imagine her running along the lakefront below 57
th street out away from the institution I always imagine as terribly inimical to running. I like to imagine her interest in luck and fragility as cognate with her running habit. Running is not primarily a quest to realize unrealizable omnipotence, another compensation for our original psychic loss (after all, what isn't?). Every time I get injured and am
incapacitated in my running, every time I'm struggling in the final kilometers of a race to turn my legs over faster and find that I simply cannot will them to do, I realize in fact the extent of my impotence, and the meagerness of will.