(In fact, Adam Gopnik wrote about walking in The New Yorker just two weeks ago.) “How vain it is to sit down to write when you have not stood up to live!” Henry David Thoreau penned in his journal.
Since at least the time of peripatetic Greek philosophers, many other writers have discovered a deep, intuitive connection between walking, thinking, and writing. Rather, she dips in and out of her past, remolding London into a highly textured mental landscape, “making it up, building it round one, tumbling it, creating it every moment afresh.” Dalloway walks, she does not merely perceive the city around her. To accomplish this, they sent characters on walks about town. Joyce and Woolf were writers who transformed the quicksilver of consciousness into paper and ink. Such maps clarify how much these novels depend on a curious link between mind and feet. The Virginia Woolf Society of Great Britain, as well as students at the Georgia Institute of Technology, have similarly reconstructed the paths of the London amblers in “ Mrs. Several decades later, a Boston College English professor named Joseph Nugent and his colleagues put together an annotated Google map that shadows Stephen Dedalus and Leopold Bloom step by step. In Vogue’ s 1969 Christmas issue, Vladimir Nabokov offered some advice for teaching James Joyce’s “Ulysses”: “Instead of perpetuating the pretentious nonsense of Homeric, chromatic, and visceral chapter headings, instructors should prepare maps of Dublin with Bloom’s and Stephen’s intertwining itineraries clearly traced.” He drew a charming one himself.
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