ceridwen hall


 

navigation*

 
traveling forward

 
this is mortality: to move along a rectilinear line in a universe where everything, if it moves at all, moves in a cyclical order

 
asking whyever did we begin. Wherever, what. Both the intuitive leap and the listed reasons wane; an unwalked route is always longer than one walked already. Without benchmarks, we reconsider our prior interpretation, doubt those dotted lines. We think of turning around the way we would flight and time travel—nice options, but not realistic. The van that brought us has left the parking lot (which for all we know has since rejoined a primordial forest) so we try to believe it will meet us at the other end
 
because even if we could turn around and walk all the way back, we know a trail in reverse is a separate venture, not an untelling. If you reveal a fact and then conceal it, the difficulty remains. With its relentless determining onward: along our path, all the way to the ocean or summit. As in, eat a sandwich and keep walking. Refrain from attempts to chart or transpose purpose
 
what we mean when we say ‘this will pass’ is ‘we will pass through this’. Though not unchanged. Hardly a rallying cry: the story winds and unfolds. Invented time is too abstract or the mind isn’t yet equipped for rapid transit. Hence walking, repetition. Hence ways, means, ends all recorded or obscured in a kind of expedition journal

somebody began it and is its subject in the twofold sense of the word, namely, its actor and sufferer, but nobody is its author
 
days are roped together and paraded until we assume or invent a string-puller. Something connects us to birds that vanish before they can be named
 
occurrences of being-
rupture/translucence
 
redrawn with relevant shadows

we took a photo yesterday with our backs to the cliff, breeze tangling our hair, sun in our eyes. Beside us are predators and arrows, pictographs we admired and did not touch
 

expanse curves

and time is difficult to measure out here. If nothing occurs to us—if no wildlife attacks and the elements remain benign—we risk losing track altogether. So we describe or contrive obstacles. Let’s climb this tree or sketch the river. Add rapids, see if this unmarked path is a shortcut, a detour
unpredictability

arises directly out of the story

at night our fire is purely utilitarian, for cooking. We turn it off afterward to save the canisters; still, we form a circle. We eat, lower our flashlights, and begin to listen
 
during the war it wasn’t obvious which side would win. No hints from within, from amidst. ‘If’ interrupts; retrospect narrows, making a campaign of boot prints, snapped twigs. We reveal ourselves as we act and speak, as we remember

how neat and convenient the arc
of problem to solution isn’t. How opposite
the dog’s unstoried joy of impulse/routine
 
accounting lives visible

only to the storyteller, that is, to the backward glance of the historian, who indeed always knows better what it was all about than the participants themselves

since I first heard this, age fifteen or so, the idea now frames a span of years in which I leave and return each winter, until memory resembles an often-copied page. Small wrinkles creep in, then discoloration. The emphasis shifts as particular details blur and are replaced

with glancing iterations
 
 
 

*With extracts from Hannah Arendt’s The Human Condition.


Ceridwen Hall is a poet, editor, and teacher from Cincinnati, Ohio. Her work work has appeared in The Cincinnati Review, Triquarterly, Salamander, Spoon River Poetry, Pembroke Magazine, and elsewhere. Her chapbook, Automotive, is forthcoming from Finishing Line Press.