A ten minute writing exercise for a class I’m taking this semester, Ordinary Romanticism. The prompt: describe your ordinary.
The ordinary is the space in between steps, breaths, heartbeats—the 
inexplicable pause in flight as one hamstring stretches back, drawing 
bands of tendon across kneecap and retracting the foot in one long arc, 
the other thrusting forward, a transformation of flesh into energy, body
 translated across space. Running (every morning) begins in the gray fog
 of the Hudson, where I can barely detect outlines of old docks and a 
crane poised to rip rotting timber from the water. I live in Morningside
 Heights, close to Riverside Park and a few jogging paths, so I step 
outside and start running immediately, allowing the urban and the real 
to recede in my peripheral vision. When I am running, by the river, in 
January, my imagination flickers like a projector running scratched 
film. For an instant, I run along the Charles, another, a beach in South
 Carolina or Greece, or sometimes I return to the Cumberland—last 
summer, I injured my knee and could not run, only walk, past the Country
 Music Hall of Fame to the Cumberland Greenway. I enjoy revisiting that 
site of defeat and running past my tired and hurting, ancient, 
memorialized self.
If ordinary is defined in its negative term, that which is not 
extraordinary, then running is a paradox. It simultaneously celebrates 
an expression of the body extraordinary and frees the mind to fixate on 
nothingness. In The Temple of the Golden Pavilion, Mishima 
describes the world as beautiful only in its reflexive state: as 
illuminated on a pond, in the moonlight, or reflective of the titular 
structure itself. Similarly, running and the ordinary are beautiful and 
coterminous because they capture the permanence of impermanence: the 
space in between the spokes, where the usefulness of the wheel can be 
found. And it is in the space between strides that the body and mind 
are, spiritually, in a state of ordinary perfection.