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The following quotes are taken from The Water Road by Paul Gogarty.

Will I live differently when I get home? I doubt it. I’ll clear out the cupboards and shift it to Oxfam and then try to resist replacing it. I’ll try to go more slowly – as Sebastian de Grazia declared in 1962, ‘Perhaps you can judge the inner health of a land by the capacity of its people to do nothing – to lie abed musing, to amble about aimlessly, to sit having a coffee – because whoever can do nothing, letting his thoughts go where they may, must be at peace with himself.’ I’ll use the bike more in preference to the car. I’ll try to stay in the present and focus on the task in hand. And I will fail. In London I drive and am driven. But I will get away to the water as often as I can to renew myself because I know so much depends upon the red wheelbarrow glazed with rainwater beside the white chickens*. pg. 327-28

*The last line of the quote is referring back to a theme touched upon earlier in the book, and I hope explained by the following quote:

I sit at the stern, hand vibrating lightly on the tiller, legs crossed, chin resting in left hand. As I observe the shape-shifting of trees and wheat fields, it strikes me that while we spend an inordinate amount of time feeding different needs that simply set in motion new needs, it is at such moments as this, when we inhabit the aesthetic sense and the divide between the self and the world vanishes, that we really sing. A man in a boat is singing his way through the countryside.

I remember once being on a trek where each night the members of the group chose different poems from a compendium to read. Voices reverberated with heaviness and meaning, words were polished, and only poets dressed in finest tuxedos chosen. The poem I selected by William Carlos Williams left everyone singularly unimpressed:

so much depends

upon

a red wheel
barrow

glazed with rain
water

beside the white
chickens.

Williams is right: so much really does depend upon being able to see a red wheelbarrow glazed with rainwater beside the white chickens. And on the Cut there are unlimited possibilities for seeing. Apart from the glorious countryside, there’s the simplicity and beauty of the lock gates, the eloquence of original warehouses and boatyards, and of course the rainbow of colourful narrowboats. All have an enhanced aesthetic value because of their aquatic setting. pg. 114-15 

It’s an attractive idea – to want to live more in the moment, with a little less distraction, with greater calm and more focus, and with a degree of attentiveness – to perhaps carve out the space to appreciate that red wheelbarrow.

In the rush of our daily lives, lives that are too often defined by clocks; by ‘to-do’ lists that never get completed; by the ‘ping’ of incoming texts or e-mail; by the chatter-chatter of the office, the TV, the radio, the children and the streets; simply being in the moment may at times seem unrealisable. However, in my experience, being by water, in water, or on water… something transformational can happen.

From puddle to pond, from stream to river, lake, Cut or sea; being in proximity to water provides that head space, and it becomes possible to slow the waltza of daily life for a while.

By water it’s more possible feel lea stressed, in touch, at peace and more energised. By water it’s possible to notice and delight in the natural world – a heron, the sunlight playing through the branches of trees, the lazy stare of a ruminating cow, the play of ripples as a coot hassles the water, the sarcastic har, har, har of a duck…

Get out there and get close to water! It always repays the effort.

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