Black Mountain’s experiments with breath intrigue me. What substances, events, beliefs, or conditions placed breath into the poetry and pottery of persons like M.C. Richards and Charles Olson? Is breath the doorway to inwardness and inner reality? It can certainly space us out, take us out of the ordinary, cheer us, focus us, enliven us, disperse us. It empowers us to “quest on, quest on,” as Richards implores. But what exactly are we struggling toward? Richards teaches that “perception itself yields moral insight. And centered consciousness yields initiative of will. And thus the ancient Trinity of Truth, Beauty, and Goodness lives in the modern ideal of Surreality, Nakedness, and Freedom. Or Revelation, Redemption, and Compassion” (Centering, p. 130). She believes that “Substance itself bears traces of the whole” and that “These traces, as we perceive them (and provided we heed them!), carry us toward the center; they are paths and structures of interrelatedness, they are the seeds of our free residence, they may speak to us as Conscience” (131). By these instructions, we evolve into inner rule of ourselves. Acts of reading and writing come to feel like imaginative explorations of mythopoetic worlds. Somewhere along our journey, however, we arrive at the edges of these constructs and we recognize in the landscape the contours of our heads — evidence, in other words, that the world around us is not the world around us so much as a memory palace or cognitive map.