Run Like a Dog — Summary

What I wish is to run like this, like him, full-bore, with abandon, run and run and run, race about, dart, leap, jump, on a tear, on a spree, romp, madcap, tumble, and bounce, ears flapping, if I had dangling ears, tail swooshing, if I had a swooshy tail, and bound over tall grass, if I could run on all-fours, bound through snowy fields, if I could find deep, soft snow, even crash through crashing salty waves– and also, stop, full: devote fully –to scent, if had a brilliant nose, or to stalking a mole, if I found moles delicious.

Unlike our sedate human linear increments, his follow his nose, take a dog leg, loop–intention and abandon taking turns–track vermin, snuffle for drops of sweat, of saliva, of molecules of other animals that ran and stopped and shed and smelled and hunted.

I long for his freedom of frolic, and his attentiveness, long to be let off a leash, or at least, to release the dog and see him run because dogs run in jazz.

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The speaker watches a dog run and wishes she could do the same. The first section is a breathless rush of verbs, "dart, leap, jump, on a tear, on a spree," and then a string of "if I had" conditions that admit she is not built for it: no floppy ears, no swooshy tail, no four legs. The humor is gentle, and the longing underneath is real. She also wants the dog's way of stopping, giving complete attention to a scent or a mole.

The second section contrasts the dog's winding path, led by its nose, with the "sedate" straight lines of human life. The dog's "intention and abandon" take turns, so wildness and focus work together rather than against each other.

The ending asks for freedom, either to be let off the leash herself or to let the dog go. The last line, "dogs run in jazz," suggests improvised, playful movement, and the mood is joyful, wistful, and a little cheeky.

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