Expecting cuteness I get philosophy-squared, but in staged intervals, interrupted by on-the-pathway musings and appreciations of nature, and, especially, appreciation of donkeys. In this case, one particular donkey, Gribouille, who accompanies Merrifield along French country lanes and from village to village on a “wander-with-a-donkey-for-your soul” expedition (it’s a real thing, Aluna Voyages, for example, offers a 5-day trek for 575 Euros). Well, Merrifield signed up for one not far from where he was living at the time, and, being an academic, wrote about it--but he wrote as a “friendly” academic--no footnotes--but plenty of references to donkeys of history and literature. Gribouille means (according to Wikipedia) “a naïve and foolishly happy person” but it also can be translated as “scribbling.” Merrifield scribbled very well for this book and as the reader joins the two on the pathways, one slows and walks at his—Gribouille’s—pace through rural France, and, as a bonus, learns much about traditions and history—and donkeys. One can be thankful that Merrifield did not write this in the mode and fashion of an academic, or we’d be overwhelmed by footnotes. The “works cited” would include: Schubert’s piano sonatas (the book’s first sentence, no less), Milan Kundera’s Slowness; Jacques Prevert’s, “ditties”; and, of course, Robert Louis Stevenson’s Travels with a Donkey in the Cevennnes, (though Stevenson mistreated his companion, Modestine). We’d continue with Robert Bresson’s 1966 movie Au Hasard Balthazar, a donkey tale with a sad ending; Dostoyevsky’s novel The Idiot and his character Prince Myshkin—and we haven’t even gotten to page 10. But it is a gentle drum that beats the academic rhythm, which shows that donkeys can conquer the supposed benefits of human civilization through patience and distraction (if not abstraction). We rev back up with more references: Somehow Isaac Bashevis Singer and Shadows on the Hudson springs from Merrifield’s memory. Of course, the uber-donkey, Sancho Panza’s Dapple, is introduced to the story, but from Franz Kafka’s viewpoint. Monty Roberts, a well known “horse whisperer” appears just before John Fowles’ The French Lieutenant’s Woman ... and we don’t feel the change in the “grain” of the trail or the text at all. The “psychology” of the donkey comes up again and again, and we are gently pushed along to the conclusion that they have no psychology, which explains their nature and success. The reader is asked to consider the film: My Dinner with André which is all about two characters mostly futile attempt to answer “Who Am I?”—the play/movie is supposed to reflect donkey logic. Gribouille avoids that self-reflection and just continues on down the road—or not. Dostoyevsky reappears with, of course, The Idiot, as well as Notes From the Underground. Merrifield likes Dostoyevsky for some reason; my experience of this slightly mad Russian, is more ambivalent. One reference is to the novel The Idiot, and the ex-Russian scholar in me reminds that it was written mostly in Florence, Italy, not huddled in a cold garret in St. Petersburg. But Merrifield connects Dostoyevsky to the sad and bad parts of his life. Recovering a bit, Alphonse Daudet’s The Pope’s Donkey is invoked next to provide a useful analogy—don’t stand behind a donkey you’ve pissed off. Then we read about Juan Ramon Jiménez (Nobel Prize winner for Literature, who knew?) and Platero and I, Platero being a “merry gray donkey.” Jimenez is a critic of Baruch Spinoza and he ended up exiled from Franco’s Spain, to New York City, where, Merrifield wonders, did he think often of Platero. Merrifield is thinking a lot so we have to review Martin Heideggar’s “two kinds of thinking”: calculative and meditative and, with the aid of a donkey trek we can see the nearness of distance and we are on the path to Being. So, there. But let’s lighten up and move along the path to a book supposedly for children, Henri Bosco’s Culotte the Donkey, who is loved “only by a little boy” who reminds us that we need to “go out and play” from time to time. Donkey poems are not always very serious, but G. K. Chesterton could spin one out with a biblical reference that sparks the tale of Jesus arriving in Jerusalem astride a donkey. Millet, the French painter, painted (sketched, really) a woman astride a donkey either going to or coming from work in the field. That was modified into The Flight into Egypt and copied by van Gogh as Peasant Couple Going to Work. But donkeys are not so often the subject of “art”—perhaps they are too much the opposite of art: the object is staring back you. Next we encounter the “ass” and it’s inevitable alternative meaning from there ... we surface in Shakespeare and then segue quickly from the Bard into the Quran (something of a jolt). Muhammad rode his ass Ya’foor ‘everywhere’, we soon learn. Which leads to the Old Testament and the take on Balaam, another mis-treater, who provoked a donkey to speak. This leads to Walter Benjamin but Walter only acted like a donkey—looking back in his work. Challenge a hungry donkey with two equally distant and equally sized bales of hay with a pail of water beside each and, we are told via “Buridan’s Paradox” that the donkey would starve since he/she couldn’t make up his/her mind which way to go. That story is tied to Aristotle and Spinoza somehow, then on to Euclid’s “fifth geometrical proposition”, pons asinorum (Bridge of Asses) which, of course, is linked to John Fowle’s The French Lieutenant’s Woman where Sarah’s obstinacy (donkey-like) is praised. Well, of course there are fables about donkey’s and Aesop offers The Asses Brain and The Ass in the Lion’s Skin as well as The Ass and the Grasshopper—Donkey-driven morals simply abound. But no less of a moralist as George Orwell and the “most intriguing character” in Animal Farm is Benjamin, a donkey, who is often more cryptic than informative. Alphonse Daudet appears next in Merrifield’s book, but briefly, even though he included donkeys in many of his tales. Donkeys are, of course, above us, all the time, in the constellations Asellus Borealis and Assellus Australis, these astronomical phenomena offer the chance to muse on the subject without having to read, but that reverie is disturbed by Gaston Bachelard (a philosopher) who comments on one’s ability to form one’s own constellations—even of donkeys, so one merely has to look up...then we are invited to consider that Dionysus is often depicted astride a donkey as Aristophanes wrote in Frogs. But, Hark! I hear the notes of Franz Schubert whose “...piano is the sound of tragic braying...” long nights in rural France do that to you. I am introduced to Gaston Bachelard, “the great philosopher of reverie” who famously (we read) recounts how in Maurice Barrès work Berenice, the titular character loves to gaze in her donkey’s eyes. Antoine de Saint-Exupery is invoked for the benefit of donkeys only because he describes how a little water goes a long way in the desert. That would, of course, lead to Andrew Jackson who used a donkey’s tail as a campaign symbol that helped him defeat the aristocratic John Quincy Adams. That, in turn, led to the donkey becoming the symbol of the US Democratic Party. So there! Next we learn, for no apparent reason, that here was a more or less famous donkey-artist (meaning donkey-as-artist) who “painted” among the revolutionary “modern” artists of Montmartre. Lolo was her name and the Lapin Agile was her showplace. Her chef d’ouvre was “Coucher de soleil sur l’Adriatique” and “large crowds” came to see this “masterpiece.” Lolo was found drowned near her usual out-of-town field in St. Cyr-sur-Morin; Merrifield speculates this was a suicide, as Lolo missed her life in Paris. Her demise was not far from where Pierre Mac Orlan lived and Merrifield went to visit this slightly naughty novelist and songwriter, who lived, as Merrifield wrote, in a “...slightly foxed universe.” Now, that is compelling! As the book begins to wind down, nearing the end of the trek, Samuel Taylor Coleridge is invoked, and one must quote “To a Young Ass” at some length here: “Poor little foal of an oppressed race,/I love the languid patience of they face;/And oft with gentle hand I give thee bread,/And clap thy ragged coat, and pat thy head.”...Peaceful, but the real lives of donkeys in the workaday world of Egypt is not so pleasant. We learn this as the text veers off to stories from Egypt about a dedicated veterinarian trying to “humanize” the treatment of these animals...before coming back to a...Primal Scream—or the bray of a donkey—or, the 1970 book by Arthur Janov advocating for a form of donkey-bray therapy. Anne Sexton, Sylvia Plath, Dostoyevsky and Arthur Rimbaud are mentioned in one exhilarating page as we are given the rhyme “Anne, Anne / Fuis sur ton âne” to ponder how names, hunger and donkeys converge. Arthur Rimbaud is quoted at length as we are told that “...fleeing on a donkey means more than taking a vacation...it means bringing it all back home...” Which segues into Chang Kuo’s magic donkey and then “donkeys as therapists” ... they are very calming in a clinical/hospital/hospice setting. Sancho Panza, Kafka, Gustave Doré, Robert Bresson, George Orwell, Spinoza and Shakespeare usher us out of the tale and the end of the book ... and we are left to wonder why we don’t “own” a donkey and all those other books.