Meeting Ourselves

Meeting Ourselves
By Vachel Lindsay

We met ourselves as we came back
As we hiked the trail from the north.
Our foot-prints mixed in the rainy path
Coming back and going forth.
The prints of my comrade’s hob-nailed shoes
And my tramp shoes mixed in the rain.
We had climbed for days and days to the North
And this was the sum of our gain:
We met ourselves as we came back,
And were happy in mist and rain.
Our old souls and our new souls
Met to salute and explain—
That a day shall be as a thousand years,
And a thousand years as a day.
The powers of a thousand dreaming skies
As we shouted along the trail of surprise
Were gathered in our play:
The purple skies of the South and the North,
The crimson skies of the South and the North,
Of tomorrow and yesterday.


About the Poem

Vachel Lindsay’s “Meeting Ourselves” is a gentle yet profound reflection on life’s cyclical journey—how we travel forward only to encounter the echoes of our former selves. The poem captures a moment of recognition and renewal: two travelers retrace their steps and find their footprints mingling in the rain. It’s both literal and symbolic—an image of physical return and inner reconciliation.

Lindsay’s use of repetition and musical rhythm mirrors the rhythm of walking and the heartbeat of realization. The biblical echo—“a day shall be as a thousand years, and a thousand years as a day” (2 Peter 3:8)—reminds us that time itself folds and blurs when we reach moments of self-understanding or spiritual peace. The mingling of “old souls and new souls” beautifully suggests that transformation doesn’t erase who we were; it redeems and embraces it.

For LGBTQ+ readers, especially gay men, this poem may hold an added resonance. The act of meeting ourselves can evoke the powerful experience of coming out or reconciling with the self we once had to hide. Many queer people spend years walking in two directions at once—forward toward authenticity, backward toward fear or memory. When Lindsay writes, “We met ourselves as we came back / And were happy in mist and rain,” it can read as a quiet kind of liberation: joy found not in public sunlight, but in the private, tender mist where two selves—and perhaps two men—meet without shame.

The comrade whose footprints mingle with the speaker’s invites another layer of interpretation. In early 20th-century literature, male companionship often carried an intimacy that could not be spoken openly. The simple image of their tracks interlaced in the rain becomes, for a modern gay reader, a symbol of shared experience, endurance, and connection—love that exists naturally, though quietly, within the elements.

In that sense, the poem feels like a reconciliation not only of the self but of desire: the realization that one can walk beside another man and find peace, joy, and completeness—“happy in mist and rain.”

Ultimately, “Meeting Ourselves” speaks to anyone who has learned to love themselves after a long climb. It’s about journeying through struggle or distance, only to discover that the person waiting at the end of the trail is a wiser, gentler version of who we’ve always been.

The mingled footprints remind us that our past and present selves—and the people who’ve walked beside us—can coexist. We do not need to abandon the person we were to become the person we are. In mist and rain, under skies of “tomorrow and yesterday,” we find that the journey has brought us home to ourselves.


About the Poet

Vachel Lindsay (1879–1931) was an American poet known for his musical, chant-like verse and his belief that poetry should be spoken and performed aloud. Born in Springfield, Illinois, Lindsay traveled widely—often on foot—exchanging poems and drawings for food and lodging. His works often celebrated spiritual vision, democracy, and the common man, blending mysticism with American folk imagery.

“Meeting Ourselves” was written during Lindsay’s later period in the 1920s, when his poetry turned increasingly inward and mystical, exploring the soul’s search for renewal and divine connection. Though his fame waned late in life, Lindsay left a lasting mark on American poetry for his pioneering rhythmic style and his ability to transform ordinary experiences into moments of revelation.

While there is no definitive record of his sexuality, Lindsay’s poetry often conveys an intense affection for male companionship and an ideal of spiritual brotherhood that modern readers sometimes interpret through a queer lens. His recurring themes of duality, self-reconciliation, and soulful connection invite a range of readings—including those that speak deeply to LGBTQ+ experiences of identity and inner harmony.

“Meeting Ourselves,” like much of his work, reminds us that the greatest journeys are those that lead inward.