The restlessness and the longing, like the longing that is in the whistle of a faraway train. Except that the longing isn't really in the whistle—it is in you.

I’ll use my divination and look into the future. Hey, you know what, I’m seeing the future right now. If I stand here and wait, then in three minutes a train’s going to come. And after that, another train’s going to come. Here, I’ll let you guess what’s going to happen afterwards. I’ll give you a hint—there’s a train.

We'd seen it a million times before, since girls on the Tracks rarely knew of loyalty. She'd be gone when the breeze got under her skin. 'You can't trust Vagabond hearts. They are already so broken that they think nothing of breaking yours,' he had explained once. I wondered who was the first to break his heart–where he'd gained that knowledge the first time around.

Trains induce such terrible anxiety. They image the possibility of total and irrevocable failure. They are also dirty, rackety, packed with strangers, an object lesson in the foul contingency of life: the talkative fellow-traveller, the possibility of children.

Like the waters of the river, like the motorists on the highway, and like the yellow trains streaking down the Santa Fe tracks, drama, in the shape of exceptional happenings, had never stopped there.

The train bore me away, through the monstrous scenery of slag-heaps, chimneys, piled scrap-iron, foul canals, paths of cindery mud criss-crossed by the prints of clogs. This was March, but the weather had been horribly cold and everywhere there were mounds of blackened snow. As we moved slowly through the outskirts of the town we passed row after row of little grey slum houses running at right angles to the embankment. At the back of one of the houses a young woman was kneeling on the stones, poking a stick up the leaden waste-pipe which ran from the sink inside and which I suppose was blocked. I had time to see everything about her—her sacking apron, her clumsy clogs, her arms reddened by the cold. She looked up as the train passed, and I was almost near enough to catch her eye. She had a round pale face, the usual exhausted face of the slum girl who is twenty-five and looks forty, thanks to miscarriages and drudgery; and it wore, for the second in which I saw it, the most desolate, hopeless expression I have ever-seen. It struck me then that we are mistaken when we say that ‘It isn’t the same for them as it would be for us,’ and that people bred in the slums can imagine nothing but the slums. For what I saw in her face was not the ignorant suffering of an animal. She knew well enough what was happening to her—understood as well as I did how dreadful a destiny it was to be kneeling there in the bitter cold, on the slimy stones of a slum backyard, poking a stick up a foul drain-pipe.

Do you remember the long orphanage of the train stationsWe crossed cities that turn-tabled all dayAnd vomited at night the sunshine of the day ('The Voyager').

It’s not that we have to quit this life one day, but it’s how many things we have to quit all at once: music, laughter,the physics of falling leaves, automobiles, holding hands,the scent of rain, the concept of subway trains... If only one could leave this life slowly!

I won’t let you have it. I won’t give you this moment. I won’t let you fill up this valuable organ...I own it. I won’t do it. I can’t think, I won’t think about it.

In America, Fredericka, they don't really have trains for people. The trains here are used mainly to transport pigs, television sets, and fruit.