Returning to the ground level following the global scale of the previous chapter, this chapter pursues a close reading of Blake’s poem “The Mental Traveller.” It posits that the formulation “mental travel” aptly encapsulates Blake’s efforts to map journeys without reducing their corporeality and dynamic emergence in the world. This chapter’s central claim is that the poem’s anti-chronological and anti-cartographic nature offers a blueprint for understanding Blakean mapping as a dramatisation of the physical and cognitive labour required to navigate a disorienting, divided world. The navigation of the world is analogised with the navigation of a spatiotemporally disorienting text, as instantiated in the subversion of smooth circuits of sentimental exchange in the poem’s scenes surrounding the cottage. The most sustained discussion of contemporaneous culture in this chapter arises in the comparison between “The Mental Traveller” and eighteenth-century art and literature of the cottage door, which also prompts a consideration of Blake’s reaction to the sentimental mode, particularly as configured in spatial terms in contemporaneous texts. Parallels for the poem’s anti-cartographic or self-deconstructive turn are found in later theoretical and critical work, namely John Brian Harley’s influential critique of cartographic objectivism, and the anthropologist Tim Ingold’s notion of “wayfaring.”