This article reads the poetry of Peter Riley in the tradition of the loco-descriptive excursion poem, interrogating the politics of its logic of ascent and return and the shifting vantage points it allows the twentieth-and twenty-first century poet-traveller on the globalised world of capitalist ÔgainÕ. It detects dual registers running throughout three excursive volumes Ð Noon Province (1989), The Llyn Writings (2007) and The Glacial Stairway (2011) Ð that turn around an ambivalent lexicon that is both spiritual and financial. The article shows how this duality maps onto the self-splitting of Romantic excursus in William Wordsworth and Jean-Jacques Rousseau, and argues that such division allows Riley to mediate between spiritual dedication to the excursionÕs object and the tainted ÔworldÕ of commerce and bodily needs. It concludes by deploying Peter LarkinÕs concepts of sufficiency and scarcity to frame RileyÕs repeated use of dropping, cadential structures at the excursionÕs end as a return to what Larkin calls the Ôbasic conditionsÕ of the ordinary, common world. Bathos, withdrawal and coda are rhetorical figures for the abandonment of vantage in favour of a politics of what will suffice: their deployment circumvents the trajectory of accumulative gain that Riley employs the excursion to critique.