Mitchell wrote her eighth studio album Hejira during three road trips throughout North America between 1975 and 1976. In a 1996 LA Times interview, Mitchell says of Hejira: "there is this restless feeling throughout it." I explore how restlessness is ever-present throughout Hejira in three ways. First, the poetry of Hejira ebbs and flows between Mitchell detailing her travels directly to the listener and meditating in her melancholic state. Building on Matt BaileyShea's (2014) methodologies for interpreting discourse in pop, I explore how Mitchell's shifting mode of address -- and subsequently her level of intimacy with the listener -- contributes to restlessness. I propose an additional category of 2nd-person address, deflected reflection, wherein "you" is used as a stand-in for "I/me." Second, I draw on Nancy Murphy's (2023) theories of self-expression in singer-songwriter music to explore how Mitchell's lyrics lend themselves to malleable metrical phrasing. This malleability contributes to the theme of restlessness as listeners are denied phrasal and versal consistency, conflicting with the expected regularity of strophic song structures. Third, I expand Mark Spicer's (2017) categories of absent, fragile, and emergent tonic chords, exploring how the melodies of the songs Coyote and Hejira have absent, fragile, and emergent tonic pitches. Thus, I argue that the melodies push against the resolution to reinforce the rambling free verse of Hejira, and as such, Mitchell achieves restlessness through both melodic and poetic domains.