Rebecca Solnit Quotes

A precursor to the Social Darwinists, Hobbes argued from th premise that the primordial human condition was a war fought by each against each, so brutal and incesssant that it was impossible to develop industry or even agriculture or the arts while that condition persisted. It's this description that culmintes in his famous epithet "And the life of man, solitary, poor, brutish, and short." It was a fiction to which he brought to bear another fiction, that of the social contract by which men agree to submit to rules and a presiding authority, surrendering their right to ravage each other for the sake of their own safety. The contract was not a bond of affection or identification, bot a culture or religion binding togetehr a civilization, only a convenience. Men, in his view, as in that of many other European writers of the period, are stark, mechanical creatures, windup soldiers social only by strategy and not by nature...
Rebecca Solnit
Read good writing, and don’t live in the present. Live in the deep past, with the language of the Koran or the Mabinogion or Mother Goose or Dickens or Dickinson or Baldwin or whatever speaks to you deeply. Literature is not high school and it’s not actually necessary to know what everyone around you is wearing, in terms of style, and being influenced by people who are being published in this very moment is going to make you look just like them, which is probably not a good long-term goal for being yourself or making a meaningful contribution. At any point in history there is a great tide of writers of similar tone, they wash in, they wash out, the strange starfish stay behind, and the conches.
Rebecca Solnit
Building a museum case and filling it with types of mussels is one way of knowing mussels; but on the shore, a mussel leads to a crab or a curious stone, which leads to another thing and eventually leads back to mussels, which is another and perhaps a more far-reaching way to know mussels. The sea that always seems like a metaphor, but one that is always moving, cannot be fixed, like a heart that is a like a tongue that is like a mystery that is like a story that is like a border that is like something altogether different and like everything at once. One thing leads to another, and this is the treasure that always runs through your fingers and never runs out.
Rebecca Solnit
It's tempting to ask why if you fed your neighbors during the time of the earthquake and fire, you didn't do so before or after.
Rebecca Solnit
[T]he radical geographer Iain Boal had prophesied, "The longing for a better world will need to arise at the imagined meeting place of many movements of resistance, as many as there are sites of closure and exclusion. The resistance will be as transnational capitalism.
Rebecca Solnit
Perhaps the central question about [Eliot] Porter's work is about the relationship between science, aesthetics, and environmental politics. His brother, the painter and critic Fairfield Porter, wrote in a 1960 review of [Porter's] colour photographs: 'There is no subject and background, every corner is alive,' and this suggests what an ecological aesthetic might look like.
Rebecca Solnit
The sea is a body in a thousand ways that don't add up, because adding is too stable a transaction for that flux, but the waves come in in a roar and then ebb, almost silent but for the faint suck of sand and snap of bubbles, over and over, a heartbeat rhythm, the sea always this body turned inside out and opened to the sky, the body always a sea folded in on itself, a nautical chart folded into a paper cup.
Rebecca Solnit
I propitiated the knife-wielding deities with presents of books. The gifts to them and the head of nursing were also meant to acknowledge that although people get paid to do their jobs, you cannot pay someone to do their job passionately and wholeheartedly. Those qualities are not for sale; they are themselves gifts that can only be given freely, and are in many, many fields.
Rebecca Solnit
I have been both a ghost and haunted in the city I love.
Rebecca Solnit
I was arguing not that everyone should read books by ladies—though shifting the balance matters—but that maybe the whole point of reading is to be able to explore and also transcend your gender (and race and class and orientation and nationality and moment in history and age and ability) and experience being others.
Rebecca Solnit
[B]eauty is one of the things that make you cry and so maybe beauty is always tied up in tears.
Rebecca Solnit
There is a kind of counter-criticism that seeks to expand the work of art, by connecting it, opening up its meanings, inviting in the possibilities. A great work of criticism can liberate a work of art, to be seen fully, to remain alive, to engage in a conversation that will not ever end but will instead keep feeding the imagination. Not against interpretation, but against confinement, against the killing of the spirit. Such criticism is itself a great art.This is a kind of criticism that does not pit the critic against the text, does not seek authority. It seeks instead to travel with the work and its ideas, to invite it to blossom and invite others into a conversation that might have previously seemed impenetrable, to draw out relationships that might have been unseen and open doors that might have been locked. This is a kind of criticism that respects the essential mystery of a work of art, which is in part its beauty and its pleasure, both of which are irreducible and subjective. The worst criticism seeks to have the last word and leave the rest of us in silence; the best opens up an exchange that need never end.
Rebecca Solnit
The art is not one of forgetting but letting go
Rebecca Solnit
Perfection is a stick with which to beat the possible.
Rebecca Solnit
We make ourselves large or small, here or there, in our empathies.
Rebecca Solnit
Many of the great humanitarian and environmental campaigns of our time have been to make the unknown real, the invisible visible, to bring the faraway near, so that the suffering of sweatshop workers, torture victims, beaten children, even the destruction of other species and remote places, impinges on the imagination and perhaps prompts you to act.
Rebecca Solnit
If the boundaries of the self are defined by what we feel, then those who cannot feel even for themselves shrink within their own boundaries, while those who feel for others are enlarged, and those who feel compassion for all beings must be boundless. They are not separate, not alone, not lonely, not vulnerable in the same way as those of us stranded in the islands of ourselves, but they are vulnerable in other ways. Still, that sense of the dangers of feeling for others is so compelling that many withdraw, and develop elaborate stories to justify withdrawal, and then forget that they have shrunk. Most of us do, one way or another.
Rebecca Solnit
...the gym is a kind of wildlife preserve for bodily exertion. A preserve protects species whose habitat is vanishing elsewhere, and the gym (and home gym) accommodates the survival of bodies after the abandonment of the original sites of bodily exertion.
Rebecca Solnit
I'd wrestled against the inner voice of my mother, the voice of caution, of duty, of fear of the unknown, the voice that said the world was dangerous and safety was always the first measure and that often confused pleasure with danger, the mother who had, when I'd moved to the city, sent me clippings about young women who were raped and murdered there, who elaborated on obscure perils and injuries that had never happened to her all her life, and who feared mistakes even when the consequences were minor. Why go to Paradise when the dishes aren't done? What if the dirty dishes clamor more loudly than Paradise?
Rebecca Solnit
How do you calculate upon the unforeseen? It seems to be an art of recognizing the role of the unforeseen, of keeping your balance amid surprises, of collaborating with chance, of recognizing that there are some essential mysteries in the world and thereby a limit to calculation, to plan, to control.
Rebecca Solnit
Despair is a form of certainty, certainty that the future will be a lot like the present or will decline from it.
Rebecca Solnit
A path is a prior interpretation of the best way to traverse a landscape.
Rebecca Solnit
Were revolutions ever really that we thought them to be?
Rebecca Solnit
Were revolutions ever really what we thought them to be?
Rebecca Solnit
The possibility of paradise hovers on the cusp of coming into being, so much so that it takes powerful forces to keep such a paradise at bay. If paradise now arises in hell, it's because in the suspension of the usual order and the failure of most systems, we are free to live and act another way.
Rebecca Solnit
This is a paradise of rising to the occasion that points out by contrast how the rest of the time most of us fall down from the heights of possibility, down into diminished selves and dismal societies. Many now do not even hope for a better society, but they recognize it when they encounter it, and that discovery shines out even through the namelessness of their experience. Others recognize it, grasp it, and make something of it, and long-term social and political transformations, both good and bad, arise from the wreckage. The door to this ear's potential paradises is in hell.
Rebecca Solnit
As Elizabeth Blackmar and Ray Rosenzweig wrote in their magisterial history of [Central Park in NYC]: 'The issue of demoncratic access to the park has also been raised by the increasing number of homeless New Yorkers. Poor people--from the 'squatters' of the 1850s to the 'tramps' of the 1870s and 1890s to the Hooverville residents of the 1930s--have always turned to the park land for shelter...The growing visibility of homeless people in Central Park osed in the starkest terms the contradiction between Americans' commitment to democratic space and their acquiescence in vast disparities of wealth and power.
Rebecca Solnit
Writing is saying to no one and to everyone the things it is not possible to say to someone.
Rebecca Solnit
Disenchantment is the blessing of becoming yourself.
Rebecca Solnit
To tell a story is always to translate the raw material into a specific shape, to select out of the boundless potential facts those that seem salient.
Rebecca Solnit
If gold has been prized because it is the most inert element, changeless and incorruptible, water is prized for the opposite reason -- its fluidity, mobility, changeability that make it a necessity and a metaphor for life itself. To value gold over water is to value economy over ecology, that which can be locked up over that which connects all things.
Rebecca Solnit
Writers are solitaries by vocation and necessity. I sometimes think the test is not so much talent, which is not as rare as people think, but purpose or vocation, which manifests in part as the ability to endure a lot of solitude and keep working. Before writers are writers they are readers, living in books, through books, in the lives of others that are also the heads of others, in that act that is so intimate and yet so alone.
Rebecca Solnit
Some people love their story that much even if it's of their own misery, even if it ties them to unhappiness, or they don't know how to stop telling it. Maybe it's about loving coherence more than comfort, but it might also be about fear—you have to die a little to be reborn, and death comes first, the death of a story, a familiar version of yourself
Rebecca Solnit
Language is like a road, it cannot be perceived all at once because it unfolds in time, whether heard or read. This narrative or temporal element has made writing and walking resemble each other.
Rebecca Solnit
In the bare room under the old library on the hill in the town at the tip of the small peninsula on the cold island so far from everything else, I lived among strangers and birds.
Rebecca Solnit
I told the students that they were at the age when they might begin to choose places that would sustain them the rest of their lives, that places were more reliable than human beings, and often much longer-lasting, and I asked them where they felt at home.
Rebecca Solnit
The self is...a creation, the principal work of your life, the crafting of which makes everyone an artist. This unfinished work of becoming ends only when you do, if then, and the consequences live on.
Rebecca Solnit
We are all the heroes of our own stories, and on of the arts of perspective is to see yourself small on the stage of another's story, to see the vast expanse of the world that is not about you, and to see your power, to make your life, to make others, or break them, to tell stories rather that be told by them.
Rebecca Solnit
Fairy tales are about trouble, about getting into and out of it, and trouble seems to be a necessary stage on the route to becoming. All the magic and glass mountains and pearls the size of houses and princesses beautiful as the day and talking birds and part-time serpents are distractions from the core of most of the stories, the struggle to survive against adversaries, to find your place in the world, and to come into your own.Fairy tales are almost always the stories of the powerless, of youngest sons, abandoned children, orphans, of humans transformed into birds and beasts or otherwise enchanted away from their own lives and selves. Even princesses are chattels to be disowned by fathers, punished by step-mothers, or claimed by princes, though they often assert themselves in between and are rarely as passive as the cartoon versions. Fairy tales are children's stories not in wh they were made for but in their focus on the early stages of life, when others have power over you and you have power over no one.In them, power is rarely the right tool for survival anyway. Rather the powerless thrive on alliances, often in the form of reciprocated acts of kindness -- from beehives that were not raided, birds that were not killed but set free or fed, old women who were saluted with respect. Kindness sewn among the meek is harvested in crisis...In Hans Christian Andersen's retelling of the old Nordic tale that begins with a stepmother, "The Wild Swans," the banished sister can only disenchant her eleven brothers -- who are swans all day look but turn human at night -- by gathering stinging nettles barehanded from churchyard graves, making them into flax, spinning them and knitting eleven long-sleeved shirts while remaining silent the whole time. If she speaks, they'll remain birds forever. In her silence, she cannot protest the crimes she accused of and nearly burned as a witch.Hauled off to a pyre as she knits the last of the shirts, she is rescued by the swans, who fly in at the last moment. As they swoop down, she throws the nettle shirts over them so that they turn into men again, all but the youngest brother, whose shirt is missing a sleeve so that he's left with one arm and one wing, eternally a swan-man. Why shirts made of graveyard nettles by bleeding fingers and silence should disenchant men turned into birds by their step-mother is a question the story doesn't need to answer. It just needs to give us compelling images of exile, loneliness, affection, and metamorphosis -- and of a heroine who nearly dies of being unable to tell her own story.
Rebecca Solnit
Listen: you are not yourself, you are crowds of others, you are as leaky a vessel as was ever made, you have spent vast amounts of your life as someone else, as people who died long ago, as people who never lived, as strangers you never met.
Rebecca Solnit
Stories are compasses and architecture, we navigate by them, we build our sanctuaries and our prisons out of them, and to be without a story is to be lost in the vastness of a world that spreads in all directions like arctic tundra or sea ice.
Rebecca Solnit
When you are well, your own body is a sealed country into which you need not explore far, but when you are unwell, there is no denying that you are made up of organs and fluids and chemistry and that the mechanisms by which your body operates are not invincible.
Rebecca Solnit
The coolness of Buddhism isn't indifference but the distance one gains on emotions, the quiet place from which to regard the turbulence. From far away you see the pattern, the connections, and the thing as whole, see all the islands and the routes between them. Up close it all dissolves into texture and incoherence and immersion, like a face going out of focus just before a kiss.
Rebecca Solnit
A labyrinth is a symbolic journey . . . but it is a map we can really walk on, blurring the difference between map and world.
Rebecca Solnit
Always, just beyond all these things, was the silver sea, the lace border around all land like the silence around sounds or the unknowns beyond all knowledge.
Rebecca Solnit
Silence is what allows people to suffer without recourse, what allows hypocrisies and lies to grow and flourish, crimes to go unpunished.
Rebecca Solnit
That thing the nature of which is totally unknown to you is usually what you need to find, and finding it is a matter of getting lost. The word ‘lost’ comes from the old Norse ‘los’ meaning the disbanding of an army…I worry now that people never disband their armies, never go beyond what they know.Advertising, alarmist news, technology, incessant busyness, and the design of public and private life conspire to make it so. A recent article about the return of wildlife to suburbia described snow-covered yards in which the footprints of animals are abundant and those of children are entirely absent. Children seldom roam, even in the safest places… I wonder what will come of placing this generation under house arrest.
Rebecca Solnit
If it’s not clear enough in the piece, I love it when people things to me they know and I’m interested in but don’t yet know. It’s when they explain things to me I know and they don’t that the conversation goes awry.
Rebecca Solnit
Thinking is generally thought of as doing nothing in a production-oriented society, and doing nothing is hard to do. It's best done by disguising it as doing something, and the something closest to doing nothing is walking.
Rebecca Solnit
the revolt against brutality begins with a revolt against the language that hides that brutality.
Rebecca Solnit
To use language is to enter into the territory of categories, which are as necessary as they are dangerous.
Rebecca Solnit
How do you even speak of, let alone propose regulation of, [any] category [so] full of internal contradictions? . . . Maybe, like so many other things, it is a language problem.
Rebecca Solnit
Walkers are 'practitioners of the city,' for the city is made to be walked. A city is a language, a repository of possibilities, and walking is the act of speaking that language, of selecting from those possibilities. Just as language limits what can be said, architecture limits where one can walk, but the walker invents other ways to go.
Rebecca Solnit
But fear of making mistakes can itself become a huge mistake, one that prevents you from living, for life is risky and anything less is already a loss.
Rebecca Solnit
This is the strange life of books that you enter along as a writer, mapping an unknown territory that arises as you travel. If you succeed in the voyage, others enter after, one at a time, also alone, but in communion with your imagination, traversing your route. Books are solitudes where we meet.
Rebecca Solnit
Some secret of nurture withered a generation or two before I arrived, if it had ever existed before among the poor, marginalized people on the edges of Europe from whom I descend. Both my parents grew up with a deep sense of poverty that was mostly emotional but that they imagined as material long after they clambered into the middle class, and so they were more like a pair of rivalrous older siblings than parents who see their children as extensions of themselves and their hopes. They were stuck in separateness.I didn't realize anything was odd until I was already on my own and found out that not everyone's parents cut them off financially as soon as the law allowed. I tried to leave home unsuccessfully at fourteen and fifteen and sixteen and did so successfully at seventeen, heading off to another country, as far away as I could go, and once I got there I realized I was more on my own than I had anticipated: I was henceforth entirely repsonsible for myself and thus began a few years of poverty.
Rebecca Solnit
I was being cured of soldiering on endlessly: my job was now to be still, which had become almost easy at last.
Rebecca Solnit
...to be lost is to be fully present, and to be fully present is to be capable of being in uncertainty and mystery. And one does not get lost but loses oneself, with the implication that it is a conscious choice, a chosen surrender...
Rebecca Solnit
To lose yourself: a voluptuous surrender, lost in your arms, lost to the world, utterly immersed in what is present so that its surroundings fade away. In Benjamin’s terms, to be lost is to be fully present, and to be fully present is to be capable of being in uncertainty and mystery.
Rebecca Solnit
We treat desire as a problem to be solved, address what desire is for and focus on that something and how to acquire it rather than on the nature and the sensation of desire, though often it is the distance between us and the object of desire that fills in the space in between with the blue of longing. I wonder sometimes whether with a slight adjustment of perspective it could be cherished as a sensation in its own terms, since it is as inherent to the human condition as blue is to distance?
Rebecca Solnit