Rebecca Solnit Quotes

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

Were revolutions ever really that we thought them to be?

~ Rebecca Solnit

Were revolutions ever really what we thought them to be?

~ Rebecca Solnit

A path is a prior interpretation of the best way to traverse a landscape.

~ 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

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

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

...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

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

We make ourselves large or small, here or there, in our empathies.

~ Rebecca Solnit

Perfection is a stick with which to beat the possible.

~ Rebecca Solnit

The art is not one of forgetting but letting go

~ 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

[B]eauty is one of the things that make you cry and so maybe beauty is always tied up in tears.

~ 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

I have been both a ghost and haunted in the city I love.

~ 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

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 fain 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

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

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

[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

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

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

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

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

Revolution is a phase, a mood, like spring, and just as spring has its buds and showers, so revolution has its ebullience, its bravery, its hope, and its solidarity. Some of these things pass.

~ Rebecca Solnit

Joy doesn't betray but sustains activism. And when you face a politics that aspires to make you fearful, alienated and isolated, joy is a fine initial act of insurrection.

~ Rebecca Solnit

For me, being in a car or on an airplane is like being in limbo. It's this dead zone between two places. But to walk, you're some place that's already interesting. You're not just between places. Things are happening.

~ Rebecca Solnit

It's hardly surprising that the corporate aliens lie when it comes to the relationship between doing something about climate change and the economy.

~ Rebecca Solnit

To be hopeful means to be uncertain about the future, to be tender toward possibilities, to be dedicated to change all the way down to the bottom of your heart.

~ Rebecca Solnit

We have a real role in how our own collective lives, our nation, and our world and society turn out. Seizing those opportunities is important, and disasters are sometimes one of those opportunities.

~ Rebecca Solnit

I feel often that we don't have the right language to talk about emotions in disasters. Everyone is on edge, of course, but it also pulls people away from a lot of trivial anxieties and past and future concerns and gratuitous preoccupations that we have, and refocuses us in a very intense way.

~ Rebecca Solnit