Rebecca Solnit Quotes

Having the right to show up and speak are basic to survival, to dignity, and to liberty.

Think of how much more time and energy we would have to focus on other things that matter if we weren’t so busy surviving.

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.

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.

One more thing about Cassandra: in the most famous version of the myth, the disbelief with which her prophecies were met was the result of a curse placed on her by Apollo when she refused to have sex with the god. The idea that loss of credibility is tied to asserting rights over your own body was there all along. But with the real-life Cassandras among us, we can lift the curse by making up our own minds about who to believe and why.

To which I’d like to append a variation on Lewis’s Law (“all comments on feminism justify feminism”): the plethora of men attacking women and anyone who stands up for women in order to prove that women are not under attack and feminism has no basis in reality are apparently unaware that they’re handily proving the opposite.

...the subject of walking is, in some sense, about how we invest universal acts with particular meanings. Like eating or breathing, it can be invested with wildly different cultural meanings, from the erotic to the spiritual, from the revolutionary to the artistic.

Men’s bodies are weapons and women’s bodies are targets and queer bodies are hated for blurring the distinction or rejecting the metaphors.

In fact, what is sometimes regarded as an inconsistency in the contemporary right-wing platform — the desire to regulate women’s reproductive activity in particular, and sexuality in general, while deregulating everything else — is only inconsistent if you regard women as people. If you regard women as an undifferentiated part of nature, their bodies are just another place a man has every right to go.

Many heterosexual marriages are childless; many with children break up: they are no guarantee that children will be raised in a house with two parents of two genders. The courts have scoffed at the reproduction and child-raising argument against marriage equality. And the conservatives have not mounted what seems to be their real objection; that they wish to preserve traditional marriage and more than that, traditional gender roles.

But hope is not about what we expect. It is an embrace of the essential unknowability of the world, of the breaks with the present, the surprises. Or perhaps studying the record more carefully leads us to expect miracles - not when and where we expect them, but to expect to be astonished, to expect that we don't know. And this is grounds to act.

Movies are made out of darkness as well as light; it is the surpassingly brief intervals of darkness between each luminous still image that make it possible to assemble the many images into one moving picture. Without that darkness, there would only be a blur. Which is to say that a full-length movie consists of half an hour or an hour of pure darkness that goes unseen. If you could add up all the darkness, you would find the audience in the theater gazing together at a deep imaginative night. It is the terra incognita of film, the dark continent on every map. In a similar way, a runner’s every step is a leap, so that for a moment he or she is entirely off the ground. For those brief instants, shadows no longer spill out from their feet, like leaks, but hover below them like doubles, as they do with birds, whose shadows crawl below them, caressing the surface of the earth, growing and shrinking as their makers move nearer or farther from that surface. For my friends who run long distances, these tiny fragments of levitation add up to something considerable; by their own power they hover above the earth for many minutes, perhaps some significant portion of an hour or perhaps far more for the hundred-mile races. We fly; we dream in darkness; we devour heaven in bites too small to be measured.

It is often mild distraction that moves imagination forward, not uninterrupted concentration. Thinking then works by indirection, sauntering in a roundabout way to places it cannot reach directly.

An aptitude test established architecture as an alternative [career]. But what decided the matter for [Teddy Cruz] was the sight of a fourth-year architecture student sitting at his desk at a window, drawing and nursing a cup of coffee as rain fell outside. 'I don't know, I just liked the idea of having this relationship to the paper and the adventure of imagining the spaces. That was the first image that captured me.

The struggle to find a poetry in which your survival rather than your defeat is celebrated, perhaps to find your own voice to insist upon that, or to at least find a way to survive amidst an ethos that relishes your erasures and failures is work that many and perhaps most young women have to do