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Walking allows us to be in our bodies and in the world without being made busy by them.

Rebecca Solnit

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Rebecca Solnit
Age: 63
Born: 1961
Born: June 26
Art Historian
Author
Environmentalist
Journalist
Writer
Bridgeport
Connecticut
Busy
Walking
Body
Without
Made
World
Allows
Bodies

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Given a choice between their worldview and the facts, it's always interesting how many people toss the facts.
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Growing up north of San Francisco, I immersed myself in the local landscape and in books about Native Americans, cowboys, and pioneers that seemed to ground me in it, but to pursue culture in those days meant being spun around until dizzy and then pushed east.
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I was not going to surrender to the status quo and corporate insistence that ordinary people have no power and influence.
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Credibility is a basic survival tool.
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We have only the language for fun and miserable, and maybe we need language for deep and shallow, meaningful and meaningless.
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[On the] question of why we might want to look at images even more than the real thing: I think there is some quality when you look at an image of, not only seeing this thing, whether it's the horse or the sky, but you are seeing somebody point at it and say, Look!
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I'm grateful that, after an early life of being silenced, sometimes violently, I grew up to have a voice, circumstances that will always bind me to the rights of the voiceless.
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I feel like we're in a truly revolutionary period, not just in terms of practical activities to overthrow regimes in the Middle East or Occupy but also in terms of radical redefinitions. I feel like workers are a big part of it, but there's so much more going on.
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I was fifteen, and when I picture myself then, I see flames shooting up, see myself falling off the edge of the world, and am amazed I survived not the outside world but the inside one.
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We are moving into a world of unaccountable and secretive corporations that manage all our communications and work hand in hand with governments to make us visible to them. Our privacy is being strip-mined and hoarded.
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Italian cities have long been held up as ideals, not least by New Yorkers and Londoners enthralled by the ways their architecture gives beauty and meaning to everyday acts.
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That's what I'm trying to get over: the idea that anarchism offers a description of equitable relations that go way back rather than a hypothesis of what the future should look like.
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Walking . . . is how the body measures itself against the earth.
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The poet Marianne Moore famously wrote of 'real toads in imaginary gardens,' and the labyrinth offers us the possibility of being real creatures in symbolic space...In such spaces as the labyrinth we cross over [between real and imaginary spaces] we are really travelling, even if the destination is only symbolic.
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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.
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Getting lost was not a matter of geography so much as identity, a passionate desire, even an urgent need, to become no one and anyone, to shake off the shackles that remind you who you are, who others think you are.
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[In mountaineering, if] we look for private experience rather than public history, even getting to the top becomes an optional narrative rather than the main point, and those who only wander in high places become part of the story.
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