Quote

....there are three prerequisites to going out into the world to walk for pleasure. One must have free time, a place to go, and a body unhindered by illness or social restraints.

Rebecca Solnit

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Rebecca Solnit
Age: 63
Born: 1961
Born: June 26
Art Historian
Author
Environmentalist
Journalist
Writer
Bridgeport
Connecticut
Three
Prerequisites
Place
Restraint
Body
Illness
Must
Walk
Going
Walks
Time
Pleasure
World
Free
Unhindered
Social
Restraints

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I grew up with landscape as a recourse, with the possibility of exiting the horizontal realm of social relations for a vertical alignment with earth and sky, matter and spirit. Vast open spaces speak best to this craving, the spaces I myself first found in the desert and then in the western grasslands.
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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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A contrarian at heart, I am often guided by what I disagree with and don't want.
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Solitude in the city is about the lack of other people or rather their distance beyond a door or wall, but in remote places it isn’t an absence but the presence of something else, a kind of humming silence in which solitude seems as natural to your species as to any other, words strange rocks you may or may not turn over.
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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.
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You write your books. You scatter your seeds. Rats might eat them, or they might rot. In California, some seeds lie dormant for decades because they only germinate after fire, and sometimes the burned landscape blooms most lavishly.
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Revolution is as unpredictable as an earthquake and as beautiful as spring. Its coming is always a surprise, but its nature should not be.
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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.
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For me, childhood roaming was what developed self-reliance, a sense of direction and adventure, imagination, a will to explore, to be able to get a little lost and then figure out the way back.
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The magic of the street is the mingling of the errand and the epiphany.
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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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Politics is pervasive. Everything is political and the choice to be apolitical is usually just an endorsement of the status quo and the unexamined life.
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The oil dinosaurs want to win so badly in my home state because what happens here matters everywhere. The nation often follows where California goes.
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It's hardly surprising that the corporate aliens lie when it comes to the relationship between doing something about climate change and the economy.
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Pain serves a purpose. Without it you are in danger. What you cannot feel you cannot take care of.
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People are actually very good at being communists in the sense that they instantly abandon capitalism, that they love these relationships of mutual aid, because the astonishing thing about disasters is that people are often weirdly joyous in them, because they've recovered a sense of agency, a sense of power, etc.
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In a sense the car has become a prosthetic, and though prosthetics are usually for injured or missing limbs, the auto-prosthetic is for a conceptually impaired body or a body impaired by the creation of a world that is no longer human in scale.
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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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Credibility is a basic survival tool.
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There is no one as dangerous as he or she who has nothing to lose.
Rebecca Solnit