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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.

Rebecca Solnit

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Rebecca Solnit
Age: 63
Born: 1961
Born: June 26
Art Historian
Author
Environmentalist
Journalist
Writer
Bridgeport
Connecticut
Deep
Fun
Maybe
Language
Need
Shallow
Needs
Meaningless
Miserable
Meaningful

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We fly we dream in darkness we devour heaven in bites too small to be measured.
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I think one of the primary goals of a feminist landscape architecture would be to work toward a public landscape in which we can roam the streets at midnight, in which every square is available for Virginia Woolf to make up her novels
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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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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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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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Books are solitudes in which we meet.
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I walk wherever my errands take me.
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Having the right to show up and speak are basic to survival, to dignity, and to liberty.
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For [Jane Austen and the readers of Pride and Prejudice], as for Mr. Darcy, [Elizabeth Bennett's] solitary walks express the independence that literally takes the heroine out of the social sphere of the houses and their inhabitants, into a larger, lonelier world where she is free to think: walking articulates both physical and mental freedom.
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A path is a prior interpretation of the best way to traverse a landscape.
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Never to get lost is not to live, not to know how to get lost brings you to destruction.
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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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A place is a story, and stories are geography, and empathy is first of all an act of imagination, a storyteller's art, and then a way of traveling from here to there.
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To hope is to give yourself to the future - and that commitment to the future is what makes the present inhabitable.
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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 desire between us and the object of desire that fills the space in between with the blue of longing.
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Space--as landscape, terrain, spectacle, experience--has vanished.
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Hope is not like a lottery ticket you can sit on the sofa and clutch, feeling lucky.... hope is an ax you break down doors with in an emergency.
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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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A lone peak of high point is a natural focal point in the landscape, something by which both travelers and local orient themselves. In the continuum of landscape, mountains are discontinuity -- culminating in high points, natural barriers, unearthly earth.
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...[Cabeza de Vaca] ceased to be lost not by returning but by turning into something else.
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