Quotes from Rebecca Solnit

Disenchantment is the blessing of becoming yourself.

To hope is to gamble. It's to bet on the future, on your desires, on the possibility that an open heart and uncertainty is better than doom and safety. To hope is dangerous, and yet it is the opposite of fear, for to live is to risk.

Why do such bad questions get predictably asked? Maybe part of the problem is that we have learned to ask the wrong questions of ourselves. Our culture is steeped in a kind of pop psychology whose obsessive question is: Are you happy? We ask it so reflexively that i seems natural to wish that a pharmacist with a time machine could deliver a lifetime supply of antidepressants to Bloomsbury, so that an incomparable feminist prose stylist could be reoriented to produce litters of Woolf babies.

the revolt against brutality begins with a revolt against the language that hides that brutality.

How long does it take to see something, to know someone? If you put in years, you realize how little you grasped at the start, even when you thought you knew. We move through life mostly not seeing what is around us, not knowing who is around us, not understanding the forces at play, not understanding ourselves. Unless we stay with it, and maybe this is a movie about staying with it.

Walking is a pastime rather than an avocation.

in English the word 'peripatetic' means 'one who walks habitually and extensively.

The planting of [orchards] represents a reduction of a complex ecology into the monocultural grid of modern agriculture, and the transformation of a complex symbiosis with the land into the simpler piecework or agricultural labour for surplus and export.

The pandemic of violence always gets explained as anything but gender, anything but what would seem to be the broadest explanatory pattern of all.

Some men explained why men explaining things to women wasn't really a gendered phenomenon. Usually, women pointed out that, in insisting on their right to dismiss the experiences women say they have, men succeeded in explaining in just the way I said they sometimes do.

And when you face a politics that aspires to make you fearful, alienated, and isolated, joy is a fine initial act of insurrection.

James Baldwin famously wrote, "If I am not what you say I am, then you are not who you think you are.

thinking is generally thought of as doing nothing in a production-oriented culture, and doing nothing is hard to do. It's best done by disguising it as doing something, and the something closest to doing nothing is walking. Walking itself is the intentional act closest to the unwilled rhythms of the body, to breathing and the beating of the heart. It strikes a delicate balance between working and idling, being and doing.

Disaster doesn't sort us out by preferences; it drags us into emergencies that require we act, and act altruistically, bravely, and with initiative in order to survive or save the neighbors, no matter how we vote or what we do for a living.

We live inside each other's thoughts and works.

mutual aid and pleasure are linked, that the ties that bind are grounds for celebration as well as obligation.

So much of feminism has been women speaking up about hitherto unacknowledged experiences, and so much of antifeminism has been men telling them these things didn't happen. You were not just raped, your rapist may say, and then if you persist there may be death threats, because killing people is the easy way to be the only voice in the room.

We write history with our feet and with our presence and our collective voice and vision. And yet, of course, everything in the mainstream media suggests that popular resistance is ridiculous, pointless, or criminal, unless it is far away, was long ago, or, ideally, both. These are the forces that prefer the giant remain asleep.

I talked about places, about the ways that we often talk about love of place, by which we mean our love for places, but seldom of how the places love us back, of what they give us. They give us continuity, something to return to, and offer a familiarity that allows some portion of our own lives to remain connected and coherent. They give us an expansive scale in which our troubles are set into context, in which the largeness of the world is a balm to loss, trouble, and ugliness.

We were subject to the wonders and frustrations of unpredictability and better able to withstand them because time moved at what would only later seem a gentle flow, like a river across a prairie before the waterfall of acceleration we would all tumble over. We were prepared for encounters with strangers in ways that the digital age would buffer a lot of us from later. It was an era of both more unpredictable contact and more profound solitude.

Every woman knows what I'm talking about. It's the presumption that makes it hard, at times, for any woman in any field; that keeps women from speaking up and from being heard when they dare; that crushes young women into silence by indicating, the way harassment on the street does, that this is not their world. It trains us in self-doubt and self-limitation just as it exercises men's unsupported confidence.

The self is also a creation, the principal work of your life, the crafting of which makes everyone an artist.

Some music has words, and rock had words that at times aspired to poetry, but the words were always sounds first, spoken to the body before the mind.

What lies ahead seems unlikely; when it becomes the past, it seems inevitable.