Rebecca Solnit

“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.”

“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 in the nature of things to be lost and not otherwise. Think of how little has been salvaged from the compost of time of the hundreds of billions of dreams dreamt since the language to describe them emerged, how few names, how few wishes, how few languages even, how we don’t know what tongues the people who erected the standing stones of Britain and Ireland spoke or what the stones meant, don’t know much of the language of the Gabrielanos of Los Angeles or the Miwoks of Marin, don’t know how or why they drew the giant pictures on the desert floor in Nazca, Peru, don’t know much even about Shakespeare or Li Po. It is as though we make the exception the rule, believe that we should have rather than that we will generally lose. We should be able to find our way back again by the objects we dropped, like Hansel and Gretel in the forest, the objects reeling us back in time, undoing each loss, a road back from lost eyeglasses to lost toys and baby teeth. Instead, most of the objects form the secret constellations of our irrecoverable past, returning only in dreams where nothing but the dreamer is lost. They must still exist somewhere: pocket knives and plastic horses don’t exactly compost, but who knows where they go in the great drifts of objects sifting through our world?”

“Instar implies something both celestial and ingrown, something heavenly and disastrous, and perhaps change is commonly like that, a buried star, oscillating between near and far.”

“Lost really has two disparate meanings. Losing things is about the familiar falling away, getting lost is about the unfamiliar appearing. There are objects and people that disappear from your sight or knowledge or possession; you lose a bracelet, a friend, the key. You still know where you are. Everything is familiar except that there is one item less, one missing element. Or you get lost, in which case the world has become larger than your knowledge of it. Either way, there is a loss of control. Imagine yourself streaming through time shedding gloves, umbrellas, wrenches, books, friends, homes, names. This is what the view looks like if you take a rear-facing seat on the train. Looking forward you constantly acquire moments of arrival, moments of realization, moments of discovery. The wind blows your hair back and you are greeted by what you have never seen before. The material falls away in onrushing experience. It peels off like skin from a molting snake. Of course to forget the past is to lose the sense of loss that is also memory of an absent richness and a set of clues to navigate the present by; the art is not one of forgetting but letting go. And when everything else is gone, you can be rich in loss.”

“Hodanje je sušta suprotnost posedovanju. Doživljaj zemlje hodanjem pretpostavlja pokretljivost, golorukost, sudeoništvo. Nomadi su često predstavljali pretnju po nacionalizam zato što svojim skitničkim životom zamagljuju i prevazilaze utvrđene granice kojima se definišu nacije.”

“The whites who administered Native American subjugation claimed to be recruiting the Indians to join them in a truer, more coherent worldview—but whether it was about spirituality and the afterlife, the role of women, the nature of glaciers, the age of the world, or the theory of evolution, these white Victorians were in a world topsy-turvy with change, uncertainty and controversy. Deference was paid to Christianity and honest agricultural toil, but more than few questioned the former, and most, as the gold rushes, confidence men, and lionized millionaires proved, would gladly escape the latter. So the attempt to make Indians into Christian agriculturists was akin to those contemporary efforts whereby charities send cast-off clothing to impoverished regions: the Indians were being handed a system that was worn out...”

“."Katrina was an extreme version of what goes on in many disasters,wherein how you behave depends on whether you think your neighbors or fellow citizens are a greater threat than the havoc wrought by a disaster or a greater good than the property in houses and stores around you.”

“The people thrown into other cultures go through something of the anguish of the butterfly, whose body must disintegrate and reform more than once in its life cycle. In her novel “Regeneration,” Pat Barker writes of a doctor who “knew only too well how often the early stages of change or cure may mimic deterioration. Cut a chrysalis open, and you will find a rotting caterpillar. What you will never find is that mythical creature, half caterpillar, half butterfly, a fit emblem of the human soul, for those whose cat of mind leads them to seek such emblems. No, the process of transformation consists almost entirely of decay.” But the butterfly is so fit an emblem of the human soul that its name in Greek is “psyche,” the word for soul. We have not much language to appreciate this phase of decay, this withdrawal, this era of ending that must precede beginning. Nor of the violence of the metamorphosis, which is often spoken of as though it were as graceful as a flower blooming.”

“I wonder now about Demeter and Persephone. Maybe Persephone was glad to run off with the king of death to his underground realm, maybe it was the only way she could break away from her mother, maybe Demeter was a bad parent the way Lear was a bad parent, denying nature, including the nature of children to leave their parents. Maybe Persephone thought Hades was the infinitely cool older man who held the knowledge she sought, maybe she loved the darkness, the six months of winter, the sharp taste of pomegranates, the freedom from her mother, maybe she knew that to be truly alive death had to be part of the picture just as winter must. It was as the queen of hell that she became an adult and came into power. Hades’s realm is called the underworld, and so are the urban realms of everything outside the law. And as in Hopi creation myths, where humans and other beings emerge from underground, so it’s from the underground that culture emerges in this civilization.”

“Perhaps it’s that you can’t go back in time, but you can return to the scenes of a love, of a crime, of happiness, and of a fatal decision; the places are what remain, are what you can possess, are what is immortal. They become the tangible landscape of memory, the places that made you, and in some way you too become them. They are what you can possess and in the end what possesses you.”

“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.”

“Beauty is often spoken of as though it only stirs lust or admiration, but the most beautiful people are so in a way that makes them look like destiny or fate or meaning, the heroes of a remarkable story.”

“In idyllic small towns I sometimes see teenagers looking out of place in their garb of desperation, the leftover tatters and stains and slashes of the fashion of my youth. For this phase of their life, the underworld is their true home, and in the grit and underbelly of a city they could find something that approximates it. Even the internal clock of adolescents changes, making them nocturnal creatures for at least a few years. All through childhood you grow toward life and then in adolescence, at the height of life, you begin to grow toward death. This fatality is felt as an enlargement to be welcomed and embraced, for the young in this culture enter adulthood as a prison, and death reassures them that there are exits. “I have been half in love with easeful death,” said Keats who died at twenty-six and so were we, though the death we were in love with was only an idea then.”

“A precursor to the Social Darwinists, Hobbes argued from th premise that the primordial human condition was a war fought by each against each, so brutal and incesssant that it was impossible to develop industry or even agriculture or the arts while that condition persisted. It's this description that culmintes in his famous epithet "And the life of man, solitary, poor, brutish, and short." It was a fiction to which he brought to bear another fiction, that of the social contract by which men agree to submit to rules and a presiding authority, surrendering their right to ravage each other for the sake of their own safety. The contract was not a bond of affection or identification, bot a culture or religion binding togetehr a civilization, only a convenience. Men, in his view, as in that of many other European writers of the period, are stark, mechanical creatures, windup soldiers social only by strategy and not by nature...”

“The desire to go home that is a desire to be whole, to know where you are, to be the point of intersection of all the lines drawn through all the stars, to be the constellation-maker and the center of the world, that center called love. To awaken from sleep, to rest from awakening, to tame the animal, to let the soul go wild, to shelter in darkness and blaze with light, to cease to speak and be perfectly understood.”

“A year ago, I was at a dinner in Amsterdam when the question came up of whether each of us loved his or her country. The German shuddered, the Dutch were equivocal, the Brit said he was "comfortable" with Britain, the expatriate American said no. And I said yes. Driving across the arid lands, the red lands, I wondered what it was I loved. the places, the sagebrush basins, the rivers digging themselves deep canyons through arid lands, the incomparable cloud formations of summer monsoons, the way the underside of clouds turns the same blue as the underside of a great blue heron's wings when the storm is about to break.Beyond that, for anything you can say about the United States, you can also say the opposite: we're rootless except we're also the Hopi, who haven't moved in several centuries; we're violent except we're also the Franciscans nonviolently resisting nucelar weapons out here; we're consumers except the West is studded with visionary environmentalists...and the landscape of the West seems like the stage on which such dramas are played out, a space without boundaries, in which anything can be realized, a moral ground, out here where your shadow can stretch hundreds of feet just before sunset, where you loom large, and lonely.”

“We can act to deal with the consequences of the earthquake and tsunami, but the disaster was only faintly political in the economics and indifference...the relief will be very political, in who gives how much (Bush offering 15 million, then 35 million under pressure, the cost of his inauguration and then 350 million under strong international pressure)...but the event itself transcends politics, the realm of things we cause and can work to prevent. We cannot wish that human beings were not subject to the forces of nature, including the mortality... we cannot wish for the seas to dry up, that the waves grow still, that the tectonic plates ceast to exist, that nature ceases to be beyond our abilities to predict and control... But the terms of that nature include such catastrophe and suffering, which leaves us with sorrow as not a problem to be solved but a fact. And it leaves us with compassion as the work we will never finish”

“To lose yourself: a voluptuous surrender, lost in your arms, lost to the world, utterly immersed in what is present so that its surroundings fade away. In Benjamin’s terms, to be lost is to be fully present, and to be fully present is to be capable of being in uncertainty and mystery.”

“That thing the nature of which is totally unknown to you is usually what you need to find, and finding it is a matter of getting lost. The word ‘lost’ comes from the old Norse ‘los’ meaning the disbanding of an army…I worry now that people never disband their armies, never go beyond what they know.Advertising, alarmist news, technology, incessant busyness, and the design of public and private life conspire to make it so. A recent article about the return of wildlife to suburbia described snow-covered yards in which the footprints of animals are abundant and those of children are entirely absent. Children seldom roam, even in the safest places… I wonder what will come of placing this generation under house arrest.”

“How will you go about finding that thing the nature of which is totally unknown to you?" (Plato) The things we want are transformative, and we don’t know or only think we know what is on the other side of that transformation. Love, wisdom, grace, inspiration- how do you go about finding these things that are in some ways about extending the boundaries of the self into unknown territory, about becoming someone else?”

“Leave the door open for the unknown, the door into the dark. That’s where the most important things come from, where you yourself came from, and where you will go.”

“I love going out of my way, beyond what I know, and finding my way back a few extra miles, by another trail, with a compass that argues with the map…nights alone in motels in remote western towns where I know no one and no one I know knows where I am, nights with strange paintings and floral spreads and cable television that furnish a reprieve from my own biography, when in Benjamin’s terms, I have lost myself though I know where I am. Moments when I say to myself as feet or car clear a crest or round a bend, I have never seen this place before. Times when some architectural detail on vista that has escaped me these many years says to me that I never did know where I was, even when I was home.”

“Suddenly I came out of my thoughts to notice everything around me again-the catkins on the willows, the lapping of the water, the leafy patterns of the shadows across the path. And then myself, walking with the alignment that only comes after miles, the loose diagonal rhythm of arms swinging in synchronization with legs in a body that felt long and stretched out, almost as sinuous as a snake…when you give yourself to places, they give you yourself back; the more one comes to know them, the more one seeds them with the invisible crop of memories and associations that will be waiting for when you come back, while new places offer up new thoughts, new possibilities. Exploring the world is one the best ways of exploring the mind, and walking travels both terrains.”

“The multiplication of technologies in the name of efficiency is actually eradicating free time by making it possible to maximize the time and place for production and minimize the unstructured travel time in between…Too, the rhetoric of efficiency around these technologies suggests that what cannot be quantified cannot be valued-that that vast array of pleasures which fall into the category of doing nothing in particular, of woolgathering, cloud-gazing, wandering, window-shopping, are nothing but voids to be filled by something more definite, more production, or faster-paced…I like walking because it is slow, and I suspect that the mind, like the feet, works at about three miles an hour. If this is so, then modern life is moving faster than the speed of thought or thoughtfulness.”

“There isn't a story to tell, because a relationship is a story you construct together and take up residence in, a story as sheltering as a house. You invent this story of how your destinies were made to entwine like porch vines, you adjust to a big view in this direction and no view in that, the doorway that you have to duck through and the window that is jammed, how who you think you are becomes a factor of who you think he is and who he thinks you are, a castle in the clouds made out of the moist air exhaled by dreamers.”

“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.”

“...Not till we are completely lost, or turned round,--for a man needs only to be turned round once with his eyes shut in this world to be lies,--do we appreciate the vastness and strangeness of nature. Not till we are lost, in other words, not till we have lost the world, do we begin to find ourselves, and realize where we are and the infinite extent of our relations." Thoreau is playing with the biblical question about what it profits a man if he gains the whole world and loses his own soul. Lose the whole world, get lost in it, and find your soul.”

“Children, Landon said, are good at getting lost, because "the key in survival is knowing you're lost": they don't stray far, they curl up in some sheltered place at night, they know they need help.”

“The art is not one of forgetting but letting go. And when everything else is gone, you can be rich in loss.”

“To write is to carve a new path through the terrain of the imagination, or to point out new features on a familiar route. To read is to travel through that terrain with the author as a guide-- a guide one might not always agree with or trust, but who can at least be counted on to take one somewhere.”

“You get lost out of a desire to be lost. But in the place called lost strange things are found...”

“Musing takes place in a kind of meadowlands of the imagination, a part of the imagination that has not yet been plowed, developed, or put to any immediately practical use. [--] [T]ime spent there is not work time, yet without that time the mind becomes sterile, dull, domesticated. The fight for free space—for wilderness and for public space—must be accompanied by a fight for free time to spend wandering in that space.”

“Much fuss has been made over the idea of the frontier, as though it were a line advancing east to west, but the West was settled piece meal, and Indians fled in many directions to escape the tightening noose of the railroad lines and towns.”

“Building a museum case and filling it with types of mussels is one way of knowing mussels; but on the shore, a mussel leads to a crab or a curious stone, which leads to another thing and eventually leads back to mussels, which is another and perhaps a more far-reaching way to know mussels. The sea that always seems like a metaphor, but one that is always moving, cannot be fixed, like a heart that is a like a tongue that is like a mystery that is like a story that is like a border that is like something altogether different and like everything at once. One thing leads to another, and this is the treasure that always runs through your fingers and never runs out.”

“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 ”

“One of the functions of landscape it to correspond to, nurture, and provoke exploration of the landscape of the imagination. Space to walk is also space to think, and I think that's one thing landscapes give us: places to think longer, more uninterrupted thoughts or thoughts to a rhythm other than the staccato of navigating the city.”

“Feminism has both undone the hierarchy in which the elements aligned with the masculine were given greater value than those of the feminine and undermined the metaphors that aligned these broad aspects of experience with gender. So, there goes women and nature. What does it leave us with? One thing is a political mandate to decentralize privilege and power and equalize access, and that can be a literal spatial goal too, the goal of our designed landscapes and even the managed ones -- the national parks, forests, refuges, recreation areas, and so on.”

“Why is it that white people find it easier to think like a mountain than like a person of colour?'Carl Anthony quoted by Rebecca Solnit”

“Now, wilderness can be seen as a useful fiction, a fiction constructed by John Muir and his heirs and deployed to keep places from being destroyed by resource extraction and wholesale development.”

“Perhaps the central question about [Eliot] Porter's work is about the relationship between science, aesthetics, and environmental politics. His brother, the painter and critic Fairfield Porter, wrote in a 1960 review of [Porter's] colour photographs: 'There is no subject and background, every corner is alive,' and this suggests what an ecological aesthetic might look like. ”

“...William Stegner...coined the term 'the geography of hope,' countering the argument that wilderness preservation served elites with the assertion that wilderness could be a place in which everyone could locate their hopefulness even if few actually entered it. ”

“The stars we are given. The constellations we make. That is to say, stars exist in the cosmos, but constellations are the imaginary lines we draw between them, the readings we give the sky, the stories we tell.”

“If gold has been prized because it is the most inert element, changeless and incorruptible, water is prized for the opposite reason -- its fluidity, mobility, changeability that make it a necessity and a metaphor for life itself. To value gold over water is to value economy over ecology, that which can be locked up over that which connects all things.”

“Many love stories are like the shells of hermit crabs, though others are more like chambered nautiluses, whose architecture grows with the inhabitant and whose abandoned smaller chambers are lighter than water and let them float in the sea.”

“Worry is a way to pretend that you have knowledge or control over what you don't--and it surprises me, even in myself, how much we prefer ugly scenarios to the pure unknown.”

“Perfection is a stick with which to beat the possible.”

“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.”

“One [project of Teddy Cruz's] is titled Living Rooms at the Border. it takes a piece of land with an unused church zoned for three units and carefully arrays on it twelve affordable housing units, a community center (the converted church), offices for Casa in the church's attic, and a garden that can accommodate street markets and kiosks. 'In a place where current regulation allows only one use,' [Cruz} crows, ' we propose five different uses that support each other. This suggests a model of social sustainability for San Diego, one that conveys density not as bulk but as social choreography.' For both architect and patron, it's an exciting opportunity to prove that breaking the zoning codes can be for the best. Another one of Cruz's core beliefs is that if architects are going to achieve anything of social distinction, they will have to become developers' collaborators or developers themselves, rather than hirelings brought in after a project's parameters are laid out. ”

“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.”