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Quote by Rebecca Solnit

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Wanderlust: A History of Walking

Wanderlust: A History of Walking is a comprehensive study that delves into the historical and cultural aspects of walking. The book traces the evolution of walking from a necessity for survival to a leisure activity and a means of self-expression. It includes insights into the personal journeys of walkers, the social and political implications of walking, and the psychological benefits of this ancient form of movement. The narrative spans across different eras and regions, offering a rich tapestry of human experiences and the transformative power of walking. more

Author

Rebecca Solnit
Rebecca Solnit

Rebecca Solnit is an American writer known for her works on environmental, cultural, political, and social issues. Her writing spans a wide range of topics, including nature, travel, gender, and power. Her books include 'Wanderlust', 'A Field Guide to Getting Lost', and 'The Faraway Nearby'. more

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“The fantastic postulates that there are forces in the outside world, and in our own natures, which we can neither know nor control, and these forces may even constitute the essence of our existence, beneath the comforting rational surface. The fantastic is, moreover, a product of human imagination, perhaps even an excess of imagination. It arises when laws thought to be absolute are transcended, in the borderland between life and death, the animate and the inanimate, the self and the world; it arises when the real turns into the unreal, and the solid presence into vision, dream or hallucination. The fantastic is the unexpected occurrence, the startling novelty which goes contrary to all our expectations of what is possible. The ego multiplies and splits, time and space are distorted.”

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“Without imagination, we merely see or hear, and even if we see or hear that the objects of the senses are beautiful, we cannot feel that they are so. The difference is this: in feeling the beauty of objects, we enjoy not only the common, shared pleasures of the senses, but also the private pleasures of the imagination, peculiar to ourselves, and such that we have to struggle to articulate them.”

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“Most people are like sheep. Nice, harmless creatures who want nothing more than to be left alone so they can graze. But then of course there are wolves. Who want nothing more than to eat the sheep. But there’s a third kind of person. The sheepdog. Sheepdogs have fangs like wolves. But their instinct isn’t predation. It’s protection. All they want, what they live for, is to protect the flock.”

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“Credeam ca vrea sa calatoreasca, dar imi spune adevaruri pe care le stiu deja, ca nu e nevoie sa plece de pe insula ca sa vada lumea, ca are destule mari si orase in minte. Daca e asa, daca toti le avem, atunci poate ca lumea aceasta, luna si stelele sunt si ele plasmuiri ale mintii, insa ale unei minti cu o deschidere mai larga decat a noastra. Chiar daca cineva ma gandeste, sunt liber sa fac ce vreau. Nu poate fi precum sahul universul acesta care parca s-a gandit la toate, ci mai degraba ca un teatru cu decoruri miscatoare, unde putem trece si prin pereti, daca vrem, dar nu o facem. Caci ramanem fideli propriului sentiment al dramaticului.” (pag 148)”

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“As Peret asserts, the value of such stories resides in the fact that they respond to direct social necessity but in a way that is not obvious in a society dominated by what is utilitarian and functional. Rather they represent a natural surplus of imaginative abundance that may confound or reinforce the way we perceive the world, but which never does so in a simple way. Even though they may have no direct social use, they nonetheless embody the actual state of real relations between people.”

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“Now that we've come up with all the obvious answers to our problem, it's time to come up with some truly ridiculous ones." "Ridiculous?" asked Brasque. "Yes, ridiculous. Think of something impossible, improbable or downright ridiculous and go from there." "Like we all flap our arms and fly out of here," said Katherine. "Exactly!" said Spider. "How about we form a long line all the way to the mountains and pass the charges along it?" said Brasque. "Excellent," said Spider. "Keep it coming." "What if we each carry one charge, run back, carry another, and so on?" said Tom, getting into the swing of things. "Lovely!" laughed Spider. "Now we're cooking." The shower of sparks shot out of the top of the Amadragon. Joe shielded his eyes with his hand. "Yeah, and we can all climb on the Amadragon and ride out of here," he said. "What was that, Joe?" said Spider, suddenly dropping the jokey manner. "What's the Amadragon?" Katherine's eyes glittered. "He means that," she said, pointing at the excavator. Everyone except Spider turned and looked. "He's talking about the giant machine, the one that keeps shooting sparks in the air." Spider cocked his ear and listened to the rumble of the Amadragon's engine. "So Orlemann built the dragon, did he?" he said. "I'd been wondering what the noise was. If they built it to the original specifications, it should get us out of here within an hour. Let's pray that will give us enough time!”

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“Possibly there are few imaginative writers who have not a leaning, secret or avowed, to the occult. The creative gift is in very close relationship with the Great Force behind the universe; for aught we know, may be an atom thereof. It is not strange, therefore, that the lesser and closer of the unseen forces should send their vibrations to it occasionally; or, at all events, that the imagination should incline its ear to the most mysterious and picturesque of all beliefs”

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