Quotes From "A Field Guide To Getting Lost" By Rebecca Solnit

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? . Rebecca Solnit

Emptiness is the track on which the centered person moves, " said a Tibetan sage six hundred years ago, and the book where I found this edict followed it with an explanation of the word "track" in Tibetan: shul, "a mark that remains after that which made it has passed by - a footprint for example. In other contexts, shul is used to describe the scarred hollow in the ground where a house once stood, the channel worn through rock where a river runs in flood, the indentation in the grass where an animal slept last night. Rebecca Solnit

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

When someone doesn't show up, the people who wait sometimes tell stories about what might have happened and come to half believe the desertion, the abduction, the accident. 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. Perhaps fantasy is what you fill up maps with rather than saying that they too contain the unknown. Rebecca Solnit

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 cast of mind leads them to seek such emblems. No, the process of transformation consists almost entirely of decay. . Rebecca Solnit

They are all beasts of burden in a sense, ' Thoreau once remarked of animals, 'made to carry some portion of our thoughts.' Animals are the old language of the imagination; one of the ten thousand tragedies of their disappearance would be a silencing of this speech. Rebecca Solnit

Eduardo Galeano notes that America was conquered, but not discovered, that the men who arrived with a religion to impose and dreams of gold never really knew where they were, and that this discovery is still taking place in our time. Rebecca Solnit

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. Rebecca Solnit

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. Rebecca Solnit

David had been photographing endangered species in the Hawaiian rainforest and elsewhere for years, and his collections of photographs and Suzie's tarot cards seemed somehow related. Because species disappear when their habitat does, he photographed them against the nowhere of a black backdrop (which sometimes meant propping up a black velvet cloth in the most unlikely places and discouraging climates), and so each creature, each plant, stood as though for a formal portrait alone against the darkness. The photographs looked like cards too, card from the deck of the world in which each creature describes a history, a way of being in the world, a set of possibilities, a deck from which cards are being thrown away, one after another. Plants and animals are a language, even in our reduced, domesticated English, where children grow like weeds or come out smelling like roses, the market is made up of bulls and bears, politics of hawks and doves. Like cards, flora and fauna could be read again and again, not only alone but in combination, in the endlessly shifting combinations of a nature that tells its own stories and colors ours, a nature we are losing without even knowing the extent of that loss. Rebecca Solnit

In the same way, teenagers imagine dying young because death is more imaginable than the person that all the decisions and burdens of adulthood may make of you. Rebecca Solnit

The word "lost" comes from the Old Norse "los, " meaning the disbanding of an army, and this origin suggests soldiers falling out of formation to go home, a truce with the wide world. I worry now that many people never disband their armies, never go beyond what they know. Rebecca Solnit

Fear of making mistakes can itself become a huge mistake, one that prevents you from living, for life is risky and anything less is already loss. Rebecca Solnit

A person in her twenties has been a child for most of her life, but as time goes by that portion that is childhood becomes smaller and smaller, more and more distant, more and more faded, though they say at the end of life the beginning returns with renewed vividness, as though you had sailed all the way around the world and were going back into the darkness from which you came. Rebecca Solnit

When I first began to write, I had been a child for most of my life, and my childhood memories were vivid and potent, and the forces that shaped me, Most of them have grown fainter with time, and whenever I write one down, I give it away: it ceases to have the shadowy life of memory and becomes fixed in letters: it ceases to be mine; it loses that mobile unreliability of the live. Rebecca Solnit

One soft humid early spring morning driving a winding road across Mount Tamalpais, the 2, 500-foot mountain just north of the Golden Gate Bridge, a bend reveals a sudden vision of San Francisco in shades of blue, a city in a dream, and I was filled with a tremendous yearning to live in that place of blue hills and blue buildings, though I do live there, I had just left there after breakfast. Rebecca Solnit

For many years, I have been moved by the blue at the far edge of what can be seen, that color of horizons, of remote mountain ranges, of anything far away. The color of that distance is the color of an emotion, the color of solitude and of desire, the color of there seen from here, the color of where you are not. And the color of where you can never go. For the blue is not in the place those miles away at the horizon, but in the atmospheric distance between you and the mountains.“ Longing, ” says the poet Robert Hass, “because desire is full of endless distances.” Blue is the color of longing for the distances you never arrive in, for the blue world. . Rebecca Solnit

Not to find one’s way in a city may well be uninteresting and banal. It requires ignorance–nothing more, " says the twentieth-century philosopher-essayist Walter Benjamin. “But to lose oneself in a city–as one loses oneself in a forest–that calls for quite a different schooling.” 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. And one does not get lost but loses oneself, with the implication that it is a conscious choice, a chosen surrender, a psychic state achievable through geography. Rebecca Solnit

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 distance between us and the object of desire that fills in the space in between with the blue of longing. I wonder sometimes whether with a slight adjustment of perspective it could be cherished as a sensation in its own terms, since it is as inherent to the human condition as blue is to distance? . Rebecca Solnit

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. Rebecca Solnit

...to be lost is to be fully present, and to be fully present is to be capable of being in uncertainty and mystery. And one does not get lost but loses oneself, with the implication that it is a conscious choice, a chosen surrender... Rebecca Solnit

But fear of making mistakes can itself become a huge mistake, one that prevents you from living, for life is risky and anything less is already a loss. Rebecca Solnit

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. Rebecca Solnit

How do you calculate upon the unforeseen? It seems to be an art of recognizing the role of the unforeseen, of keeping your balance amid surprises, of collaborating with chance, of recognizing that there are some essential mysteries in the world and thereby a limit to calculation, to plan, to control. Rebecca Solnit

The art is not one of forgetting but letting go Rebecca Solnit