
A Field Guide to Getting Lost

(nomads, contrary to current popular imagination, have fixed circuits and stable relationships to places; they are far from being the drifters and dharma bums that the word nomad often connotes nowadays).
Rebecca Solnit • A Field Guide to Getting Lost
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 the space in between with the blue of longing. I wonder sometimes whether with a slight adjustme
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It was as though the whole world consisted of the tiny close-up realm of these creatures and the vast distances of heaven, as though my own scale had been eliminated along with the middle ground, and this too is one of the austere luxuries of the desert.
Rebecca Solnit • A Field Guide to Getting Lost
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 th
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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.
Rebecca Solnit • A Field Guide to Getting Lost
Nobody gets over anything; time doesn’t heal any wounds; if he stopped loving her today, as one of George Jones’s most famous songs has it, it’s because he’s dead. The landscape in which identity is supposed to be grounded is not solid stuff; it’s made out of memory and desire, rather than rock and soil, as are the songs.
Rebecca Solnit • A Field Guide to Getting Lost
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,
Rebecca Solnit • A Field Guide to Getting Lost
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 neve
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the small industries of the inner cities were being replaced by artists and the smooth affluence that sometimes follows and imitates artists.