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Orwell's Roses QUOTES

Orwell's Roses QUOTES

1 " The attack on truth and language makes the atrocities possible. If you can erase what has happened, silence the witnesses, convince people of the merit of supporting a lie, if you can terrorize people into silence, obedience, lies, if you can make the task of determining what is true so impossible or dangerous they stop trying, you can perpetuate your crimes. "

― Rebecca Solnit , Orwell's Roses

2 " There’s an Etruscan word, saeculum, that describes the span of time lived by the oldest person present, sometimes calculated to be about a hundred years. In a looser sense, the word means the expanse of time during which something is in living memory. Every event has its saeculum, and then its sunset when the last person who fought in the Spanish Civil War or the last person who saw the last passenger pigeon is gone. To us, trees seemed to offer another kind of saeculum, a longer time scale and deeper continuity, giving shelter from our ephemerality the way that a tree might offer literal shelter under its boughs. "

― Rebecca Solnit , Orwell's Roses

3 " If you dig into Orwell’s work, you find a lot of sentences about flowers and pleasures and the natural world. If you read enough of those sentences the gray portrait turns to color, and if you look for these passages, even his last masterpiece, Nineteen Eighty-Four, changes complexion. These sentences are less ringing, less prophetic than the political analysis, but they are not unrelated to it, and they have their own poetics, their own power, and their own politics. Nature itself is immensely political, in how we imagine, interact with, and impact it, though this was not much recognized in his era. "

― Rebecca Solnit , Orwell's Roses

4 " Like William Morris, he believed that paradise was behind us, in the old ways of life, and in the organic world, rather than ahead of us in an urbanized and industrialized future. "

― Rebecca Solnit , Orwell's Roses

5 " The term inspiration is often thought to be about positive and desirable things, and there’s a sentimental image of the muse as a pretty lady who’s the object of the writer’s ardor. For a political writer the inspirations or at least the prods to write are often whatever is most repellent and alarming, and opposition is a stimulant. Stalin was surely Orwell’s principal muse, if not as a personality then as the figure at the center of a terrifying authoritarianism wreathed in lies. "

― Rebecca Solnit , Orwell's Roses

6 " Orwell declares, “The Party told you to reject the evidence of your eyes and ears,” which makes direct observations and firsthand encounters in the material and sensory world likewise acts of resistance or at least reinforcements of the self who can resist. To spend time frequently with these direct experiences is clarifying, a way of stepping out of the whirlpools of words and the confusion they can whip up. In an age of lies and illusions, the garden is one way to ground yourself in the realm of the processes of growth and the passage of time, the rules of physics, meteorology, hydrology, and biology, and the realms of the senses. "

― Rebecca Solnit , Orwell's Roses

7 " So beauty can be both what one does not wish to change and where one wishes to go, the compass or rather North Star for change. Leonard reflects on their interchange: “You know, we were all just too busy for beauty. We were too angry for beauty. We were too heartbroken for beauty. I felt like an asshole with these picture[s] of clouds, but David was right. You go through all of the fighting not because you want to fight, but because you want to get somewhere as a people. You want to help create a world where you can sit around and think about clouds. That should be our right as human beings.” You could argue that if we go too long without sitting around and thinking about clouds we might forget how to do so or why, that we could so shrivel en route we’d be unable to reach that destination. "

― Rebecca Solnit , Orwell's Roses

8 " The woman who wrote in to upbraid Orwell for talking about roses seemed to think that paying attention to that which does not need to be changed is idleness, dissipation, and distraction. Those focused on injustice, on those things that the more we contemplate them the more we want to change them, tend to think of contemplation of what we don’t want to change as akin to shirking one’s duty or dodging awareness of what we do want to change. I’ve talked about it as, instead, regeneration of the energy to face destruction, but Scarry suggests it might also matter as a study of the templates of the desirable and the good. What is the goal of social change or political engagement? Can studying what good already exists or has existed be part of the work? There is, of course, a meaningful difference between the dour (and widespread) position that we are forever starting from scratch because everything is contaminated or corrupt and the position that the good exists as a kind of seed that needs to be tended more energetically or propagated more widely. "

― Rebecca Solnit , Orwell's Roses

9 " These domestic accounts—which take up a lot of the nearly six-hundred-page compilation of his travel, war, and domestic diaries published in 2009—stand out in his work as records of something almost antithetical to the subjects of a political writer: places in which nothing was seriously wrong and no conflicts raged. The minor troubles—a jackdaw hanging around the chicken coops, potatoes rotted by frost, goats terrified by thunder, birds eating the strawberries, greenfly on the roses, and lots of slugs—worked against the gardener’s agenda but not against any law of nature or morality. The majority of his entries are concerned with his own activity with his domesticated plants and animals, but he makes notes as well on the agricultural fields beyond and the wild things around him. Occasional speculations and small experiments are also recorded. "

― Rebecca Solnit , Orwell's Roses

10 " That invisibility or that obliviousness is one of the defining conditions of the modern world. Orwell was rectifying this obliviousness when he went up north to meet the working class out of work and down in the mines and to bear witness to that foundational commodity, coal, and the conditions of its extraction. To go down into the earth is to travel back in time, and to excavate it is to drag the past into the present, a process mining has done on a scale so colossal it’s changed the earth all the way up to the upper atmosphere. You can tell this story as a labor story, but you can also tell it as an ecological story, and the two dovetail in the end, as a story of devastation. "

― Rebecca Solnit , Orwell's Roses