Storming the Gates of Paradise: Landscapes for Politics QUOTES

1 " 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. "

― Rebecca Solnit , Storming the Gates of Paradise: Landscapes for Politics

2 " 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 "

― Rebecca Solnit , Storming the Gates of Paradise: Landscapes for Politics

3 " 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 "

― Rebecca Solnit , Storming the Gates of Paradise: Landscapes for Politics

4 " 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. "

― Rebecca Solnit , Storming the Gates of Paradise: Landscapes for Politics

5 " 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. "

― Rebecca Solnit , Storming the Gates of Paradise: Landscapes for Politics

6 " Home is everything you can walk to. "

― Rebecca Solnit , Storming the Gates of Paradise: Landscapes for Politics

7 " 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. "

― Rebecca Solnit , Storming the Gates of Paradise: Landscapes for Politics

8 " As Elizabeth Blackmar and Ray Rosenzweig wrote in their magisterial history of [Central Park in NYC]: 'The issue of demoncratic access to the park has also been raised by the increasing number of homeless New Yorkers. Poor people--from the 'squatters' of the 1850s to the 'tramps' of the 1870s and 1890s to the Hooverville residents of the 1930s--have always turned to the park land for shelter...The growing visibility of homeless people in Central Park osed in the starkest terms the contradiction between Americans' commitment to democratic space and their acquiescence in vast disparities of wealth and power. "

― Rebecca Solnit , Storming the Gates of Paradise: Landscapes for Politics

9 " The sea is a body in a thousand ways that don't add up, because adding is too stable a transaction for that flux, but the waves come in in a roar and then ebb, almost silent but for the fain suck of sand and snap of bubbles, over and over, a heartbeat rhythm, the sea always this body turned inside out and opened to the sky, the body always a sea folded in on itself, a nautical chart folded into a paper cup. "

― Rebecca Solnit , Storming the Gates of Paradise: Landscapes for Politics

10 " The sea is a body in a thousand ways that don't add up, because adding is too stable a transaction for that flux, but the waves come in in a roar and then ebb, almost silent but for the faint suck of sand and snap of bubbles, over and over, a heartbeat rhythm, the sea always this body turned inside out and opened to the sky, the body always a sea folded in on itself, a nautical chart folded into a paper cup. "

― Rebecca Solnit , Storming the Gates of Paradise: Landscapes for Politics

11 " 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. "

― Rebecca Solnit , Storming the Gates of Paradise: Landscapes for Politics

12 " 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 "

― Rebecca Solnit , Storming the Gates of Paradise: Landscapes for Politics

13 " Places matter. Their rules, their scale, their design include or exclude civil society, pedestrianism, equality, diversity (economic and otherwise), understanding of where water comes from and garbage goes, consumption or conservation. They map our lives. "

― Rebecca Solnit , Storming the Gates of Paradise: Landscapes for Politics

14 " 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. "

― Rebecca Solnit , Storming the Gates of Paradise: Landscapes for Politics

15 " ...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. "

― Rebecca Solnit , Storming the Gates of Paradise: Landscapes for Politics

16 " 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. "

― Rebecca Solnit , Storming the Gates of Paradise: Landscapes for Politics

17 " [Thoreau's] famous night in jail took place about halfway through his stay in the cabin on Emerson's woodlot at Walden Pond. His two-year stint in the small cabin he built himself is often portrayed as a monastic retreat from the world of human affairs into the world of nautre, though he went back to town to eat with and talk to friends and family and to pick up money doing odd jobs that didn't fit into Walden's narrative. He went to jail both because the town jailer ran into him while he was getting his shoe mended and because he felt passionately enough about national affairs to refuse to pay his tax. To be in the woods was not to be out of society or politics. "

― Rebecca Solnit , Storming the Gates of Paradise: Landscapes for Politics

18 " 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. "

― Rebecca Solnit , Storming the Gates of Paradise: Landscapes for Politics

19 " The planting of [orchards] represents a reduction of a complex ecology into the monocultural grid of modern agriculture, and the transformation of a complex symbiosis with the land into the simpler piecework or agricultural labour for surplus and export. "

― Rebecca Solnit , Storming the Gates of Paradise: Landscapes for Politics

20 " 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. "

― Rebecca Solnit , Storming the Gates of Paradise: Landscapes for Politics