142
" On the crowded subway car back to Brooklyn afterwards, the youngest of my three female companions had her bottom groped by a man about Strauss-Kahn’s age. At first, she thought he had simply bumped into her. That was before she felt her buttock being cupped and said something to me, as young women often do, tentatively, quietly, as though it were perhaps not happening or perhaps not quite a problem.
Finally, she glared at him and told him to stop. I was reminded of a moment when I was an impoverished seventeen-year-old living in Paris and some geezer grabbed my ass. It was perhaps my most American moment in France, then the land of a thousand disdainful gropers; American because I was carrying three grapefruits, a precious purchase from my small collection of funds, and I threw those grapefruits, one after another, like baseballs at the creep and had the satisfaction of watching him scuttle into the night.
His action, like so much sexual violence against women, was undoubtedly meant to be a reminder that this world was not mine, that my rights -- my liberté, egalité, sororité, if you will -- didn’t matter. Except that I had sent him running in a barrage of fruit. "
― Rebecca Solnit , Men Explain Things to Me
144
" We often think the purpose of criticism is to nail things down. During my years as an art critic, I used to joke that museums love artists the way that taxidermists love deer, and something of that desire to secure, to stabilize, to render certain and definite the open-ended, nebulous, and adventurous work of artists is present in many who work in that confinement sometimes called the art world.
A similar kind of aggression against the slipperiness of the work and the ambiguities of the artist's intent and meaning often exists in literary criticism and academic scholarship, a desire to make certain what is uncertain, to know what is unknowable, to turn the flight across the sky into the roast upon the plate, to classify and contain. What escapes categorization can escape detection altogether.
There is a kind of counter-criticism that seeks to expand the work of art, by connecting it, opening up its meanings, inviting in the possibilities. A great work of criticism can liberate a work of art, to be seen fully, to remain alive, to engage in a conversation that will not ever end but will instead keep feeing the imagination. Not against interpretation, but against confinement, against the killing of the spirit. Such criticism is itself great art.
This is a kind of criticism that does not pit the critic against the text, does not seek authority. It seeks instead to travel with the work and its ideas, to invite it to blossom and invite others into a conversation that might have previously seemed impenetrable, to draw out relationships that might have been unseen and open doors that might have been locked. This is a kind of criticism that respects the essential mystery of art, which is in part its beauty and its pleasure, both of which are irreducible and subjective. The worst criticism seeks to have the last word and leave the rest of us in silence; the best opens up an exchange that need never end. "
― Rebecca Solnit , Men Explain Things to Me
157
" Not uncommonly, when a woman says something that impugns a man, particularly one at the heart of the status quo, especially if it has to do with sex, the response will question not just the facts of her assertion but her capacity to speak and her right to do so. Generations of women have been told they are delusional, confused, manipulative, malicious, conspiratorial, congenitally dishonest, often all at once. "
― Rebecca Solnit , Men Explain Things to Me
