Top 450 Rebecca Solnit Quotes (2026 Update)
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151. “Hope is a gift you don’t have to surrender, a power you don’t have to throw away.”

— Rebecca Solnit

152. “I’m grateful that, after an early life of being silenced, sometimes violently, I grew up to have a voice, circumstances that will always bind me to the rights of the voiceless.”

— Rebecca Solnit

153. “There is no good answer to how to be a woman; the art may instead lie in how we refuse the question.”

— Rebecca Solnit

154. “Only when the honey turns to dust are you free.”

— Rebecca Solnit

155. “The fight for free space-for wilderness and for public space-must be accompanied by a fight for free time to spend wandering in that space. Otherwise the individual imagination will be bulldozed over for the chain-store outlets of consumer appetite, true-crime titillations, and celebrity crises.”

— Rebecca Solnit

156. “Even getting a restraining order – a fairly new legal tool – requires acquiring the credibility to convince the courts that some guy is a menace and then getting the cops to enforce it. Restraining orders often don’t work anyway.”

— Rebecca Solnit

157. “Activism is not a journey to the corner store. It is a plunge into the unknown. The future is always dark.”

— Rebecca Solnit

158. “Growing up north of San Francisco, I immersed myself in the local landscape and in books about Native Americans, cowboys, and pioneers that seemed to ground me in it, but to pursue culture in those days meant being spun around until dizzy and then pushed east.”

— Rebecca Solnit

159. “I like walking because it is slow, and I suspect that the mind, like the feet, works at about three miles an hour. If this is so, then modern life is moving faster than the speed of thought or thoughtfulness.”

— Rebecca Solnit

160. “For me the insurrectionary possibilities of disaster are what make them really interesting and sometimes positive – Mexico City’s big 1985 earthquake brought a lot of positive, populist, anti-institutional social change.”

— Rebecca Solnit

161. “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

162. “You write your books. You scatter your seeds. Rats might eat them, or they might rot. In California, some seeds lie dormant for decades because they only germinate after fire, and sometimes the burned landscape blooms most lavishly.”

— Rebecca Solnit

163. “I have been both a ghost and haunted in the city I love.”

— Rebecca Solnit

164. “Violence is one way to silence people, to deny their voice and their credibility, to assert your right to control over their right to exist. About.”

— Rebecca Solnit

165. “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

166. “As Nancy Frey writes of the long-distance pilgrimage to Santiago de Compostela in Spain, ‘When pilgrims begin to walk several things usually begin to happen to their perceptions of the world which continue over the course of the journey: they develop a changing sense of time, a heightening of the senses, and a new awareness of their bodies and the landscape... A young German man expressed it this way: ‘In the experience of walking, each step is a thought. You can’t escape yourself.”

— Rebecca Solnit

167. “Listen to what makes your hair stand on end, your heart melt, and your eyes go wide, what stops you in your tracks and makes you want to live, wherever it comes from, and hope that your writing can do all those things for other people.”

— Rebecca Solnit

168. “The Eagles’s 1977 hit “Hotel California” was a flawless piece of craftsmanship, but it was about upscale fatalism and gilded cages, about the hotel you can check into but never leave. It sounded as though Joan Didion had started writing lyrics. As.”

— Rebecca Solnit

169. “To spin the web and not be caught in it, to create the world, to create your own life, to rule your fate, to name the grandmothers as well as the fathers, to draw nets and not straight lines, to be a maker as well as a cleaner, to be able to sing and not be silenced, to take down the veil and appear: all these are the banners on the laundry line I hang out.”

— Rebecca Solnit

170. “There is no money in what is aptly called free association: we are instead encouraged by media and advertising to fear each other and regard public life as a danger and a nuisance, to live in secured spaces, communicate by electronic means, and acquire our information from media rather than each other.”

— Rebecca Solnit

171. “Not a few stories are sinking ships, and many of us go down with these ships even when the lifeboats are bobbing all around us.”

— Rebecca Solnit

172. “Marriage equality is a threat: to inequality. It’s a book to everyone who values and benefits from equality. It’s for all of us.”

— Rebecca Solnit

173. “The backlash against feminism remains savage, strong, and omnipresent, but it is not winning. The world has changed profoundly, and it needs to change far more.”

— Rebecca Solnit

174. “The self is also a creation, the principal work of your life, the crafting of which makes everyone an artist. This unfinished work of becoming ends only when you do, if then, and the consequences live on. We make ourselves and in so doing are the gods of the small universe of self and the large world of repercussions.”

— Rebecca Solnit

175. “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

176. “For me, childhood roaming was what developed self-reliance, a sense of direction and adventure, imagination, a will to explore, to be able to get a little lost and then figure out the way back.”

— Rebecca Solnit

177. “Having the right to show up and speak are basic to survival, to dignity, and to liberty. I’m grateful that, after an early life of being silenced, sometimes violently, I grew up to have a voice, circumstances that will always bind me to the rights of the voiceless.”

— Rebecca Solnit

178. “Alone in the car with my social life all before and behind me, I was suspended in the beautiful solitude of the open road, in a kind of introspection that only outdoor space generates, for inside and outside are more intertwined than the usual distinctions allow. The emotion stirred by the landscape is piercing, a joy close to pain when the blue is deepest on the horizon or the clouds are doing those spectacular fleeting things so much easier to recall than to describe.”

— Rebecca Solnit

179. “Not till we are completely lost, or turned round, – for a man needs only to be turned round once with his eyes shut in this world to be lost, – do we appreciate the vastness and strangeness of nature. Not till we are lost, in other words, not till we have lost the world, do we begin to find ourselves, and realize where we are and the infinite extent of our relations.”

— Rebecca Solnit

180. “The purpose of activism and art, or at least of mine, is to make a world in which people are producers of meaning, not consumers, and writing this book I now see how this is connected to the politics of hope and to those revolutionary days that are the days of creation of the world. Decentralization and direct democracy could, in one definition, be this politic in which people are producers, possessed of power and vision, in an unfinished world.”

— Rebecca Solnit

181. “You read enough books in which people like you are disposable, or are dirt, or are silent, absent, or worthless, and it makes an impact on you. Because art makes the world, because it matters, because it makes us. Or breaks us.”

— Rebecca Solnit

182. “A restlessness has seized hold of many of us, a sense that we should be doing something else, no matter what we are doing, or doing at least two things at once, or going to check some other medium. It’s an anxiety about keeping up, about not being left out or getting behind.”

— Rebecca Solnit

183. “The ways creative work gets done are always unpredictable, demanding room to roam, refusing schedules and systems. They cannot be reduced to replicable formulas.”

— Rebecca Solnit

184. “Writing is saying to no one and to everyone the things it is not possible to say to someone.”

— Rebecca Solnit

185. “Memory, even in the rest of us, is a shifting, fading, partial thing, a net that doesn’t catch all the fish by any means and sometimes catches butterflies that don’t exist.”

— Rebecca Solnit

186. “Fire, brimstone and impending apocalypse have always had great success in the pulpit, and the apocalypse is always easier to imagine than the strange circuitous routes to what actually comes next.”

— Rebecca Solnit

187. “Smile,” a man orders you, and that’s a concise way to say that he owns you; he’s the boss; you do as you’re told; your face is there to serve his life, not express your own. He’s someone; you’re no one.”

— Rebecca Solnit

188. “Hysteria derives from the Greek word for “uterus,” and the extreme emotional state it denotes was once thought to be due to a wandering womb; men were by definition.”

— Rebecca Solnit

189. “He ceased to be lost not by returning but by turning into something else.”

— Rebecca Solnit

190. “What’s your story? It’s all in the telling. Stories are compasses and architecture; we navigate by them, we build our sanctuaries and our prisons out of them, and to be without a story is to be lost in the vastness of a world that spreads in all directions like arctic tundra or sea ice. To love someone is to put yourself in their place, we say, which is to put yourself in their story, or figure out how to tell yourself their story.”

— Rebecca Solnit

191. “A city is built to resemble a conscious mind, a network that can calculate, administrate, manufacture. Ruins become the unconscious of a city, it’s memory, unknown, darkness, lost lands, and in this truly bring it to life.”

— Rebecca Solnit

192. “One disturbing aspect of abuse and harassment is the idea that it’s not the crime that’s the betrayal but the testimony about the crime. You’re not supposed to tell. Abusers often assume this privilege that demands the silence of the abused, that a nonreciprocal protection be in place. Others often impose it as well, portraying the victims as choosing to ruin a career or a family, as though the assailant did not make that choice himself.”

— Rebecca Solnit

193. “One of the reasons people lock onto motherhood as a key to feminine identity is the belief that children are the way to fulfill your capacity to love. But there are so many things to love besides one’s own offspring, so many things that need love, so much other work love has to do in the world.”

— Rebecca Solnit

194. “Walking shares with making and working that crucial element of engagement of the body and the mind with the world, of knowing the world through the body and the body through the world.”

— Rebecca Solnit

195. “You could be erased a little so that there was less of you, less confidence, less freedom, or your rights could be eroded, your body invaded so that it was less and less yours, you could be rubbed out altogether, and none of those possibilities seemed particularly remote. All the worst things that happened to other women because they were women could happen to you because you were a woman. Even if you weren’t killed, something in you was, your sense of freedom, equality, confidence.”

— Rebecca Solnit

196. “Many of the great humanitarian and environmental campaigns of our time have been to make the unknown real, the invisible visible, to bring the faraway near, so that the suffering of sweatshop workers, torture victims, beaten children, even the destruction of other species and remote places, impinges on the imagination and perhaps prompts you to act.”

— Rebecca Solnit

197. “Still, even now, when a woman says something uncomfortable about male misconduct, she is routinely portrayed as delusional, a malicious conspirator, a pathological liar, a whiner who doesn’t recognize it’s all in fun, or all of the above.”

— Rebecca Solnit

198. “Stories migrate secretly. The assumption that whatever we now believe is just common sense, or what we always knew, is a way to save face. It’s also a way to forget the power of a story and of a storyteller, the power in the margins, and the potential for change.”

— Rebecca Solnit

199. “We write history with our feet and with our presece and our collective voice and vision. And yet, of course, everything in the mainstream media suggests that popular resistance is ridiculous, pointless, or criminal, unless it is far away, was long ago, or, ideally, both. These are the forces that prefer the giant remain asleep.”

— Rebecca Solnit

200. “Violence is one way to silence people, to deny their voice and their credibility, to assert your right to control over their right to exist. About three women a day are murdered by spouses or ex-spouses in this country. It’s one of the main causes of death for pregnant women in the United States.”

— Rebecca Solnit