Rebecca Solnit Archive
Solnit’s approach has reflexivity built into it—a tendency to return to the past and to think through the same event multiple times in light of our current moment. Far from feeling repetitive, then, her most recent collection offers readers nuanced takes on old issues.
Works by Rebecca Solnit and Lexi Freiman take a look at how women express and suppress their rage.
Both Solnit and Milosz transform picturesque vistas into fully alive places on the page. Their methods are instructive not only for writing about place, but as tools for toggling between any set of Big Questions and the particulars of moving as a body through streets.
The debate about whether Rupi Kaur’s poetry (and by extension, the whole genre dubbed “instapoetry”) is good or bad has apparently been revived. Whether that debate is actually useful in the terms it has set out for itself remains to be seen. Most often, it seems, when the poet
Perhaps it’s paradoxical to want to define bewilderment, much less bewilderment as a poetics, given that the word generally refers to a state of confusion, an unmooring from the resolute signifiers that compose our comfortable, if not tidal and illusory, understanding of reality.
Prior to reading Rebecca Solnit's A Field Guide to Getting Lost, I had assumed it was about getting lost in the physical sense, for the sake of exploring and enjoying the natural world. It is not that.
Many of us will need to cope with, resist, or try to understand (or all of the above) Trump in 2017. So, below are 12 books—one per month—that can help with those unexpected projects.
Many writers have explored the pleasures of walking, including the likes of Virginia Woolf and Amy Hempel. There is a whole canon that depicts and analyzes the connection between moving through geographical terrains and mental ones.
There are many benefits of cynicism. But there’s also a certain kind of knee-jerk, armchair cynicism that lets those who subscribe to it reduce complex political and social events to doomed exercises in futility, and to pretend to know the totality of their worth. That kind of thinking is
As Virginia Woolf famously observed, the best writing often begins with a rhythmical “wave in the mind,” an inner tempo around which syntax and diction are arranged, a guiding beat of artistic intuition that, when struck upon, makes it nearly impossible to set down the wrong word. Other writers