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Whether she is contemplating the history of walking as a cultural and political experience over the past two hundred years (Wanderlust), or using the life of photographer Eadweard Muybridge as a lens to discuss the transformations of space and time in late nineteenth-century America (River of Shadows), Rebecca Solnit has emerged as an inventive and original writer whose mind is daring in the connections it makes. A Field Guide to Getting Lost draws on emblematic moments and relationships in Solnit's own life to explore issues of wandering, being lost, and the uses of the unknown. The result is a distinctive, stimulating, and poignant voyage of discovery.
- Sales Rank: #18038 in Books
- Brand: Solnit, Rebecca
- Published on: 2006-06-27
- Released on: 2006-06-27
- Original language: English
- Number of items: 1
- Dimensions: 7.73" h x .59" w x 5.09" l, .38 pounds
- Binding: Paperback
- 224 pages
From Publishers Weekly
The virtues of being open to new and transformative experiences are rhapsodized but not really illuminated in this discursive and somewhat gauzy set of linked essays. Cultural historian Solnit, an NBCC award winner for River of Shadows: Eadweard Muybridge and the Technological Wild West, allows the subject of getting lost to lead her where it will, from early American captivity narratives to the avant-garde artist Yves Klein. She interlaces personal and familial histories of disorientation and reinvention, writing of her Russian Jewish forebears' arrival in the New World, her experiences driving around the American west and listening to country music, and her youthful immersion in the punk rock demimonde. Unfortunately, the conceit of embracing the unknown is not enough to impart thematic unity to these essays; one piece ties together the author's love affair with a reclusive man, desert fauna, Hitchcock's Vertigo and the blind seer Tiresias in ways that will indeed leave readers feeling lost. Solnit's writing is as abstract and intangible as her subject, veering between oceanic lyricism ("Blue is the color of longing for the distance you never arrive in") and pensées about the limitations of human understanding ("Between words is silence, around ink whiteness, behind every map's information is what's left out, the unmapped and unmappable") that seem profound but are actually banal once you think about them.
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
From The New Yorker
This meditation on the pleasures and terrors of getting lost is-as befits its subject-less a coherent argument than a series of peregrinations, leading the reader to unexpected vistas. The word "lost," Solnit informs us, derives from the Old Norse for disbanding an army, and she extrapolates from this the idea of striking "a truce with the wide world." It's the wideness of the world that entices: a map of this deceptively slender volume would include hermit crabs, who live in scavenged shells; marauding conquistadors; an immigrant grandmother committed to an asylum; white frontier children kidnapped by Indians; and Hitchcock's "Vertigo." Solnit imagines a long-distance runner accumulating moments when neither foot is on the ground, "tiny fragments of levitation," and argues, by analogy, that in relinquishing certainty we approach, if only fleetingly, the divine.
Copyright © 2005 The New Yorker
From Booklist
One can literally get lost in a city or the wilderness, or one can lose one's self, one's memories, one's spiritual grounding, one's way through the labyrinth of love. And by getting lost, much can be found. Lannan Award winner Solnit, a penetrating cultural historian, has written books about landscape, the wild, art, and activism. Here she ponders the Zen of getting lost in a lithesome essay collection. Using the evocative color blue as a polestar, she roams from her roots in Bialystok to the Great Salt Lake and beyond, entwining autobiography with musings on exile, how photographs both create and displace memories, captivity narratives, urban ruins, music, the death of a friend, the "deterioration of the local," and the brief, bright life of artist Yves Klein. Solnit not only thinks innovatively and writes beautifully, she also trips the wire in the mind that hushes the static of routine concerns and allows readers to perceive hidden aspects of life, thus opening up new inner vistas for us to explore, even to the point of getting blissfully lost. Donna Seaman
Copyright © American Library Association. All rights reserved
Most helpful customer reviews
100 of 106 people found the following review helpful.
Rationality and Mystery
By Anna Mills
The first question is, what is a field guide to getting lost? Field guides help us with finding, not losing or getting lost. We use them to classify the unfamiliar and figure out what surrounds us. They reassure us that the bewildering array of natural phenomena has an underlying order. Solnit's title suggests we might also want our schemas to break down. Can we catalogue the various ways of getting lost as we might catalogue songbirds? The paradox feels whimsical, mocking, alluring. Like the title, the tone of the book will hover between the urge to know and the urge not to know, between rationality and mystery.
In the middle of the first chapter, Solnit gives us a manifesto: "Never to get lost is not to live, not to know how to get lost brings you to destruction." "Lost," for her, means we lack a narrative for what we are experiencing. Getting lost is a kind of Zen rebirth because "to be lost is to be fully present, and to be fully present is to be capable of being in uncertainty." Getting lost also has connotations of spiritual longing. Solnit titles every other chapter "The Blue of Distance." Blue "represents the spirit, the sky, and water, the immaterial and the remote, so that however tactile ansd close-up it is, it is always about distance and disembodiment." Voila the tone of the book--grand, abstract, sensual, yearning and inexorably aloof.
With a topic like the beauty of longing and loss, it is surprising how rarely Solnit lapses into cliché. Her prose is as smooth and bare as polished stone. It creates the feeling of waking from a dream and encountering the world, dazed and receptive. If Thoreau is the most cerebral of the philosopher-poets and Whitman the most sensual, Rebecca Solnit belongs at the midpoint. She does not allow herself academic verbal tics, or excess verbiage, but neither does she shy away from the syntactical complexity of acadmic writing. She integrates lyric sensuality and philosophizing as if these modes belong together, as if western civilization had never tried to separate mind and body. I admire her poise and authority a little as I admire Susan Sontag's. Solnit's is a supremely self-possessed voice, which may be the same thing as a voice that has abandoned the antic whining of the self. She draws deeply on experience, yet she resists the confessional mode.
You might say that Solnit offers an optimistic way to confront the globalized, alienated world of the twenty-first century, a sort of "If God gives you lemons, make lemonade," or "If God gets you lost, revel in it." You could argue that she offers a sophisticated alternative to the self-help genre, though I imagine Solnit would look down on self-help. She likes slipperiness and paradox too much. Still, she is interested in finding a way forward for the soul, and I, for one, am glad because my little soul is often bewildered.
I think Solnit dances between lostness and foundness. She notes that "nomads have fixed circuits and stable relationships to places," and her own wandering through the west is ritualized, repetitive. She doesn't need to go to Antarctica; she gets lost in America. Her home territory is simply vast and ambitious, her spirals broad. Still, in order to lose herself time after time, she has to find herself in between.
92 of 100 people found the following review helpful.
Gem of 2005
By Grant Barber
Solnit's book is as the title suggests--a discursive reflectoin on the many nuances of the idea of 'getting lost.' You find out that 'lost' is from the Norse meaning 'the dispersal of armies,' and that early Renaissance painters use blue to designate distance, that children are better (i.e., less likely to die) at getting lost because they don't rationalize the way adults do--all in just a few pages where the insight garnered is both spun out by the author, but left to the reader to stop and pursue in his/her own reflections. Of the twenty or so books of all genres which I've read in the last few weeks--and of those I will read in the next several I suspect--this book incarnates why I read: erudite, entertaining, entrancing. Solnit's book reaches out toward Wordsworth, Dillard, Thoreau--and the Clash, Plato, Robert Hass. The voice and perspective, though, are her own. The essays here can not be read in great, long gulps; switching metaphors, there is hearty sustenance here--you take in only so much, and you are sated with good things which you must digest before moving on. Side note: whoever edited the book did a disservice--occasional glaring errors, such as 'form' being spelled out 'from' and 'good' repeated a second time in a context where the repetition makes no sense (and when you know the author would have easily used another expression to capture the nuance intended over against using something as clunky as redundancy of such a limited word).
32 of 32 people found the following review helpful.
Reigning Queen of the Essay.
By Constant Reader
With a prodigious breadth and fearless depth, she takes the segue to a high art. Anything can be the occasion for connection. Any sentence can break your mind or heart wide open. Her most personal, and my personal favorite. Reading this book makes me feel alive.
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