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baadumching's review against another edition
challenging
informative
reflective
fast-paced
4.5
From the footnotes included and those that should be several years after publication…I’d bet Rebecca wishes she hadn’t ever written positively about a single comedian 😂
katya_m's review against another edition
“We are volcanoes,” Ursula K. Le Guin once remarked. “When we women offer our experience as our truth, as human truth, all the maps change. There are new mountains.”
Não achei este <i> The Mother Of All Questions </i> tão pertinente quanto o anterior ensaio <i>Men Explain Things Toe</i>. Desta vez, Solnit usa de um tom mais formal e menos próximo na maioria a dos ensaios, o que resulta na ausência de algumas das farpas mais acutilantes do anterior volume. Ainda assim, a autora continua a tocar pontos sensíveis e francamente interessantes, sobretudo aqueles relacionados com voz, identidade e censura...
<i>If our voices are essential aspects of our humanity, to be rendered voiceless is to be dehumanized or excluded from one's humanity.</i>
... ou com linguagens e imagens de poder - as quais legitimam e propagam discursos sexistas. Em várias instâncias, as suas palavras trouxeram-me à ideia as reposições de séries de TV antigas (alguém disse <i>Uma Casa Na Pradaria</i>?), muitas das quais são compósitos de modelos masculinos desculpáveis(?) pela sua vertente artística e que assim continuam a circular transvestidos de uma nostalgia perniciosa.
Ainda assim, - e recorde-se que estes ensaios datam de 2015/17 - alguns problemas mantém-se ao longo da trilogia de Solnit. Perante muitas das suas afirmações, fica evidente a rápida e progressiva erosão sofrida nos direitos das mulheres e o ataque sob o qual se encontra atualmente o feminismo. A esta luz, o otimismo característico da autora volta a não sair ileso.
Apesar disso, alguns momentos desta coletânea resistem com uma força respeitável - e a ensaística tem muito disso. É, todavia, na sua vertente de historiadora/socióloga que mais aprecio (e me identifico com) a autora e será por esses aspectos que, certamente, a continuarei a ler.
<i>Being unable to tell your story is a living death and sometimes a literal one. If no one listens when you say your ex-husband is trying to kill you, if no one believes you when you say you are in pain, if no one hears you when you say help, if you don’t dare say help, if you have been trained not to bother people by saying help. If you are considered to be out of line when you speak up in a meeting, are not admitted into an institution of power, are subject to irrelevant criticism whose subtext is that women should not be here, or heard. Stories save your life. And stories are your life. We are our stories, stories that can be both prison and the crowbar to break open the door of that prison; we make stories to save ourselves or to trap ourselves or others, stories that lift us up or smash us against the stone wall of our own limits and fears. Liberation is always in part a storytelling process: breaking stories, breaking silences, making new stories. A free person tells her own story. A valued person lives in a society in which her story has a place.
Violence against women is often against our voices and our stories. It is a refusal of our voices, and of what a voice means: the right to self-determination, to participation, to consent or dissent, to live and participate, to interpret and narrate. </i>
Não achei este <i> The Mother Of All Questions </i> tão pertinente quanto o anterior ensaio <i>Men Explain Things Toe</i>. Desta vez, Solnit usa de um tom mais formal e menos próximo na maioria a dos ensaios, o que resulta na ausência de algumas das farpas mais acutilantes do anterior volume. Ainda assim, a autora continua a tocar pontos sensíveis e francamente interessantes, sobretudo aqueles relacionados com voz, identidade e censura...
<i>If our voices are essential aspects of our humanity, to be rendered voiceless is to be dehumanized or excluded from one's humanity.</i>
... ou com linguagens e imagens de poder - as quais legitimam e propagam discursos sexistas. Em várias instâncias, as suas palavras trouxeram-me à ideia as reposições de séries de TV antigas (alguém disse <i>Uma Casa Na Pradaria</i>?), muitas das quais são compósitos de modelos masculinos desculpáveis(?) pela sua vertente artística e que assim continuam a circular transvestidos de uma nostalgia perniciosa.
Ainda assim, - e recorde-se que estes ensaios datam de 2015/17 - alguns problemas mantém-se ao longo da trilogia de Solnit. Perante muitas das suas afirmações, fica evidente a rápida e progressiva erosão sofrida nos direitos das mulheres e o ataque sob o qual se encontra atualmente o feminismo. A esta luz, o otimismo característico da autora volta a não sair ileso.
Apesar disso, alguns momentos desta coletânea resistem com uma força respeitável - e a ensaística tem muito disso. É, todavia, na sua vertente de historiadora/socióloga que mais aprecio (e me identifico com) a autora e será por esses aspectos que, certamente, a continuarei a ler.
<i>Being unable to tell your story is a living death and sometimes a literal one. If no one listens when you say your ex-husband is trying to kill you, if no one believes you when you say you are in pain, if no one hears you when you say help, if you don’t dare say help, if you have been trained not to bother people by saying help. If you are considered to be out of line when you speak up in a meeting, are not admitted into an institution of power, are subject to irrelevant criticism whose subtext is that women should not be here, or heard. Stories save your life. And stories are your life. We are our stories, stories that can be both prison and the crowbar to break open the door of that prison; we make stories to save ourselves or to trap ourselves or others, stories that lift us up or smash us against the stone wall of our own limits and fears. Liberation is always in part a storytelling process: breaking stories, breaking silences, making new stories. A free person tells her own story. A valued person lives in a society in which her story has a place.
Violence against women is often against our voices and our stories. It is a refusal of our voices, and of what a voice means: the right to self-determination, to participation, to consent or dissent, to live and participate, to interpret and narrate. </i>
mdarceyhall's review against another edition
4.0
If Didion is a spoon dolloping cream on a peach, Solnit is the knife slicing through and exposing the bitter flesh. While I enjoy Didion’s sepia-hued narratives, Solnit never fails to impress me with her sharp cultural criticism that takes no prisoners and yet never veers into pessimism or hopelessness.
nastjarchive's review against another edition
4.0
the essay on silence!! a must read!
good collection, still very relevant despite being written 10 years ago
good collection, still very relevant despite being written 10 years ago
kat_schrag89's review against another edition
funny
informative
inspiring
reflective
medium-paced
5.0
jentidders's review against another edition
3.0
This is the follow up to Solnit's previous best-selling essay collection, Men Explain Things to Me, and covers women who refuse to be silenced, misogynistic violence, the fragile masculinity of the literary canon, the gender binary, the recent history of rape jokes, and much more.
Whilst I agree with pretty much all of Solnit's points and find her an eloquent writer, this collection suffers from being a bit repetitive
Whilst I agree with pretty much all of Solnit's points and find her an eloquent writer, this collection suffers from being a bit repetitive
justinems's review against another edition
4.0
This collection of essays pairs well with Men Explain Things to Me. Solnit’s writing is so important to me. She consistently finds bright spots and hope despite the heavy themes and content in her writing.