Tamara

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Rebecca Solnit
“I was asked to talk to a roomful of undergraduates in a university in a beautiful coastal valley. I talked about place, about the way we often talk about love of place, but seldom how places love us back, of what they give us. They give us continuity, something to return to, and offer familiarity that allows some portion of our lives to remain collected and coherent.

They give us an expansive scale in which our troubles are set into context, in which the largeness of the world is a balm to loss, trouble, and ugliness.

And distant places give us refuge in territories where our own histories aren't so deeply entrenched and we can imagine other stories, other selves, or just drink up quiet and respite.

The bigness of the world is redemption.

Despair compresses you into a small space, and a depression is literally a hollow in the ground. To dig deeper into the self, to go underground, is sometimes necessary, but so is the other route of getting out of yourself, into the larger world, into the openness in which you need not clutch your story and your troubles so tightly to your chest.

Being able to travel in both ways matters, and sometimes the way back into the heart of the question begins by going outward and beyond. This is the expansiveness that comes literally in a landscape or that tugs you out of yourself in a story.....

I told the student that they were at an age when they might begin to choose the places that would sustain them the rest of their lives, that places were much more reliable than human beings, and often much longer-lasting, and I asked each of them where they felt at home. They answered, each of them, down the rows, for an hour, the immigrants who had never stayed anywhere long or left a familiar world behind, the teenagers who'd left the home they'd spent their whole lives in for the first time, the ones who loved or missed familiar landscapes and the ones who had not yet noticed them.

I found books and places before I found friends and mentors, and they gave me a lot, if not quite what a human being would. As a child, I spun outward in trouble, for in that inside-out world [of my family], everywhere but home was safe. Happily, the oaks were there, the hills, the creeks, the groves, the birds, the old dairy and horse ranches, the rock outcroppings, the open space inviting me to leap out of the personal into the embrace of the nonhuman world.”
Rebecca Solnit, The Faraway Nearby

Tove Jansson
“I love borders. August is the border between summer and autumn; it is the most beautiful month I know.

Twilight is the border between day and night, and the shore is the border between sea and land. The border is longing: when both have fallen in love but still haven't said anything. The border is to be on the way. It is the way that is the most important thing.”
Tove Jansson

Silas House
“When they lived in Key West Justin thought the Everything lived in the ocean. Sometimes he thought the ocean was God. But if the Everything lives anywhere, it's in a river. Because the river moves along and touches every little thing on it's way. An he thinks the Everything would be quiet like a river. Event still sometimes. The ocean is always moving and noisy. The sky's always changing. But rivers are always there, even when the water has moved on. You've got to find the Everything wherever you are.”
Silas House, Southernmost

Tove Jansson
“The quiet transition from autumn to winter is not a bad time at all. It's a time for protecting and securing things and for making sure you've got in as many supplies as you can. It's nice to gather together everything you possess as close to you as possible, to store up your warmth and your thoughts and burrow yourself into a deep hole inside, a core of safety where you can defend what is important and precious and your very own. Then the cold and the storms and the darkness can do their worst. They can grope their way up the walls looking for a way in, but they won't find one, everything is shut, and you sit inside, laughing in your warmth and your solitude, for you have had foresight.”
Tove Jansson, Moominvalley in November

Robert Penn Warren
“Storytelling and copulation are the two chief forms of amusement in the South. They’re inexpensive and easy to procure. ”
Robert Penn Warren

year in books
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