From Rebecca Solnit's Hope in the Dark: Untold Histories, Wild Possibilities (Haymarket, 2004):
"A friend of mine, Jaime Cortez, tells me I should consider the difference between hope and faith. Hope, he says, can be based on the evidence, on the track record of what might be...but faith endures even when there's no way to imagine winning in the foreseeable future. Faith is more mystical. Jaime sees the American Left as pretty devoid of faith, and connects faith to what it takes to change things in the long term, beyond what you might live to see or benefit from. I argue that what was once the Left is now so full of anomalies -- of indigenous intellectuals and Catholic pacifists and the like -- that maybe we do have faith -- some of us.
"Activism isn't reliable. It isn't fast. It isn't direct either, most of the time, even though the term direct action is used for that confrontation in the streets, those encounters involving law breaking and civil disobedience. It may be because activists move like armies through the streets that people imagine effects as direct as armies. An army assaults the physical world and takes physical possession of it; activists reclaim the streets and occasionally seize a Bastille or swarm a Berlin Wall, but the terrain of their action is usually immaterial, the realm of the symbolic, political discourse, collective imagination. They enter the conversation forcefully, but it remains a conversation. Every act is an act of faith, because you don't know what will happen. You just hope and employ whatever wisdom and experience seems most likely to get you there.
"I believe all this," Solnit continues, "because I've lived it, and I've lived it because I am a writer. For twenty years I have sat alone at a desk tinkering with sentences and then sending them out, and for most of my literary life, the difference between throwing something in the trash and publishing it was imperceptible, but in the past several years the work has started coming back to me, or the readers have. Musicians and dancers face their audience and visual artists can spy on them, but reading is mostly as private as writing. Writing is lonely. It's an intimate talk with the dead, with the unborn, with the absent, with strangers, with readers who may never come to be and who, even if they do read you, will do so weeks, years, decades later. An essay, a book, is one statement in a long conversation you could call culture or history; you are answering something or questioning something that may have fallen silent long ago, and the response to your words may come long after you're gone and never reach your ears -- if anyone hears you in the first place....
"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. In her book Faith, Sharon Salzberg recounts how she put together a collection of teachings by the Buddhist monk U Pandita and consigned the project to the 'minor good-deed category.' Long afterward, she found out that while Aung San Suu Kyi, the Burmese democracy movement's leader, was isolated under house arrest by that country's dictators, the book and its instructions in meditation 'became her main source of spiritual support during those intensely difficult years.' Thought becomes action becomes the order of things, but no straight road takes you there.
"Nobody can know the full consequences of their actions, and history is full of small acts that changed the world in surprising ways."
The passage above is from Hope in the Dark by Rebecca Solnit (Haymarket, 2004). The book is available here at 50% off until January, and I recommend it (and all of Solnit's work) highly. The poem in the picture captions is from The Crooked Inheritance by Marge Piercy (Knopf, 2006). All rights reserved by the authors.