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44 pages 1 hour read

Rebecca Solnit

Hope In The Dark: The Untold History of People Power

Nonfiction | Essay Collection | Adult | Published in 2004

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Key Figures

Rebecca Solnit

Raised and publicly educated in California, Rebecca Solnit is a writer and activist who has published more than 20 books and contributes to The Guardian and LitHub. She received a Lannan Literary Award and National Book Critics Circle Award for River of Shadows: Eadweard Muybridge and the Technological Wild West (2003). She became a figure in the popular imagination for coining the term “mansplaining” in her 2008 feminist polemic Men Explain Things To Me. Some have noted that Solnit’s writing was prophetic in expressing sentiments that rang true for many US citizens a decade or two later. Hope in the Dark is a case in point, as it achieved newfound acclaim after the 2016 election of Donald Trump.

Solnit’s activism and writing expose her feminism, anti-capitalism, and environmentalism. She considers activism and writing to be natural companions in that the purpose “of resisting corporate globalization” is to “protect the obscure, the ineffable, the unmarketable, the local, the poetic, and the eccentric” (67). Additionally, her writing is a channel she uses to voice activist concerns that might be relevant in a future moment in history.

Instead of an abstract essayist, Solnit is a concrete figure in the text of Hope in the Dark. She models her own example of activism by describing the protests she participates in and the others there with her. She engages in conversation with people on the allegedly opposing side, like the rancher in an “anti-environmentalist bar” in Eureka, Nevada (86), and finds common ground. Solnit discovers that she and the rancher are united not only by a preference for beer on tap but by their determination to protect local interests in an age of globalization.

Virginia Woolf

Both the title and subject matter of Solnit’s book derive from a diary entry of British modernist writer Virginia Woolf from 1915, the time of the First World War: “‘The future is dark, which is on the whole, the best thing the future can be’” (1). Solnit shares Woolf’s understanding that amid unspeakable human tragedy, the best future to hope for is a dark one, or one that can’t be clearly seen. Like Woolf, Solnit sees possibilities in uncertainty, and her book is a manifesto inciting an embrace of the hopefulness inherent in this.

Although Solnit admits that Woolf’s hope ended in her 1941 suicide during the next war, her work contradicted this sad fact through its “extraordinary beauty and power, power to put to use by women to liberate themselves in the years after Woolf was gone” (108). Thus, Woolf’s example continues the close interplay of hope and devastation that punctuates the rest of Solnit’s book.

George W. Bush

George W. Bush, the Republican president of the US from 2001 to 2009, is remembered for his aggressive and militant response to the September 11 attacks on the World Trade Center and the Pentagon in 2001. In a quest to eliminate Islamic fundamentalism from the world, he launched the War on Terror and invaded Iraq in 2003 on the pretense that the country was hoarding weapons of mass destruction.

Many on the liberal left, including Solnit, opposed the invasion, and millions participated in a worldwide peace protest on February 15, 2003. Solnit views Bush and his administration in the harshest terms, charging them with stifling the potential for a better version of humanity that could have emerged after the September 11 attacks. Solnit writes:

It seemed as though the Bush administration recognized this extraordinary possibility of the moment and did everything it could to suppress it, for nothing is more dangerous to them than that sense of citizenship, fearlessness, and communion with the world that is distinct from the blind patriotism driven by fear (56).

Moreover, she posits that Bush’s surveillance practices were a threat to democracy, as he pushed Republicanism from “what might be thought of as right-wing to something a little more totalitarian” (84). Despite opposition on the left, Bush managed to campaign successfully for a second term in 2004, on the grounds that he was keeping the country safe from terror. Solnit saw Bush’s war and his reelection as key factors in causing activists to give up and stay at home.

Subcomandante Marcos

Subcomandante Marcos, born Rafael Sebastián Guillén Vicente, was the Mexican spokesperson of the Zapatistas, a grassroots movement that embodied taking back indigenous power and land from the Mexican government. Solnit notes how Subcomandante Marcos, “a tall, green-eyed intellectual” (42), stood out from the more agrarian campesinos yet never wanted to steal the spotlight from them. Remaining “masked and pseudonymous” (42) enabled Subcomandante Marcos to use his eloquence without becoming the type of charismatic revolution leader who stole attention away from the campaigning populace. He was critical of the liberation movements of the 1960s and 1970s for their violence and cult of personality, holding that “what always remained unresolved was the role of the people, of civil society, in what became ultimately a dispute between two hegemonies” (43). His goal was to restore power to civil society rather than for a single individual or group to take it for themselves. The Zapatistas’ struggle is a microcosm of Solnit’s vision for the rest of humanity: In several other examples in the book, she shows how people attempt to redirect power away from individual corporations and reclaim it for the hands of the multitude.

Walter Benjamin

Walter Benjamin was a German Jewish philosopher, writer, and cultural theorist. His writings had a Marxist bent and influenced prominent late-20th intellectuals like Susan Sontag and Jean Baudrillard. He penned his “Theses on the Philosophy of History” in response to artist Paul Klee’s monoprint of 1920 titled “Angelus Novus.” From this artwork, Benjamin conceived of an Angel of History who by fate looks at “wreckage upon wreckage and hurls it in front of his feet” (70). While the Angel would like to stay and make the world “whole” again, “a storm is blowing from Paradise; it has got caught in his wings with such violence that the angel can no longer close them” (70). Solnit thus considers Benjamin’s Angel, conceived from the despair of war and the persecution of Jews like himself by Hitler’s Third Reich, as being a tragic, if passive, creature “whom things happen to” (70).

While seduced by the beauty of Benjamin’s imagery, Solnit rejects his tragic focus and proposes that we put the comic “Angel of Alternate History” in the original’s place (70). This latter angel, inspired by Angel Clarence in It’s A Wonderful Life (1946), urges readers to investigate history and contemplate all the disasters that activism has prevented. While Benjamin’s Angel, like all despairing activists, tells us that we’re doomed, Solnit’s angel reinforces her book’s message by telling us “that our acts count, that we are making history all the time” (71).

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