The poor have often been subversive just because they don't always believe their own depiction as brutes and loafers and leeches, and new economy is making lots more poor or recognize their fellowship with the insecurity of the poor, the portion of the population for whom the system does not work.

A contrarian at heart, I am often guided by what I disagree with and don't want.

Too many of us seem far too fond of narratives of our powerlessness, maybe because powerlessness lets us off the hook... But we don't need everyone on board; we don't need one magic person in office; we need ourselves. To act. It's the wind, not the weathervanes.

I think one of the primary goals of a feminist landscape architecture would be to work toward a public landscape in which we can roam the streets at midnight, in which every square is available for Virginia Woolf to make up her novels

...[Cabeza de Vaca] ceased to be lost not by returning but by turning into something else.

Perhaps the central question about [Eliot] Porter's work is about the relationship between science, aesthetics, and environmental politics. His brother, the painter and critic Fairfield Porter, wrote in a 1960 review of [Porter's] colour photographs: 'There is no subject and background, every corner is alive,' and this suggests what an ecological aesthetic might look like.

I've been gratified to see over the twenty or so years of my writing life the West become less of a colony of the East; maybe new technologies and too much travel undermine the idea of provinciality.