Walkers are 'practitioners of the city,' for the city is made to be walked. A city is a language, a repository of possibilities, and walking is the act of speaking that language, of selecting from those possibilities. Just as language limits what can be said, architecture limits where one can walk, but the walker invents other ways to go.

The present rearranges the past. We never tell the story whole because a life isn't a story; it's a whole Milky Way of events and we are forever picking out constellations from it to fit who and where we are.

When you say 'mother' or 'father' you describe three different phenomena. There is the giant who made you and loomed over your early years; there is whatever more human-scale version might have been possible to perceive later and maybe even befriend; and there is the internalized version of the parent with whom you struggle- to appease, to escape, to be yourself, to understand and be understood by- and they make up a chaotic and contradictory trinity.

Violence doesn't have a race, a class, a religion, or a nationality, but it does have a gender.

The oil corporations spend a lot of money to get, say, the tar sands pipeline through, but nobody's - you know, there are definitely environmentalists being paid - but a lot of people are acting for something other than financial compensation. So if the tar sands pipeline doesn't get made, it's because a huge amount of people are doing something that doesn't involve remuneration, money, etc., because we're not actually the self-interested financial instruments that economists like to imagine we are.

In the aftermath of 9/11, people had not a good time, but a deep, profound, rousing time, woke up from their ennui and isolation and trivialization to feel engaged, connected, purposeful, ready to give, to engage, to care, to learn.

More and more I think of privatisation as being not just about the takeover of resources and power by corporate interests, but as the retreat of citizens to private life and private space, screened from solidarity with strangers and increasingly afraid or even unable to imagine acting in public.