Free Men Explain Things to Me by Rebecca Solnit

notion.”
    Some portion of Woolf’s genius, it seems to me, is that having no notion, that negative capability. I once heard about a botanist in Hawaii with a knack for finding new species by getting lost in the jungle, by going beyond what he knew and how he knew, by letting experience be larger than his knowledge, by choosing reality rather than the plan. Woolf not only utilized but celebrated the unpredictable meander, on mind and foot. Her great essay “Street Haunting: A London Adventure,”from 1930, has the light breezy tone of many of her early essays, and yet voyages deep into the dark.
    It takes a fictionalized or invented excursion to buy a pencil in the winter dusk of London as an excuse to explore darkness, wandering, invention, the annihilation of identity, the enormous adventure that transpires in the mind while the body travels a quotidian course. “The evening hour, too, gives us the irresponsibility which darkness and lamplight bestow,” she writes. “We are no longer quite ourselves. As we step out of the house on a fine evening between four and six, we shed the self our friends know us by and become part of that vast republican army of anonymous trampers, whose society is so agreeable after the solitude of one’s own room.” Here she describes a form of society that doesn’t enforce identity but liberates it, the society of strangers, the republic of the streets, the experience of being anonymous and free that big cities invented.
    Introspection is often portrayed as an indoor, solitary thing, the monk in his cell, the writer at her desk. Woolf disagrees, saying of the home, “For there we sit surrounded by objects which enforce the memories of our own experience.” She describes the objects and then states, “But when the door shuts on us, all that vanishes. The shell-like covering which our souls have excreted to house themselves, to make for themselves a shape distinct from others, is broken, and there is left of all these wrinkles and roughnesses a central pearl of perceptiveness, an enormous eye. How beautiful a street is in winter!”
    The essay found its way into my history of walking , Wanderlust , that is also a history of wandering and of the mind in motion. The shell of home is a prison of sorts, as much as a protection, a casing of familiarity and continuity that can vanish outside. Walking the streets can be a form of social engagement, even of political action when we walk in concert, as we do in uprisings, demonstrations, and revolutions, but it can also be a means of inducing reverie, subjectivity, and imagination, a sort of duet between the prompts and interrupts of the outer world and the flow of images and desires (and fears) within. At times, thinking is an outdoor activity, and a physical one.
    In these circumstances, it is often mild distraction that moves the imagination forward, not uninterrupted concentration. Thinking then works by indirection, sauntering in a roundabout way to places it cannot reach directly. In “Street Haunting,” the voyages of imagination may be purely recreational, but such meandering allowed Woolf to conceive the form of To the Lighthouse , had furthered her creative work in a way that sitting at a desk might not. The ways creative work gets done are always unpredictable, demanding room to roam, refusing schedules and systems. They cannot be reduced to replicable formulas.
    Public space, urban space, which serves at other times the purposes of the citizen, the member of society establishing contact with other members, is here the space in which to disappear from the bonds and binds of individual identity. Woolf is celebrating getting lost, not literally lost as in not knowing how to find your way, but lost as in open to the unknown, and the way that physical space can provide psychic space. She writes about daydreaming, or perhaps evening dreaming in this case, the business of imagining yourself in another place, as another person.
    In