Data de nascimento: 21. Outubro 1929
Data de falecimento: 22. Janeiro 2018
Outros nomes: Ursula Kroeber Le Guin, Урсула Ле Гуин
Ursula Kroeber Le Guin é uma escritora norte-americana. Escreveu romances, ensaios, contos, poesia e literatura infantil, destacando-se na Fantasia e na Ficção Científica. Os seus primeiros trabalhos foram publicados em 1960 e, desde aí, as suas obras exploram, nomeadamente, aspectos do taoísmo, anarquismo, etnografia, feminismo, psicologia e sociologia.
Suas obras mais conhecidas são o Ciclo de Terramar, composto por cinco volumes — O Feiticeiro e a Sombra , Os Túmulos de Atuan , A Praia mais Longínqua , Tehanu, o nome da estrela e Num Vento Diferente — e o romance A Mão Esquerda da Escuridão, parte do Ciclo de Hainish, outra de suas séries de alta fantasia.
It is good to have an end to journey towards; but it is the journey that matters in the end.
citado em "The farthest shores of Ursula K. Le Guin" - Página 27, George Edgar Slusser - Wildside Press LLC, 1976, ISBN 0893702056, 9780893702052 - 60 páginas
— Ursula K. Le Guin, livro Dancing at the Edge of the World
Success is somebody else's failure. Success is the American Dream we can keep dreaming because most people in most places, including thirty million of ourselves, live wide awake in the terrible reality of poverty.
"Dancing at the Edge of the World: Thoughts on Words, Women, Places" - Página 116, Ursula K. Le Guin - Grove Press, 1997, ISBN 0802135293, 9780802135292 - 320 páginas
— Ursula K. Le Guin, Hainish Cycle
Fonte: Hainish Cycle, (1974), Chapter 2 (p. 55)
Introduction to The Left Hand of Darkness (1976)
Contexto: The artist deals in what cannot be said in words. The artist whose medium is fiction does this in words. The novelist says in words what cannot be said in words.
in an interview http://www.viceland.com/int/v15n12/htdocs/ursula-k-le-guin-440.php?country=uk in Vice Magazine.
Contexto: Belief in heaven and hell is a big deal in Judaism, Christianity, and Islam, and some forms of doctrinaire Buddhism. For the rest of us it’s simply meaningless. We don’t live in order to die, we live in order to live.
Fonte: Earthsea Books, The Farthest Shore (1972), Chapter 8, "The Children of the Open Sea" (Ged)
Contexto: What you love, you will love. What you undertake you will complete. You are a fulfiller of hope; you are to be relied on. But seventeen years give little armor against despair... Consider, Arren. To refuse death is to refuse life.
Fonte: Earthsea Books, The Farthest Shore (1972), Chapter 8, "The Children of the Open Sea" (Ged)
Contexto: What you love, you will love. What you undertake you will complete. You are a fulfiller of hope; you are to be relied on. But seventeen years give little armor against despair... Consider, Arren. To refuse death is to refuse life.
— Ursula K. Le Guin, livro Four Ways to Forgiveness
"A Man of the People", p. 140
Four Ways to Forgiveness (1995)
Contexto: “Lines and colors made with earth on earth may hold knowledge in them. All knowledge is local, all truth is partial,” Havzhiva said with an easy, colloquial dignity that he knew was an imitation of his mother, the Heir of the Sun, talking to foreign merchants. “No truth can make another truth untrue. All knowledge is a part of the whole knowledge. A true line, a true color. Once you have seen the larger patttern, you cannot go back to seeing the part as the whole."
— Ursula K. Le Guin, livro Four Ways to Forgiveness
"A Man of the People", p. 140
Four Ways to Forgiveness (1995)
Contexto: “Lines and colors made with earth on earth may hold knowledge in them. All knowledge is local, all truth is partial,” Havzhiva said with an easy, colloquial dignity that he knew was an imitation of his mother, the Heir of the Sun, talking to foreign merchants. “No truth can make another truth untrue. All knowledge is a part of the whole knowledge. A true line, a true color. Once you have seen the larger patttern, you cannot go back to seeing the part as the whole."
— Ursula K. Le Guin, Hainish Cycle
Fonte: Hainish Cycle, The Telling (2000), Ch. 4, §3 (pp. 90–91)
Contexto: One of the historians of Darranda said: To learn a belief without belief is to sing a song without the tune.
A yielding, an obedience, a willingness to accept these notes as the right notes, this pattern as the true pattern, is the essential gesture of performance, translation, and understanding. The gesture need not be permanent, a lasting posture of the mind or heart, yet it is not false. It is more than the suspension of disbelief needed to watch a play, yet less than the conversion. It is a position, a posture in the dance.
— Ursula K. Le Guin, livro The Language of the Night
The Language of the Night (1979)
Contexto: I have never found anywhere, in the domain of art, that you don't have to walk to. (There is quite an array of jets, buses and hacks which you can ride to Success; but that is a different destination.) It is a pretty wild country. There are, of course, roads. Great artists make the roads; good teachers and good companions can point them out. But there ain't no free rides, baby. No hitchhiking. And if you want to strike out in any new direction — you go alone. With a machete in your hand and the fear of God in your heart.
— Ursula K. Le Guin, livro The Language of the Night
The Language of the Night (1979)
Contexto: I have never found anywhere, in the domain of art, that you don't have to walk to. (There is quite an array of jets, buses and hacks which you can ride to Success; but that is a different destination.) It is a pretty wild country. There are, of course, roads. Great artists make the roads; good teachers and good companions can point them out. But there ain't no free rides, baby. No hitchhiking. And if you want to strike out in any new direction — you go alone. With a machete in your hand and the fear of God in your heart.
Introduction to The Left Hand of Darkness (1976)
Contexto: I talk about the gods, I am an atheist. But I am an artist too, and therefore a liar. Distrust everything I say. I am telling the truth.
National Book Awards, November 2014 https://www.newyorker.com/books/page-turner/national-book-awards-ursula-le-guin
Contexto: I think hard times are coming, when we will be wanting the voices of writers who can see alternatives to how we live now, and can see through our fear-stricken society and its obsessive technologies, to other ways of being. And even imagine some real grounds for hope. We will need writers who can remember freedom: poets, visionaries—the realists of a larger reality. Right now, I think we need writers who know the difference between production of a market commodity and the practice of an art. The profit motive is often in conflict with the aims of art. We live in capitalism. Its power seems inescapable; so did the divine right of kings. … Power can be resisted and changed by human beings; resistance and change often begin in art, and very often in our art—the art of words. I’ve had a long career and a good one, in good company, and here, at the end of it, I really don’t want to watch American literature get sold down the river.... The name of our beautiful reward is not profit. Its name is freedom.
"Myth and Archetype in Science Fiction" (1976)
Contexto: True myth may serve for thousands of years as an inexhaustible source of intellectual speculation, religious joy, ethical inquiry, and artistic renewal. The real mystery is not destroyed by reason. The fake one is. You look at it and it vanishes. You look at the Blond Hero — really look — and he turns into a gerbil. But you look at Apollo, and he looks back at you. The poet Rilke looked at a statue of Apollo about fifty years ago, and Apollo spoke to him. “You must change your life,” he said. When true myth rises into consciousness, that is always its message. You must change your life.
National Book Awards, November 2014 https://www.newyorker.com/books/page-turner/national-book-awards-ursula-le-guin
Contexto: I think hard times are coming, when we will be wanting the voices of writers who can see alternatives to how we live now, and can see through our fear-stricken society and its obsessive technologies, to other ways of being. And even imagine some real grounds for hope. We will need writers who can remember freedom: poets, visionaries—the realists of a larger reality. Right now, I think we need writers who know the difference between production of a market commodity and the practice of an art. The profit motive is often in conflict with the aims of art. We live in capitalism. Its power seems inescapable; so did the divine right of kings. … Power can be resisted and changed by human beings; resistance and change often begin in art, and very often in our art—the art of words. I’ve had a long career and a good one, in good company, and here, at the end of it, I really don’t want to watch American literature get sold down the river.... The name of our beautiful reward is not profit. Its name is freedom.
"Myth and Archetype in Science Fiction" (1976)
Contexto: True myth may serve for thousands of years as an inexhaustible source of intellectual speculation, religious joy, ethical inquiry, and artistic renewal. The real mystery is not destroyed by reason. The fake one is. You look at it and it vanishes. You look at the Blond Hero — really look — and he turns into a gerbil. But you look at Apollo, and he looks back at you. The poet Rilke looked at a statue of Apollo about fifty years ago, and Apollo spoke to him. “You must change your life,” he said. When true myth rises into consciousness, that is always its message. You must change your life.
— Ursula K. Le Guin, Hainish Cycle
Fonte: Hainish Cycle, The Telling (2000), Ch. 4, §3 (pp. 90–91)
Contexto: One of the historians of Darranda said: To learn a belief without belief is to sing a song without the tune.
A yielding, an obedience, a willingness to accept these notes as the right notes, this pattern as the true pattern, is the essential gesture of performance, translation, and understanding. The gesture need not be permanent, a lasting posture of the mind or heart, yet it is not false. It is more than the suspension of disbelief needed to watch a play, yet less than the conversion. It is a position, a posture in the dance.
— Ursula K. Le Guin, livro Four Ways to Forgiveness
"A Man of the People", p. 140
Four Ways to Forgiveness (1995)
Contexto: “Lines and colors made with earth on earth may hold knowledge in them. All knowledge is local, all truth is partial,” Havzhiva said with an easy, colloquial dignity that he knew was an imitation of his mother, the Heir of the Sun, talking to foreign merchants. “No truth can make another truth untrue. All knowledge is a part of the whole knowledge. A true line, a true color. Once you have seen the larger patttern, you cannot go back to seeing the part as the whole."
