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.
“É bom ter um objetivo para a jornada á frente, mas, no fim, o que importa é a jornada.”
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
“We don’t live in order to die, we live in order to live.”
in an interview http://www.viceland.com/int/v15n12/htdocs/ursula-k-le-guin-440.php?country=uk in Vice Magazine. <br class="br">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.
Ursula K. Le Guin livro Four Ways to Forgiveness
"A Woman's Liberation", p. 158; first published in Asimov's (1995)
Four Ways to Forgiveness (1995)
Ursula K. Le Guin livro Dancing at the Edge of the World
Bryn Mawr Commencement Address https://books.google.com/books?id=QK6TYg32CocC&pg=PA160 (1986), in Dancing at the Edge of the World (1997), p. 160
“No truth can make another truth untrue. All knowledge is a part of the whole knowledge”
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."
“We live in capitalism. Its power seems inescapable; so did the divine right of kings.”
National Book Awards, November 2014 https://www.newyorker.com/books/page-turner/national-book-awards-ursula-le-guin <br class="br">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.
"The magician" by Maya Jaggi in The Guardian (17 December 2005) http://books.guardian.co.uk/departments/childrenandteens/story/0,,1669112,00.html <br class="br">Contexto: Sometimes one’s very angry and preaches, but I know that to clinch a point is to close it. To leave the reader free to decide what your work means, that’s the real art; it makes the work inexhaustible.
Introduction to The Left Hand of Darkness (1976)
Ursula K. Le Guin Hainish Cycle
Fonte: Hainish Cycle, The Left Hand of Darkness (1969), Chapter 18 “On the Ice” (p. 249)
“Highdrake said that to make love is to unmake power.”
“The Finder” (p. 59)
Earthsea Books, Tales from Earthsea (2001)
Fonte: Earthsea Books, A Wizard of Earthsea (1968), Chapter 5
Ursula K. Le Guin livro The Lathe of Heaven
Fonte: The Lathe of Heaven (1971), Chapter 10 (Heather)
Ursula K. Le Guin Hainish Cycle
Fonte: Hainish Cycle, (1974), Chapter 8 (p. 247)
Fonte: Earthsea Books, The Farthest Shore (1972), Chapter 8, "The Children of the Open Sea"
Ursula K. Le Guin Hainish Cycle
Fonte: Hainish Cycle, (1974), Chapter 2 (p. 55)
"The Creatures on My Mind" in Unlocking the Air and Other Stories (1996), p. 65
“To hear, one must be silent.”
Fonte: Earthsea Books, A Wizard of Earthsea (1968), Chapter 2 (Ogion)
Ursula K. Le Guin Hainish Cycle
Hainish Cycle, (1974)
Ursula K. Le Guin livro The Language of the Night
And never under any circumstances, to squelch it, or sneer at it, or imply that it is childish, or unmanly, or untrue. <br class="br"> "Why Are Americans Afraid of Dragons?" https://books.google.com/books?id=ksOjjuy3issC&pg=PA44, in The Language of the Night (1979), p. 44
Ursula K. Le Guin livro The Lathe of Heaven
Fonte: The Lathe of Heaven (Smrtonosné sny)
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.
“I have never found anywhere, in the domain of art, that you don't have to walk to.”
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.
Fonte: Earthsea Books, The Farthest Shore (1972), Chapter 8, "The Children of the Open Sea" (Ged)
"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.
“All knowledge is local, all truth is partial”
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."
“It is a position, a posture in the dance.”
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.
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.
“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."
“The name of our beautiful reward is not profit. Its name is freedom.”
National Book Awards, November 2014 https://www.newyorker.com/books/page-turner/national-book-awards-ursula-le-guin <br class="br">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.
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.
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.
