The unknown," said Faxe's soft voice in the forest, "the unforetold, the unproven, that is what life is based on. Ignorance is the ground of thought. Unproof is the ground of action. If it were proven that there is no God there would be no religion. No Handdara, no Yomesh, no hearthgods, nothing. But also if it were proven that there is a God, there would be no religion. ... Tell me, Genry, what is known? What is sure, unpredictable, inevitable -- the one certain thing you know concerning your future, and mine?"That we shall die."Yes, There's really only one question that can be answered, Genry, and we already know the answer. ... The only thing that makes life possible is permanent, intolerable uncertainty: not knowing what comes next.
I believe that maturity is not an outgrowing, but a growing up: that an adult is not a dead child, but a child who survived. I believe that all the best faculties of a mature human being exist in the child. . . . that one of the most deeply human, and humane, of these faculties is the power of imagination.
He said after a little while, 'I see why you say that only men do evil, I think. Even sharks are innocent, they kill because they must.' 'That is why nothing can resist us. Only one thing in the worl can resist an evil-hearted man. And that is another man. In our shame is our glory. Only our spirit, which is capable of evil, is capable of overcoming it.
The little Otak was hiding in the rafters of the house, as it did when strangers entered. There it stayed while the rain beat on the walls and the fire sank down and the night wearing slowly along left the old woman nodding by the hearthpit. Then the otak crept down and came to Ged where he lay stretched stiff and still upon the bed. It began to lick his hands and wrists, long and patiently, with its dry leaf-brown tongue. Crouching beside his head it licked his temple, his scarred cheek, and softly his closed eyes. And very slowly under that soft touch Ged roused. He woke, not knowing where he had been or where he was or what was the faint grey light in the air about him, which was the light of dawn coming to the world. Then the otak curled up near his shoulder as usual, and went to sleep.Later, when Ged thought back upon that night, he knew that had none touched him when he lay thus spirit-lost, had none called him back in some way, he might have been lost for good. It was only the dumb instinctive wisdom of the beast who licks his hurt companion to comfort him, and yet in that wisdom Ged saw something akin to his own power, something that went as deep as wizardry. From that time forth he believed that the wise man is one who never sets himself apart from other living things, whether they have speech or not, and in later years he strove to learn what can be learned, in silence, from the eyes of animals, the flight of birds, the great slow gestures of trees
The trouble is that we have a bad habit, encouraged by pedants and sophisticates, of considering happiness as something rather stupid. Only pain is intellectual, only evil interesting. This is the treason of the artist; a refusal to admit the banality of evil and the terrible boredom of pain.
The trouble is that we have a bad habit, encouraged by pedants and sophisticates, of considering happiness as something rather stupid. Only pain is intellectual, only evil interesting. This is the treason of the artist: a refusal to admit the banality of evil and the terrible boredom of pain. If you can’t lick ‘em, join ‘em. If it hurts, repeat it. But to praise despair is to condemn delight, to embrace violence is to lose hold of everything else. We have almost lost hold; we can no longer describe a happy man, nor make any celebration of joy.
They leave Omelas, they walk ahead into the darkness, and they do not come back. The place they go towards is a place even less imaginable to most of us than the city of happiness. I cannot describe it at all. It is possible that it does not exist. But they seem to know where they are going, the ones who walk away from Omelas.
They all know it is there, all the people of Omelas. Some of them have come to see it, others are content merely to know it is there. They all know that it has to be there. Some of them understand why, and some do not, but they all understand that their happiness, the beauty of their city, the tenderness of their friendships, the health of their children, the wisdom of their scholars, the skill of their makers, even the abundance of their harvest and the kindly weathers of their skies, depend wholly on this child's abominable misery.
They leave Omelas, they walk ahead into thedarkness, and they do not come back. The place they go towards is a place even less imaginable to most of us than the city of happiness. I cannot describe it at all. It is possible that it does not exist. But they seem to know where they are going, the ones who walk away from Omelas.
Hope is a slighter, tougher thing even than trust, he thought, pacing his room as the soundless, vague lightning flashed overhead. In a good season one trusts life; in a bad season one only hopes, But they are of the same essence: they are the mind's indispensable relationship with other minds, with the world, and with time. Without trust, a man lives, but not a human life; without hope, he dies. When there is no relationship, where hands do not touch, emotion atrophies in void and intelligence goes sterile and obsessed. Between men the only link left is that of owner to slave, or murderer to victim.
Life rises out of death, death rises out of life; in being opposite they yearn to each other, they give birth to each other and are forever reborn. And with them, all is reborn, the flower of the apple tree, the light of the stars. In life is death. In death is rebirth. What then is life without death? Life unchanging, everlasting, eternal?-What is it but death-death without rebirth?
Her concern with landscapes and living creatures was passionate. This concern, feebly called, "the love of nature" seemed to Shevek to be something much broader than love. There are souls, he thought, whose umbilicus has never been cut. They never got weaned from the universe. They do not understand death as an enemy; they look forward to rotting and turning into humus. It was strange to see Takver take a leaf into her hand, or even a rock. She became an extension of it, it of her.
You will die. You will not live forever. Nor will any man nor any thing. Nothing is immortal. But only to us is it given to know that we must die. And that is a great gift: the gift of selfhood. For we have only what we know we must lose, what we are willing to lose... That selfhood which is our torment, and our treasure, and our humanity, does not endure. It changes; it is gone, a wave on the sea. Would you have the sea grow still and the tides cease, to save one wave, to save yourself?
This concern, feebly called 'love of nature', seemed to Shevek to be something much broader than love. There are souls, he thought, whose umbilicus has never been cut. They never got weaned from the universe. They do not understand death as an enemy; they look forward to rotting and turning into humus.
I think," Tehanu said in her soft, strange voice, "that when I die, I can breathe back the breath that made me live. I can give back to the world all that I didn't do. All that I might have been and couldn't be. All the choices I didn't make. All the things I lost and spent and wasted. I can give them back to the world. To the lives that haven't been lived yet. That will be my gift back to the world that gave me the life I did live, the love I loved, the breath I breathed.
Aeneas' mother is a star?""No; a goddess."I said cautiously, "Venus is the power that we invoke in spring, in the garden, when things begin growing. And we call the evening star Venus."He thought it over. Perhaps having grown up in the country, among pagans like me, helped him understand my bewilderment. "So do we, he said. "But Venus also became more...With the help of the Greeks. They call her Aphrodite...There was a great poet who praised her in Latin. Delight of men and gods, he called her, dear nurturer. Under the sliding star signs she fills the ship-laden sea and the fruitful earth with her being; through her the generations are conceived and rise up to see the sun; from her the storm clouds flee; to her the earth, the skillful maker, offers flowers. The wide levels of the sea smile at her, and all the quiet sky shines and streams with light..."It was the Venus I had prayed to, it was my prayer, though I had no such words. They filled my eyes with tears and my heart with inexpressible joy.
...[T]he only means I have to stop ignorant snobs from behaving towards genre fiction with snobbish ignorance is to not reinforce their ignorance and snobbery by lying and saying that when I write SF it isn't SF, but to tell them more or less patiently for forty or fifty years that they are wrong to exclude SF and fantasy from literature, and proving my arguments by writing well.
I went to the springs while the sun was still up, and sitting on a rocky outcrop above the cave mouth I watched the light grow reddish across the misty pools, and listened to the troubled voice of the water. After a while I moved farther up the hill, where I could hear birds singing near and far in the silence of the trees. The presence of the trees was very strong...The big oaks stood so many, so massive in their other life, in their deep, rooted silence: the awe of them came on me, the religion.
An Odonian undertook monogamy just as he might undertake a joint enterprise in production, a ballet or a soap-works. Partnership was a voluntarily constituted federation like any other. So long as it worked, it worked, and if it didn't work it stopped being. It was not an institution but a function. It had no sanction but that of private conscience.
We came, Takver thought, from a great distance to each other. We have always done so. Over great distances, over years, over abysses of chance. It is because he comes from so far away that nothing can separate us. Nothing, no distances, no years, can be greater than the distance that's already between us, the distance of our sex, the differences of our being, our minds; that gap, that abyss which we bridge with a look, with a touch, with a word, the easiest thing in the world. Look how far away he is, asleep. Look how far away he is, he always is. But he comes back, he comes back, he comes back....
If a book were written all in numbers, it would be true. It would be just. Nothing said in words ever came out quite even. Things in words got twisted and ran together, instead of staying straight and fitting together. But underneath the words, at the center, like the center of the Square, it all came out even. Everything could change, yet nothing would be lost. If you saw the numbers you could see that, the balance, the pattern. You saw the foundations of the world. And they were solid.
We have inhabited both the actual and the imaginary realms for a long time. But we don't live in either place the way our parents or ancestors did. Enchantment alters with age, and with the age.We know a dozen Arthurs now, all of them true. The Shire changed irrevocably even in Bilbo's lifetime. Don Quixote went riding out to Argentina and met Jorge Luis Borges there. Plus c'est la même chose, plus ça change.
A woman has her Juno, just as a man has his Genius; they are names for the sacred power, the divine spark we each of us have in us. My Juno can't "get into" me, it is already my deepest self. The poet was speaking of Juno as if it were a person, a woman, with likes and dislikes: a jealous woman.The world is sacred, of course, it is full of gods, numina, great powers and presences. We give some of them names--Mars of the fields and the war, Vesta the fire, Ceres the grain, Mother Tellus the earth, the Penates of the storehouse. The rivers, the springs. And in the storm cloud and the light is the great power called the father god. But they aren't people. They don't love and hate, they aren't for or against. They accept the worship due them, which augments their power, through which we live.
He began to see the truth, that Ged had neither lost nor won but, naming the shadow of his death with his own name, had made himself whole: a man: who, knowing his whole true self, cannot be used or possessed by any power other than himself, and whose life therefore is lived for life's sake and never in the service of ruin, or pain, or hatred, or the dark. In the Creation of Ea, which is the oldest song, it is said, 'Only in silence the word, only in dark the light, only in dying life: bright the hawk's flight on the empty sky.
I expect it will turn out that sexual intercourse is possible between Gethenian double-sexed and Hainish-norm one-sexed human beings, though such intercourse will inevitably be sterile. It remains to be proved; Estraven and I proved nothing except perhaps a rather subtler point.
War as a moral metaphor is limited, limiting, and dangerous. By reducing the choices of action to “a war against” whatever-it-is, you divide the world into Me or Us (good) and Them or It (bad) and reduce the ethical complexity and moral richness of our life to Yes/No, On/Off. This is puerile, misleading, and degrading. In stories, it evades any solution but violence and offers the reader mere infantile reassurance. All too often the heroes of such fantasies behave exactly as the villains do, acting with mindless violence, but the hero is on the “right” side and therefore will win. Right makes might.
War as a moral metaphor is limited, limiting, and dangerous. By reducing the choices of action to “a war against” whatever-it-is, you divide the world into Me or Us (good) and Them or It (bad) and reduce the ethical complexity and moral richness of our life to Yes/No, On/Off.
On the planet O there has not been a war for five thousand years, she read, and on Gethen there has never been a war." She stopped reading, to rest her eyes and because she was trying to train herself to read slowly. "There has never been a war." In her mind the words stood clear and bright, surrounded by and sinking into an infinite, dark, soft incredulity. What would that world be, a world without war? It would be the real world. Peace was the true life, the life of working and learning and bringing up children to work and learn. War, which devoured work, learning, and children, was the denial of reality. But my people, she thought, know only how to deny. Born in the dark shadow of power misused, we set peace outside our world, a guiding and unattainable light. All we know to do is fight. Any peace one of us can make in our life is only a denial that the war is going on, a shadow of the shadow, a doubled unbelief. So as the cloud-shadows swept over the marshes and the page of the book open on her lap, she sighed and closed her eyes. thinking, "I am a liar." Then she opened her eyes and read more about the other worlds, the far realities.
There is nothing you can do that profit does not enter into, and fear of loss, and wish for power. You cannot say good morning without knowing which of you is 'superior' to the other, or trying to prove it. You cannot act like a brother to other people, you must manipulate them, or command them, or obey them, or trick them. You cannot touch another person, yet they will not leave you alone. There is no freedom.
I have told the story I was asked to tell. I have closed it, as so many stories close, with a joining of two people. What is one man's and one woman's love and desire, against the history of two worlds, the great revolutions of our lifetimes, the hope, the unending cruelty of our species? A little thing. But a key is a little thing, next to the door it opens. If you lose the key, the door may never be unlocked. It is in our bodies that we lose or begin our freedom, in our bodies that we accept or end our slavery. So I wrote this book for my friend, with whom I have lived and will die free.
A dark hand had let go its lifelong hold upon her heart. But she did not feel joy, as she had in the mountains. She put her head down in her arms and cried, and her cheeks were salt and wet. She cried for the waste of her years in bondage to a useless evil. She wept in pain, because she was free.
A promise is a direction taken, a self-limitation of choice. As Odo pointed out, if no direction is taken, if one goes nowhere, no change will occur. One's freedom to choose and to change will be unused, exactly as if one were in jail, a jail of one's own building, a maze in which no one way is better than any other.
You are rich. You own. We are poor. We lack. You have. We do not have. Everything is beautiful here, only not the faces. On Anarres nothing is beautiful, nothing but the faces. The other faces. The men and women. We have nothing but that, nothing but each other. Here you see the jewels. There you see the eyes. And in the eyes you see the splendor, the splendor of the human spirit, because our men and women are free possessing nothing. They are free. And you, the possessors are possessed. You are all in jail, each alone, solitary with a heap of what he owns. You live in prison, die in prison. It is all I can see in your eyes, the wall, the wall.
For we each of us deserve everything, every luxury that was ever piled in the tombs of the dead kings, and we each of us deserve nothing, not a mouthful of bread in hunger. Have we not eaten while another starved? Will you punish us for that? Will you reward us for the virtue of starving while others ate? No man earns punishment, no man earns reward. Free your mind of the idea of deserving, the idea of earning, and you will begin to be able to think.
How does one hate a country, or love one? Tibe talks about it; I lack the trick of it. I know people, I know towns, farms, hills and rivers and rocks, I know how the sun at sunset in autumn falls on the side of a certain plowland in the hills; but what is the sense of giving a boundary to all that, of giving it a name and ceasing to love where the name ceases to apply? What is love of one's country; is it hate of one's uncountry? Then it's not a good thing. Is it simply self-love? That's a good thing, but one mustn't make a virtue of it, or a profession... Insofar as I love life, I love the hills of the Domain of Estre, but that sort of love does not have a boundary-line of hate. And beyond that, I am ignorant, I hope.
His themes were not pride and love at all, though he used the words perpetually; as he used them they meant self-praise and hate. He talked a great deal about Truth also, for he was, he said, “cutting down beneath the veneer of civilization.”It is a durable, ubiquitous, specious metaphor, that one about veneer (or paint, or pliofilm, or whatever) hiding the nobler reality beneath. It can conceal a dozen fallacies at once. One of the most dangerous is the implication that civilization, being artificial, is unnatural: that it is the opposite of primitiveness… Of course there is no veneer, the process is one of growth, and primitiveness and civilization are degrees of the same thing. If civilization has an opposite, it is war. Of those two things, you have either one, or the other. Not both.
The best I can say, it's like this. A man's in his skin, see, like a nut in its shell ... It's hard and strong, that shell, and it's all full of him. Full of grand man-meat, man-self. And that's all. That's all there is.A woman's a different thing entirely. Who knows where a woman begins and ends? Listen mistress, I have roots, I have roots deeper than this island. Deeper than the sea, older than the raising of the lands. I go back into the dark ... I go back into the dark! Before the moon I am, what a woman is, a woman of power, a woman's power, deeper than the roots of trees, deeper than the roots of islands, older than the Making, older than the moon. Who dares ask questions of the dark? Who'll ask the dark its name?
Shevek saw that he had touched in these men an impersonal animosity that went very deep. Apparently they, like the tables on the ship, contained a woman, a suppressed, silenced, bestialized woman, a fury in a cage. He had no right to tease them. They knew no relation but possession. They were possessed.
You shall not go down twice to the same river, nor can you go home again. That he knew; indeed it was the basis of his view of the world. Yet from that acceptance of transience he evolved his vast theory, wherein what is most changeable is shown to be fullest of eternity, and your relationship to the river, and the river's relationship to you and to itself, turns out to be at once more complex and more reassuring than a mere lack of identity. You can go home again, the General Temporal Theory asserts, so long as you understand that home is a place where you have never been.
The trouble is that we have a bad habit, encouraged by pedants and sophisticates, of considering happiness as something rather stupid. Only pain is intellectual,only evil interesting. This is the treason of the artist: a refusal to admit the banality of evil and the terrible boredom of pain. If you can't lick 'em, join 'em. If it hurts, repeat it. But to praise despair is to condemn delight, to embrace violence is to lose hold of everything else.
Right now, we need writers who know the difference between production of a market commodity and the practice of an art. Developing written material to suit sales strategies in order to maximize corporate profit and advertising revenue is not the same thing as responsible book publishing or authorship.
And I see a lot of us, the producers, who write the books and make the books, accepting this--letting commodity profiteers sell us like deodorant, and tell us what to publish, what to write. Books aren't just commodities; the profit motive is often in conflict with the aims of art. We live in capitalism. Its power seems inescapable--but then, so did the divine right of kings. Any human power can be resisted and changed by human beings. Resistance and change often begin in art. Very often in our art, the art of words.
The Earth is beautiful, and bright, and kindly, but that is not all. The Earth is also terrible, and dark, and cruel. The rabbit shrieks dying in the green meadows. The mountains clench their great hands full of hidden fire. There are sharks in the sea, and there is cruelty in men’s eyes.
The winds and seas, the powers of water and earth an light, all that these do, and all that the beasts and green things do, is well done, and rightly done. All these act within the Equilibrium. From the hurricane and the great whale's sounding to the fall of a dry leaf and the gnat's flight, all they do is done within the balance of the whole. But we, insofar as we have power over the world and over one another, we must learn to do what the leaf and the whale and the wind do of their own nature. We must learn to keep the balance. Having intelligence, we must not act in ignorance. Having choice, we must not act without responsibility.
I'm afraid of life! There are times I--I am very frightened. Any happiness seems trivial. And yet, I wonder if it isn't all a misunderstanding-- this grasping after happiness, this fear of pain... If instead of fearing it and running from it, one could... get through it, go beyond it. There is something beyond it. It's the self that suffers, and there's a place where the self--ceases. I don't know how to say it. But I believe that the reality--the truth that I recognize in suffering as I don't in comfort and happiness--that the reality of pain is not pain. If you can get through it. If you can endure it all the way.
Have you never thought how danger must surround power as shadow does light? This sorcery is not a game we play for pleasure or for praise. Think of this: that every word, every act of our Art is said and is done either for good, or for evil. Before you speak or do you must know the price that is to pay!
The exercise of imagination is dangerous to those who profit from the way things are because it has the power to show that the way things are is not permanent, not universal, not necessary. Having that real though limited power to put established institutions into question, imaginative literature has also the responsibility of power. The storyteller is the truthteller.
Am I supposed to feel so much awe and so on about the Godking? After all, he's just a man ... He's about fifty years old, and he's bald. And I'll bet he has to cut his toenails too like any other man. I know perfectly well he's a god, too. But what I think is, he'll be much godlier after he's dead.
Let us consider Elfland as a great national park, a vast and beautiful place where a person goes by himself, on foot, to get in touch with reality in a special, private, profound fashion. But what happens when it is considered merely as a place to "get away to"?Well, you know what has happened to Yosemite. Everybody comes, not with an ax and a box of matches, but in a trailer with a motorbike on the back and a motorboat on top and a butane stove, five aluminum folding chairs, and a transistor radio on the inside. They arrive totally encapsulated in a secondhand reality. And then they move on to Yellowstone, and it's just the same there, all trailers and transistors. They go from park to park, but they never really go anywhere; except when one of them who thinks that even the wildlife isn't real gets chewed up by a genuine, firsthand bear.The same sort of thing seems to be happening to Elfland, lately.
One of the rocks in my soulbag, a little grey rock that I had picked up on a certain day in a certain place in the hills above the river in the Silver Time, a little piece of my world, that became my world. |Every night I took it out and held it in my hand while I lay in bed waiting to sleep, thinking of the sunlight on the hills above the river, listening to the soft shushing of the ship’s systems, like a mechanical sea
The natural, proper, fitting shape of the novel might be that of a sack, a bag. A book holds words. Words hold things. They bear meanings. A novel is a medicine bundle, holding things in a particular, powerful relation to one another and to us.
Fiction offers the best means of understanding people different from oneself, short of experience. Actually, fiction can be lots better than experience, because it's a manageable size, it's comprehensible, while experience just steamrollers over you and you understand what happened decades later, if ever.
The First Mobile, if one is sent, must be warned that unless he is very self-assured, or senile, his pride will suffer. A man wants his virility regarded, a woman wants her femininity appreciated, however indirect and subtle the indications of regard and appreciation. On Winter they will not exist. One is respected and judged only as a human being. It is an appalling experience.
The part of the tradition that I knew best was mostly written (or rewritten for children) in England and northern Europe. The principal characters were men. If the story was heroic, the hero was a white man; most dark-skinned people were inferior or evil. If there was a woman in the story, she was a passive object of desire and rescue (a beautiful blond princess); active women (dark, witches) usually caused destruction or tragedy. Anyway, the stories weren’t about the women. They were about men, what men did, and what was important to men.
Suffering is the condition on which we live. And when it comes you know it. You know it as the truth. Of course it's right to cure diseases, to prevent hunger and injustice, as the social organism does. But no society can change the nature of its existence. We can't prevent suffering. This pain and that pain, yes, but not Pain. A society can only relieve social suffering - unnecessary suffering. The rest remains. The root, the reality.
We are not subjects of a State founded upon law, but members of a society founded upon revolution. Revolution is our obligation: our hope of evolution. The Revolution is in the individual spirit, or it is nowhere. It is for all, or it is nothing. If it is seen as having any end, it will never truly begin.
When I was young, I had to choose between the life of being and the life of doing. And I leapt at the latter like a trout to a fly. But each deed you do, each act, binds you to itself and to its consequences, and makes you act again and yet again. Then very seldom do you come upon a space, a time like this, between act and act, when you may stop and simply be. Or wonder who, after all, you are.
Critics and academics have been trying for forty years to bury the greatest work of imaginative fiction in English. They ignore it, they condescend to it, they stand in large groups with their backs to it - because they're afraid of it. They're afraid of dragons. They have Smaugophobia. "Oh those awful Orcs," they bleat, flocking after Edmund Wilson. They know if they acknowledge Tolkien they'll have to admit that fantasy can be literature, and that therefore they'll have to redefine what literature is. And they're too damned lazy to do it.
And I did nothing, nothing but try to hide from the horror of dying." He stopped, for saying the truth aloud was unendurable. It was not shame that stopped him, but fear, the same fear. He knew now why this tranquil life in sea and sunlight on the rafts seemed to him like an after-life or a dream, unreal. It was because he knew in his heart that reality was empty: without life or warmth or color or sound: without meaning. There were no heights or depths. All this lovely play of form and light and color on the sea and in the eyes of men, was no more than that, a playing of illusions on the shallow void.
...You have knowledge, and I have skill, and between us we have...""We have the Ring of Erreth-Akbe.""Yes, that. But I thought also of another thing between us. Call it trust... That is one of its names. It is a very great thing. Though each of us alone is weak, having that we are strong, stronger than the Powers of the Dark.
COME HOME, TENAR! COME HOME!”In the deep valley, in the twilight, the apple trees were on the eve of blossoming; here and there among the shadowed boughs one flower had opened early, rose and white, like a faint star. Down the orchard aisles, in the thick, new, wet grass, the little girl ran for the joy of running; hearing the call she did not come at once, but made a long circle before she turned her face toward home. The mother waiting in the doorway of the hut, with the firelight behind her, watched the tiny figure running and bobbing like a bit of thistledown blown over the darkening grass beneath the trees.
Somewhere in the notes Estraven wrote during our trek across the Gobrin Ice he wonders why his companion is ashamed to cry. I could have told him even then that it was not shame so much as fear. Now I went on through the Sinoth Valley, through the evening of his death, into the cold country that lies beyond fear. There I found you can weep all you like, but there's no good in it.
But you must not change one thing, one pebble, one grain of sand, until you know what good and evil will follow on that act. The world is in balance, in Equilibrium. A wizard's power of Changing and Summoning can shake the balance of the world. It is dangerous, that power...It must follow knowledge, and serve need.
He never spoke with any bitterness at all, no matter how awful the things he said. Are there really people without resentment, without hate, she wondered. People who never go cross-grained to the universe? Who recognize evil, and resist evil, and yet are utterly unaffected by it? Of course there are. Countless, the living and the dead. Those who have returned in pure compassion to the wheel, those who follow the way that cannot be followed without knowing they follow it, the sharecropper's wife in Alabama and the lama in Tibet and the entomologist in Peru and the millworker in Odessa and the greengrocer in London and the goatherd in Nigeria and the old, old man sharpening a stick by a dry streambed somewhere in Australia, and all the others. There is not one of us who has not known them. There are enough of them, enough to keep us going. Perhaps.
Ged saw all these things from outside and apart, alone, and his heart was very heavy in him, though he would not admit to himself that he was sad. As night fell he still lingered in the streets, reluctant to go back to the inn. He heard a man and a girl talking together merrily as they came down the street past him towards the town square, and all at once he turned, for he knew the man's voice.He followed and caught up with the pair, coming up beside them in the late twilight lit only by distant lantern-gleams. The girl stepped back, but the man stared at him and then flung up the staff he carried, holding it between them as a barrier to ward off the threat or act of evil. And that was somewhat more than Ged could bear. His voice shook a little as he said, "I thought you would know me, Vetch."Even then Vetch hesitated for a moment."I do know you," he said, and lowered the staff and took Ged's hand and hugged him round the shoulders-" I do know you! Welcome, my friend, welcome! What a sorry greeting I gave you, as if you were a ghost coming up from behind– and I have waited for you to come, and looked for you-
Ged had neither lost nor won but, naming the shadow of his death with his own name, had made himself whole: a man: who, knowing his whole true self, cannot be used or possessed by any power other than himself, and whose life therefore is lived for life's sake and never in the service of ruin, or pain, or hatred, or the dark.
...All who ever died, live; they are reborn and have no end, nor will there ever be an end. All, save you. For you would not have death. You lost death, you lost life, in order to save yourself. Yourself! Your immortal self! What is it? Who are you?""I am myself. My body will not decay and die-""A living body suffers pain, Cob; a living body grows old; it dies. Death is the price we pay for our life and for all life.""I do not pay it! I can die and in that moment live again! I cannot be killed; I am immortal. I alone am myself forever!""Who are you, then?""The Immortal One.""Say your name.""The King.""Say my name. I told it to you but a minute since. Say my name!""You are not real. You have no name. Only I exist.""You exist: without name, without form. You cannot see the light of day; you cannot see the dark. You sold the green earth and the sun and stars to save yourself. But you have no self. All that which you sold, that is yourself. You have given everything for nothing. And so now you seek to draw your world to you, all that light and life you lost, to fill up your nothingness. But it cannot be filled. Not all the songs of earth, not all the stars of heaven, could fill your emptiness.
The Tao Te Ching is partly in prose, partly in verse; but as we define poetry now, not by rhyme and meter but as a patterned intensity of language, the whole thing is poetry. I wanted to catch that poetry, its terse, strange beauty. Most translations have caught meanings in their net, but prosily, letting the beauty slip through. And in poetry, beauty is no ornament; it is the meaning. It is the truth. We have that on good authority.
Collaborative workshops and writers' peer groups hadn't been invented when I was young. They're a wonderful invention. They put the writer into a community of people all working at the same art, the kind of group musicians and painters and dancers have always had.
Those whom heaven helps we call the sons of heaven. They do not learn this by learning. They do not work it by working. They do not reason it by using reason. To let understanding stop at what cannot be understood is a high attainment. Those who cannot do it will be destroyed on the lathe of heaven. —Chuang Tse: XXIII
On the sea he wished to meet it, if meet it he must. He was not sure why this was, yet he had a terror of meeting the thing again on dry land. Out of the sea there rise storms and monsters, but no evil powers: evil is of earth. And there is no sea, no running of river or spring, in the dark land where once Ged had gone. Death is the dry place.
None were left now to unname, and yet how close I felt to them when I saw one of them swim or fly or trot or crawl across my way or over my skin, or stalk me in the night, or go along beside me for a while in the day. They seemed far closer than when their names had stood between myself and them like a clear barrier: so close that my fear of them and their fear of me became one same fear. And the attraction that many of us felt, the desire to feel or rub or caress one another’s scales or skin or feathers or fur, taste one another’s blood or flesh, keep one another warm, that attraction was now all one with the fear, and the hunter could not be told from the hunted, nor the eater from the food.
All brightness was gone, leaving nothing. We stepped out of the tent onto nothing. Sledge and tent were there, Estraven stood beside me, but neither he nor I cast any shadow. There was dull light all around, everywhere. When we walked on the crisp snow no shadow showed the footprint. We left no track. Sledge, tent, himself, myself: nothing else at all. No sun, no sky, no horizon, no world.
The purpose of a thought-experiment, as the term was used by Schrödinger and other physicists, is not to predict the future - indeed Schrödinger most famous thought experiment goes to show that the "future," on the quantum level, cannot be predicted - but to describe reality, the present world.Science fiction is not predictive; it is descriptive.Predictions are uttered by prophets (free of charge), by clairvoyants (who usually charge a fee, and are therefore mor honored in their day than prophets), and by futurologists (salaried). Prediction is the business of prophets, clairvoyants, and futurologists. It is not the business of novelists. A novelist's business is lying. Science fiction is not predictive; it is descriptive.Predictions are uttered by prophets (free of charge), by clairvoyants (who usually charge a fee, and are therefore mor honored in their day than prophets), and by futurologists (salaried). Prediction is the business of prophets, clairvoyants, and futurologists. It is not the business of novelists. A novelist's business is lying.
To the Bullock RoserootWhat's the thought you thinkall your life long?It must be a great one,a solemn one, to make you gazethrough the world at it,all your life long.When you have to look aside from ityour eyes roll, you bellowin anger, anxiousto return to it, steadilyto gaze at it, think itall your life long.
So maybe the difference isn't language. Maybe it's this: animals do neither good nor evil. They do as they must do. We may call what they do harmful or useful, but good and evil belong to us, who chose to choose what we do. The dragons are dangerous, yes. They can do harm, yes. But they're not evil. They're beneath our morality, if you will, like any animal. Or beyond it. They have nothing to do with it. We must choose and choose again. The animals need only be and do. We're yoked, and they're free. So to be with an animal is to know a little freedom...
But if modesty is interpreted not as diffidence or self-effacingness, but as non-overweening, a realistic assessment of the job to be done and one's ability to do it, then you might say the chief virtue of excellent artists is their modesty...But knowing your limits and going to them isn't arrogance. It's greatness of spirit.
Do you see, Arren, how an act is not, as young men think, like a rock that one picks up and throws, and it hits or misses, and that's the end of it. When that rock is lifted, the earth is lighter; the hand that bears it is heavier. When it is thrown, the circuits of the stars respond, and where it strikes or falls the universe is changed.
Well," he said slowly, "sometimes there's a passion that comes in its springtime to ill fate or death. And because it ends in its beauty, it's what the harpers sing of and the poets make stories of: the love that escapes the years...."All or nothing, the true lover says, and that's the truth of it. My love will never die, he says. He claims eternity. And rightly. How can it die when it's life itself? What do we know of eternity but the glimpse we get of it when we enter in that bond?
Try to choose carefully, Arren, when the great choices must be made. {...} But each deed you do, each act, binds you to itself and to its consequences, and makes you act again and yet again. Then very seldom do you come upon a space, a time like this, between act and act, when you may stop and simply be.
A book won't move your eyes for you like TV or a movie does. A book won't move your mind unless you give it your mind, or your heart unless you put your heart in it. It won't do the work for you. To read a good novel well is to follow it, to act it, to feel it, to become it—everything short of writing it, in fact. Reading is a collaboration, an act of participation. No wonder not everybody is up to it.
You shall not go down good twice to the same river, nor can you go home again. That he knew; indeed it was the basis of his view of the world. Yet from that acceptance of transience he evolved his vast theory, wherein what is most changeable is shown to be fullest of eternity, and your relationship to the river, and the river's relationship to you and to itself, turns out to be at once more complex and more reassuring than a mere lack of identity. You CAN go home again, the General Temporal Theory asserts, so long as you understand that home is a place where you have never been.
This was a great magic. Festin had no more performed it than has any man who in exile or danger longs for the earth and waters of his home, seeing and yearning over the doorsill of his house, the table where he has eaten, the branches outside the window of the room where he has slept. Only in dreams do any but the great Mages realize this magic of going home.
Tenar, I go where I am sent. I follow my calling. It has not yet let me stay in any land for long. Do you see that? I do what I must do. Where I go, I must go alone. So long as you need me, I’ll be with you in Havnor. And if you ever need me again, call me. I will come. I would come from my grave if you called me, Tenar! But I cannot stay with you.
As a boy, Ogion like all boys had thought it would be a very pleasant game to take by art-magic whatever shape one liked, man or beast, tree or cloud, and so to play at a thousand beings. But as a wizard he had learned the price of the game, which is the peril of losing one's self, playing away the truth. The longer a man stays in a form not his own, the greater this peril. Every prentice-sorcerer learns the tale of the wizard Bordger of Way, who delighted in taking bear's shape, and did so more and more often until the bear grew in him and the man died away, and he became a bear, and killed his own little son in the forests, and was hunted down and slain. And no one knows how many of the dolphins that leap in the waters of the Inmost Sea were men once, wise men, who forgot their wisdom and their name in the joy of the restless sea.
I never thought before,” said Tirin unruffled, “of the fact that there are people sitting on a hill, up there, on Urras, looking at Anarres, at us, and saying, ‘Look, there’s the Moon.’ Our earth is their Moon; our Moon is their earth.” “Where, then, is Truth?” declaimed Bedap, and yawned. “In the hill one happens to be sitting on,” said Tirin.
There was something lacking – in him, he thought, not in the place. He was not up to it. He was not strong enough to take what was so generously offered. He felt himself dry and arid, like a desert plant, in this beautiful oasis. Life on Anarres had sealed him, closed off his soul; the waters of life welled all around him, and yet he could not drink.
Grieving, like being blind, is a strange business; you have to learn how to do it. We seek company in mourning, but after the early bursts of tears, after the praises have been spoken, and the good days remembered, and the lament cried, and the grave closed, there is no company in grief. It is a burden borne alone.
And not only narrativity but the quality of the writing is of the first importance to me. Rightly or not, I believe a dull, inept style signals poverty or incompleteness of thought. I see the accuracy, scope, and quality of Darwin’s intellect directly expressed in the clarity, strength, and vitality of his writing — the beauty of it.
There seems to be a firewall in my mind against ideas expressed in numbers and graphs rather than words, or in abstract words such as Sin or Creativity. I just don’t understand. And incomprehension is boredom.
I always wondered why the makers leave housekeeping and cooking out of their tales. Isn't it what all the great wars and battles are fought for -- so that at day's end a family may eat together in a peaceful house? The tale tells how the Lords of Manva hunted & gathered roots & cooked their suppers while they were camped in exile in the foothills of Sul, but it doesn't say what their wives & children were living on in their city left ruined & desolate by the enemy. They were finding food too, somehow, cleaning house & honoring the gods, the way we did in the siege & under the tyranny of the Alds. When the heroes came back from the mountain, they were welcomed with a feast. I'd like to know what the food was and how the women managed it.
A people that doesn't live at the center of the world, as defined and described by its poets and storytellers, is in a bad way. The center of the world is where you live fully, where you know how things are done, how things are done rightly, done well.
. . . chronosophy does involve ethics. Because our sense of time involves our ability to separate cause and effect, means and end. The baby, again, the animal, they don't see the difference between what they do now and what will happen because of it. They can't make a pulley, or a promise. We can. Seeing the difference between now and not now, we can make the connection. And there morality enters in. Responsibility. To say that a good end will follow from a bad means is just like saying that if I pull a rope on this pulley it will lift the weight on that one. To break a promise is to deny the reality of the past; therefore it is to deny the hope of a real future.If time and reason are functions of each other, if we are creatures of time, then we had better know it, and try to make the best of it. To act responsibly.
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.
He tried to read an elementary economics text; it bored him past endurance, it was like listening to somebody interminably recounting a long and stupid dream. He could not force himself to understand how banks functioned and so forth, because all the operations of capitalism were as meaningless to him as the rites of a primitive religion, as barbaric, as elaborate, and as unnecessary. In a human sacrifice to deity there might be at least a mistaken and terrible beauty; in the rites of the moneychangers, where greed, laziness, and envy were assumed to move all men's acts, even the terrible became banal.
He had been taught as a child that Urras was a festering mass of inequity, iniquity, and waste. But all the people he met, and all the people he saw, in the smallest country village, were well dressed, well fed, and contrary to his expectations, industrious. They did not stand about sullenly waiting to be ordered to do things. Just like Anaresti, they were simply busy getting things done. It puzzled him. He had assumed that if you removed a human being's natural incentive to work -- his initiative, his spontaneous creative energy -- and replaced it with external motivation and coercion, he would become a lazy and careless worker. But no careless workers kept those lovely farmlands, or made the superb cars and comfortable trains. The lure and compulsion of profit was evidently a much more effective replacement of the natural initiative than he had been led to believe.
Because there is nothing, nothing on Urras that we Anarresti need! We left with empty hands, a hundred and seventy years ago, and we were right. We took nothing. Because there is nothing here but States and their weapons, the rich and their lies, and the poor and their misery. There is no way to act rightly, with a clear heart, on Urras. There is nothing you can do that profit does not enter into, and fear of loss, and the wish for power. You cannot say good morning without knowing which of you is ‘superior’ to the other, or trying to prove it. You cannot act like a brother to other people, you must manipulate them, or command them, or obey them, or trick them. You cannot touch another person, yet they will not leave you alone. There is no freedom. It is a box—Urras is a box, a package, with all the beautiful wrapping of blue sky and meadows and forests and great cities. And you open the box, and what is inside it? A black cellar full of dust, and a dead man. A man whose hand was shot off because he held it out to others.
o. It is not wonderful. It is an ugly world. Not like this one. Anarres is all dusty and dry hills. All meager, all dry. And the people aren’t beautiful. They have big hands and feet, like me and the waiter there. But not big bellies. They get very dirty, and take baths together, nobody here does that. The towns are very small and dull, they are dreary. No palaces. Life is dull, and hard work. You can’t always have what you want, or even what you need, because there isn’t enough. You Urrasti have enough. Enough air, enough rain, grass, oceans, food, music, buildings, factories, machines, books, clothes, history. You are rich, you own. We are poor, we lack. You have, we do not have. Everything is beautiful here. Only not the faces. On Anarres nothing is beautiful, nothing but the faces. The other faces, the men and women. We have nothing but that, nothing but each other. Here you see the jewels, there you see the eyes. And in the eyes you see the splendor, the splendor of the human spirit. Because our men and women are free—possessing nothing, they are free. And you the possessors are possessed. You are all in jail. Each alone, solitary, with a heap of what he owns. You live in prison, die in prison. It is all I can see in your eyes—the wall, the wall!
Truth is a matter of the imagination. The soundest fact may fail or prevail in the style of its telling: like that singular organic jewel of our seas, which grows brighter as one woman wears it and, worn by another, dulls and goes to dust. Facts are no more solid, coherent, round, and real than pearls are.
The duty of the individual is to accept no rule, to be the initiator of his own acts, to be responsible. Only if he does so will the society live, and change, and adapt, and survive. We are not subjects of a State founded upon law, but members of a society formed upon revolution. Revolution is our obligation: our hope of evolution.
Prediction is the business of prophets, clairvoyants, and futurologists. It is not the business of novelists. A novelist’s business is lying. The weather bureau will tell you what next Tuesday will be like, and the Rand Corporation will tell you what the twenty-first century will be like. I don’t recommend that you turn to the writers of fiction for such information. It’s none of their business. All they’re trying to do is tell you what they’re like, and what you’re like -- what’s going on -- what the weather is now, today, this moment, the rain, the sunlight, look! Open your eyes; listen, listen. That is what the novelists say. But they don’t tell you what you will see and hear. All they can tell you is what they have seen and heard, in their time in this world, a third of it spent in sleep and dreaming another third of it spent in telling lies. [Introduction to The Left Hand of Darkness]
If the foreman had no experience in bossing a mob, they had no experience in being one. Members of a community, not elements of a collectivity, they were not moved by mass feeling; there were as many emotions there as there were people. And they did not expect commands to be arbitrary, so they had no practice in disobeying them. Their inexperience saved the passenger's life.
This StoneHe went looking for a roadthat doesn't lead to death.He went looking for that roadand found it.It was a stone road.He walked that roadthat doesn't lead to death.He walked on it awhilebefore he stopped,having turned to stone.Now he stands there on that roadthat doesn't lead to deathnot going anywhere.He can't dance.from his eyes stones fall.The rainbow people pass himcrossing that road, long-legged, light-stepping,going from the Four Housesto the dancing in the Five Houses.They pick up his tears.This stone is a tearfrom his eye, this stonegiven me on the mountainby one who died before my birth,this stone, this stone.
She could not have been born gray. Hercolor, her color of brown, was an essential part of her, not an accident. Her anger, timidity, brashness, gentleness, all were elements of her mixed being, her mixednature, dark and clear right through, like Baltic amber. She could not exist in the gray people's world. She had not been born.
I want to say to the literature teacher who remains wilfully, even boastfully ignorant of a major element of contemporary fiction: you are incompetent to teach or judge your subject. Readers and students who do know the field, meanwhile, have every right to challenge your ignorant prejudice. Rise, undergraduates of the English departments! You have nothing to lose but your A on the midterm!
With ceremony, with forms of politeness and reassurance, they borrowed the waters of the River and its little confluents to drink and be clean and irrigate with, using water mindfully, carefully. They lived in a land that answers greed with drought and death. A difficult land: aloof yet sensitive.
They have nothing to give. They have no power of making. All their power is to darken and destroy. They cannot leave this place; they are this place; and it should be left to them. They should not be denied nor forgotten, but neither should they be worshiped. The Earth is beautiful, and bright, and kindly, but that is not all. The Earth is also terrible, and dark, and cruel. The rabbit shrieks dying in the green meadows. The mountains clench their great hands full of hidden fire. There are sharks in the sea, and there is cruelty in men’s eyes. And where men worship these things and abase themselves before them, there evil breeds; there places are made in the world where darkness gathers, places given over wholly to the Ones whom we call Nameless, the ancient and holy Powers of the Earth before the Light, the powers of the dark, of ruin, of madness… I think they drove your priestess Kossil mad a long time ago; I think she has prowled these caverns as she prowls the labyrinth of her own self, and now she cannot see the daylight any more. She tells you that the Nameless Ones are dead; only a lost soul, lost to truth, could believe that. They exist. But they are not your Masters. They never were. You are free, Tenar. You were taught to be a slave, but you have broken free.
He looked at me. His firm, broad face showed weight-loss in deep shadows under the cheekbones, his eyes were sunken and his mouth sorely chapped and cracked. God knows what I looked like, when he looked like that. He smiled. 'With luck we shall make it, and without luck we shall not.'
How does one hate a country, or love one?... I know people, I know towns, farms, hills and rivers and rocks, I know how the sun at sunset in autumn falls on the side of a certain plowland in the hills; but what is the sense of giving a boundary to all that, of giving a name and ceasing to love where the name ceases to apply? What is the love of one's country; is it hate of one's uncountry? Then it's not a good thing.
Page 15, paperback version by Virago Press 1997: ... Let me ask you this, Mr Ai: do you know, by your own experience, what patriotism is?” ‘No’, I said, shaken by the force of the intese personality suddenly turning itself wholly upon me. ‘I don´t think I do. If by patriotism you don´t mean the love of one`s homeland, for that I do know.’ ‘No, I don’t mean love, when I say patriotism. I mean fear. The fear of the other. And its expressions are political, not poetical: hate, rivalry, aggression. It grows in us, that fear. It grows in us year by year. We’ve followed our road too far. And you, who hardly know what I’m talking about, who show us the new road –‘ He broke off. After a while he went on, in control again, cool and polite: ‘It’s because of fear that I refuse to urge your cause with the king, now. But not fear for myself, Mr. Ai. I’m not acting patriotically. There are, after all, other nations on Gethen.
It is our suffering that brings us together. It is not love. Love does not obey the mind, and turns to hate when forced. The bond that binds us is beyond choice. We are brothers. We are brothers in what we share. In pain, which each of us must suffer alone, in hunger, in poverty, in hope, we know our brotherhood. We know it, because we have had to learn it. We know that there is no help for us but from one another, that no hand will save us if we do not reach out our hand. And the hand that you reach out is empty, as mine is. You have nothing. You possess nothing. You own nothing. You are free. All you have is what you are, and what you give.
We have nothing but our freedom. We have nothing to give you but your own freedom. We have no law but the single principle of mutual aid between individuals. We have no government but the single principle of free association. We have no states, no nations, no presidents, no premiers, no chiefs, no generals, no bosses, no bankers, no landlords, no wages, no charity, no police, no soldiers, no wars. Nor do we have much else. We are sharers, not owners. We are not prosperous. None of us is rich. None of us is powerful. If it is Anarres you want, if it is the future you seek, then I tell you that you must come to it with empty hands. You must come to it alone, and naked, as the child comes into the world, into his future, without any past, without any property, wholly dependent on other people for his life. You cannot take what you have not given, and you must give yourself. You cannot buy the Revolution. You cannot make the Revolution. You can only be the Revolution. It is in your spirit, or it is nowhere.
Things don't have purposes, as if the universe were a machine, where every part has a useful function. What's the function of a galaxy? I don't know if our life has a purpose and I don't see that it matters. What does matter is that we're a part. Like a thread in a cloth or a grass-blade in a field. It is and we are. What we do is like wind blowing on the grass.
They did not use the sonic stunners but the foray gun, the ancient weapon that fires a set of metal fragments in a burst. They shot to kill him. He was dying when I got to him, sprawled and twisted away from his skis that stuck up out of the snow, his chest half shot away. I took his head in my arms and spoke to him, but he never answered me; only in a way he answered my love for him, crying out through the silent wreck and tumult of his mind as consciousness lapsed, in the unspoken tongue, once, clearly, 'Arek!' Then no more. I held him, crouching there in the snow, while he died. They let me do that. Then they made me get up, and took me off one way and him another, I going to prison and he into the dark.