Fecha de nacimiento: 21. Octubre 1929
Fecha de muerte: 22. Enero 2018
Otros nombres: Ursula Kroeber Le Guin, Урсула Ле Гуин
Ursula Kroeber Le Guin ['ɜrsələ ˈkroʊbər ləˈgwɪn][1] [2] fue una escritora estadounidense. Publicó obras dentro de numerosos géneros, principalmente ciencia ficción y fantasía, aunque también escribió poesía, libros infantiles y ensayos, e incluso tradujo obras de otros autores del chino y el español al inglés.
Sin embargo, Le Guin debe su fama al numeroso caudal de libros y cuentos de ciencia ficción y fantasía publicados a lo largo de su dilatada carrera y fue galardonada con varios premios Hugo y Nébula. Fue la primera mujer galardonada con el título de Gran Maestra por la Asociación de escritores de ciencia ficción y fantasía de Estados Unidos . Se consideraba a sí misma como una mujer feminista y taoísta[3] y en sus novelas aparecen a menudo ideas anarquistas.
— Ursula K. Le Guin
Source: El País Semanal. “La ciencia ficción es una gran metáfora de la vida” https://elpais.com/cultura/2012/10/26/actualidad/1351249058_818270.html. Entrevista a Ursula K. Le Guin. 27/10/2012.
— Ursula K. Le Guin
Source: El País Semanal. “La ciencia ficción es una gran metáfora de la vida” https://elpais.com/cultura/2012/10/26/actualidad/1351249058_818270.html. Entrevista a Ursula K. Le Guin. 27/10/2012.
— Ursula K. Le Guin
Context: 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.
Introduction to The Left Hand of Darkness (1976)
— Ursula K. Le Guin
Context: 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.
in an interview http://www.viceland.com/int/v15n12/htdocs/ursula-k-le-guin-440.php?country=uk in Vice Magazine.
— Ursula K. Le Guin, Hainish Cycle
Hainish Cycle, The Telling (2000), Context: 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.
Ch. 4, §3 (pp. 90–91)
— Ursula K. Le Guin
Context: 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.
"Myth and Archetype in Science Fiction" (1976)
— Ursula K. Le Guin, libro Four Ways to Forgiveness
Four Ways to Forgiveness (1995), Context: “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."
"A Man of the People", p. 140
— Ursula K. Le Guin, libro Four Ways to Forgiveness
Four Ways to Forgiveness (1995), Context: “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."
"A Man of the People", p. 140
— Ursula K. Le Guin
Context: 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.
"The magician" by Maya Jaggi in The Guardian (17 December 2005) http://books.guardian.co.uk/departments/childrenandteens/story/0,,1669112,00.html
— Ursula K. Le Guin
Earthsea Books, The Farthest Shore (1972), Context: 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.
Chapter 8, "The Children of the Open Sea" (Ged)
— Ursula K. Le Guin
Context: 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.
Introduction to The Left Hand of Darkness (1976)
— Ursula K. Le Guin
Context: 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.
National Book Awards, November 2014 https://www.newyorker.com/books/page-turner/national-book-awards-ursula-le-guin
— Ursula K. Le Guin
Context: 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.
"Myth and Archetype in Science Fiction" (1976)
— Ursula K. Le Guin
Earthsea Books, The Farthest Shore (1972), Context: 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.
Chapter 8, "The Children of the Open Sea" (Ged)
— Ursula K. Le Guin
Context: 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.
National Book Awards, November 2014 https://www.newyorker.com/books/page-turner/national-book-awards-ursula-le-guin
— Ursula K. Le Guin, libro The Language of the Night
Context: 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.
The Language of the Night (1979)
— Ursula K. Le Guin, libro The Language of the Night
Context: 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.
The Language of the Night (1979)
— Ursula K. Le Guin, Hainish Cycle
Hainish Cycle, The Telling (2000), Context: 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.
Ch. 4, §3 (pp. 90–91)
— Ursula K. Le Guin, libro Four Ways to Forgiveness
Four Ways to Forgiveness (1995), Context: “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."
"A Man of the People", p. 140
