Frases de Ursula K. Le Guin

Fuente: Los desposeídos (1974).

Fuente: 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.

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

Fuente: Earthsea Books, A Wizard of Earthsea (1968), Chapter 2 (Ogion)

Introduction to The Left Hand of Darkness (1976)

"A Woman's Liberation", p. 158; first published in Asimov's (1995)
Four Ways to Forgiveness (1995)

Fuente: The Lathe of Heaven (Smrtonosné sny)

“The Finder” (p. 59)
Earthsea Books, Tales from Earthsea (2001)

Fuente: Hainish Cycle, The Left Hand of Darkness (1969), Chapter 18 “On the Ice” (p. 249)

"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."

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.

Fuente: Earthsea Books, A Wizard of Earthsea (1968), Chapter 5

And never under any circumstances, to squelch it, or sneer at it, or imply that it is childish, or unmanly, or untrue.
"Why Are Americans Afraid of Dragons?" https://books.google.com/books?id=ksOjjuy3issC&pg=PA44, in The Language of the Night (1979), p. 44

"The Creatures on My Mind" in Unlocking the Air and Other Stories (1996), p. 65

Fuente: 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.

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.

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.

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.