Ursula K. Le Guin’s Rocannon’s World & No Time to Spare

Last year the Library of America  published two volumes of Ursula K. Le Guin’s Hainish stories and novels. I was not familiar with  her early work:  I began reading her in the 1990s.  My favorite of her books is The Birthday of the World and Other Stories.  I also admire her famous novel, The Left Hand of Darkness.

I recently finished her first novella, Rocannon’s World, a simple, endearingly awkward effort that does not, I must stress, presage her later brilliance.  It is an uncomplicated swords-and-sorcery fantasy, albeit with an anthropologist hero, primitive races in need of the future’s help, and a queen who wastes years traveling in a spaceship to recover a stolen necklace. It isn’t a bad book; it’s just not something I would ordinarily read.   If you don’t know her work, you should start with two of her SF Classics,  The Left Hand of Darkness, which won  the Hugo and Nebula awards in 1970, and The Dispossessed (both in this volume). And then you’ll understand what she tries to do in her first book.

I also recently read her last book,  No Time to Spare:  Thinking About What Matters, a collection of writings from her blog. She writes in the preface that she was inspired to write a blog after reading Jose Saramago’s blog, which was published in the U.S. as The Notebook.

Some of her blog entries are brilliant.   In the first blog, “In Your Spare Time,” she  asks questions about aging, the future, and the bland prevarications of the Harvard establishment.  She writes analytic answers to an alumni questionnaire she received from Harvard before the 60th reunion of the class of 1951. Le Guin graduated from Radcliffe, which is affiliated with Harvard, but Harvard sent the silly questionnaire.  She points out how shallow the questions are.  Question 12 asks how her grandchildren have done, “given your expectations.”

Actually, I don’t exactly have expectations.  I have hopes, and fears.  Mostly the fears predominate these days.  When my kids were young I could still hope we might not totally screw up the environment for them, but now that we’ve done so, and are more deeply sold out than ever to profiteering industrialism with its future horizon of a few months, any hope that coming generations may have ease and peace in life has become very tenuous, and has to reach far, far into the dark.

She comes right out and says what she thinks, not softening it.  She can sound a bit cranky, as she summarizes her political views in the coded language of sociology–and I don’t always agree with what she says–but what she says is always thought-provoking.

She is incensed by the imprecise language on the questionnaire, and what she sees as right-wing assumptions.  And then there is the lack of knowledge about old age.  She writes,

But it was Question 18 that really got me down. “In your spare time, what do you do?  (check all that apply).”  And the list begins:  “Golf…”

She asks, Do people in their eighties have “spare time”?   She writes about how people nowadays are programmed to be on a treadmill of activities, but her  generation grew up with time to read, write, and daydream. She says her time is fully occupied:  she embroiders, writes, shops for groceries, cooks, washes the dishes, construes Virgil, and reads Krazy Cat.  She says Harvard relegates her writing of poetry and prose to “a creative activity.”  As more and more of her time is devoted to body maintenance, an aspect of aging that none of us likes to think about, she finds Harvard’s questions absurd and infuriating.

“The Sissy Strikes Back” is also about aging.  She paints a realistic picture of what aging really entails:  it is not “You’re as old as you feel.”  There is pain,  arthritis, the slowing down, needing rides to the grocery store, and luck and money may or may not prolong life: it is not about positive thinking or fitness.

She writes many charming blogs about her cat, Pard.  If you’re a cat person, you’ll love them!  I loved them.  She finds the constant repetition of the word “fucking”  in movies and books boring. Proverbs like “You can’t have your cake and eat it too” make no sense to her.  She also rages about the lowering of educational and moral standards.

Since our betrayed public school system can no longer teach much history or reading, people may find everyone and everything before about twenty-five years ago unimaginably remote and incomprehensibly different from themselves.  They defend their discomfort by dismissing people before their time as simple, quaint, naive, etc.  I know Americans sixty-five years ago were nothing of the sort.

I agree with so much here.  She is eloquent: I kept marking pages with post-its.  In “About Anger,” she admits on a personal level to jealousy, hatred and fear. She says anger is a mixed blessing in political activism:  necessary but nursed too long it can be destructive.  She hopes “our republic survives this orgy of self-indulgent rage.”  She thinks that the “prolonged ‘festival of cruelty’ in our literature and movies is an attempt to get rid of repressed anger by expressing it, acting it out symbolically.”  (It makes her sick and scares her.)

Her writing is sharp, not quite as polished as her essays, but that’s the nature of the blog.  These are quick, pointed, interesting, and always astute. I

The Unreal and the Real: Selected Stories of Ursula K. Le Guin

“We will need writers who can remember freedom.”
—Ursula K. Le Guin’s 2014 speech at the National Book Awards

Ursula K. Le Guin

I wrote here a few years ago that Ursula K. Le Guin should have won the Nobel Prize.

In her honor, I am reprinting my post about The Unreal and The Real:  Selected Stories of Ursula K. Le Guin.  This two-volume collection was published in 2012 by Small Beer Press and reissued in 2016 by Saga Press.

Ursula K. Le Guin was the first science fiction/fantasy writer I read as an adult.  Growing up, I read E. Nesbit’s books, Jonathan Key’s The Forgotten Door, and A Wrinkle in Time over and over, but then I gave up genre fiction. Later, in my twenties, a friend recommended  Le Guin’s The Left Hand of Darkness, and I was amazed to discover parallels between her work and literary writers like Borges and Calvino.  Several of her novels and story collections are also reminiscent of Doris Lessing’s, or vice versa.

For those of you who don’t know her work, I would put her in line for the Nobel Prize for Literature, except that it seems no American writer will ever win the Nobel again.

Small Beer Press recently published two volumes of Le Guin’s stories, and I was eager to read them.  I read the second volume first, because it is a collection of her science fiction and fantasy stories, selected by Le Guin herself, while the first volume, Where on Earth, spotlights her more “realistic” fiction.  (And perhaps I’m not quite as interested in that.)

Le Guin writes in the introduction of Vol. 2:  Outer Space, Inner Lands about the blurring of boundaries between genre fiction and literature.  She writes about the  relationship between myth, legend, science fiction, fantasy, and magic realism.

She says of genre:

“Genre, a concept which could have served as a useful distinction of various kinds of fiction, has been degraded into a disguise for more value-judgment.  The various “genres” are now mainly commercial product-labels to make life easy for lazy readers, lazy critics, and the Sales Departments of publishers.”

“It’s not my job as a writer to make life easy for anybody.  Including myself.”

Many of Le Guin’s powerful books could be cross-listed as SF/fantasy and literature, but, with the exception of Lavinia, her historical novel about he Italian princess who marries Aeneas (in The Aeneid), I have found all of them in the SF section.  Booksellers shelf Doris Lessing’s science fiction in the literature section, because she began as a literary writer, but Le Guin, best known as an SF writer, and remarkably fluent,  doesn’t get the same courtesy.

 

There are many different kinds of stories in Outer Space, Inner Lands. Some of them take the form of ethnological reports on other planets.  In “Solitude,” an ethnologist and her two children, Borno and Serenity, spend several years on Eleven-Soro.  Narrated many years later by the ethnologist’s daughter Serenity in the form of a report, the story melds Serenity’s happy memories of her own coming of age with her mother’s sadness and isolation.  Serenity, who was a young child when they moved there, was accepted by the inhabitants of the “aunt-ring,”  learned the songs and stories the women told, and had an opportunity to “make her soul.”  Her mother was not allowed to attend their singing/storytelling sessions.

Serenity learned above all to avoid magic, tekell, “an art or power that violates natural law”:  the technology on her home planet, or even just one person trying to dominate another.   Her mother calls this superstition, but to Serenity it is common sense: even in marriage, there is tekell, because one person can control the other.   “You have no power over me,” she says to her mother when they want to take her back to their home planet.

The family cannot stay together on the planet.  Borno must leave with the other boys in adolescence to live away from women and jostle for power.   He sticks out the violent life for one year, then comes home and tells his mother he wants to go back to their planet.  Serenity’s dilemma is that she loves her family but utterly believes in the society she has been brought up in.

In another thoughful,  gripping story, “Nine Lives,” two men, Pugh and Martin, have been alone on Libra Exploratory Mission Base for years.  Their first glimpse of a member of an incoming support team on a video communicator floors them:  “Do they all look like that?  Martin, you and I are uglier than I thought.”

Le Guin writes about the difficulty of meeting strangers.  It is particularly tough for Martin and Pugh, alone for so many years.

“It is hard to meet a stranger.  Even the greatest extravert meeting even the greatest stranger knows a certain dread, though he may not know he knows it.  Will he make a fool of me wreck my image of myself invade me destroy me change me?  Yes, that he will.  There’s the terrible thing:  the strangeness of the stranger.”

But it is even more disturbing when  a support team emerges from the ship, and they are shocked to see  five men and five women clones–a tenclone. Later, nine of the clones die in a horrible earthquake, and the tenth, who almost dies, is in deep shock. He gradually learns from Martin and Pugh that doing the safe thing is not always the wise thing.  Breaking the rules can help one survive.

In my favorite story, “Betrayals,” an elderly woman has retired to a hut outside a remote village to meditate and learn to die.  She reads about a planet where there is always peace,  takes care of a dog and cat, and allows a Romeo-and-Juliet-type couple to take refuge in her house occasionally for love. But then she discovers that her neighbor, the Chief, a former tyrannical revolutionary leader who served time in prison, is ill with a cough that develops into pneumonia.  She doesn’t want to help him–she doesn’t care for him–he is there to die–but a lifetime of habit makes it necessary to do all she can.  She learns about the versatility of human beings, and that neither she, nor the chief are ready to die.

A remarkable collection.  My favorite of her books is The Birthday of the World and Other Stories (2002).  What are your favorites?

Six Series to Lose Yourself in Over the Holidays: Balzac, Durrell, Ferrante, Burgess, Gabaldon, & Le Guin

"Marley's Ghost"

           “Marley’s Ghost”

I do not like Christmas books.

One year at a posh friend’s, we listened to Dickens’s A Christmas Carol on public radio. Luv ya, public radio, but the reader’s enunciation was excessive!  Everybody looked glazed and drank a lot of wine. I don’t drink.  And I have never cared for A Christmas Carol.

So what do I do to escape the holiday madness?  I dive into trilogies, quartets, quintets, long series…and come up for air next spring.

Here are Six Series You Can Lose Yourself in over the Holidays.

1 Balzac’s La Comedie Humaine (The Human Comedy), a series of approximately 90 novels, short stories, and novellas in which Balzac portrays French society during the 19th century period of Restoration and July Monarchy. The plots are racy and the characters memorable.   Several are available from Penguin and Modern Library, and  most are available free in nineteenth-century translations at Project Gutenberg.  Personally, I prefer the newer translations, but Lost Illusions  and Cousin Pons are good in any form.   And here is a link to an excellent Balzac blog.

Lost Illusions Modern Library2 Lawrence Durrell’s The Avignon Quintet.   This year I devoured Durrell’s modernist masterpiece,  The Alexandria Quartet, and Prospero’s Cell, a  travel memoir.  And now I’m reading his odd metafictional  Avignot Quintet, consisting of Monsieur, Livia, Constance, Sebastion, and Quinx.   This labyrinthine series questions the nature of reality and love, authors and their characters. Not until the end of the first novel,  Monsieur,  do we discover the characters are characters in a novel written by  the bitter character Blanford.  And then in the next books Blanford weaves together his stories with those of his  fictional characters.  He even has telephone conversations with Rob Sutcliffe, the novelist in his own novel.  Intriguing but weird.

durrell avignon quintet 51GoOSphbOL._AC_UL320_SR204,320_3 Elena Ferrante’s Neapolitan series: My Brilliant Friend,The Story of a New Name, Those Who Leave and Those Who Stay, and The Story of the Lost Child.   These pop literary pageturners are about two difficult women who are friends from childhood to old ag,.  They are entertaining, beautifully-written, and  I swear  as popular as Gone with the Wind.   I have read the first two, and they are very good indeed, though, honestly?   The hype about them is too much.

ferrante neapolitan series quartet lctpnk325gzcumijtsdc4 Anthony Burgess’s The Complete EnderbyInside Mr. Enderby, Enderby Outside, The Clockwork Testament, and Enderby’s End.  The hero, Enderby,  is a Kingsley Amis-ish character who writes poetry while sitting on the toilet, farts a lot, and is shocked to receive a literary award.  Winning the award is his downfall, though he is up and down throughout the books.  Inside Enderby  is hilarious, but there are actually some startling serious bits that I didn’t remember.   An excellent reread of the first book, and hope to get to the others.

the complete enderby anthony burgess 51Y8C7CHQNL._SX316_BO1,204,203,200_5 Diana Gabaldon’s Outlander series.  I hope to lose myself in this popular series of time travel romances someday, because friends love them and assure me that they are entertaining and erotic.  There is also an Outlander coloring book, DVDS of the Outlander TV series (which I’ve heard is good), and totebags.  Do you think Outlander is Game of Thrones for women?

outlander gabaldon 1322638297Outlandertpb3wide

6 Ursula K. Le Guin’s Earthsea series: A Wizard of Earthsea, The Tombs of Atuan, The Farthest Shore, Tehanu, Tales from Earthsea, The Other WindNow that I’ve read David Mitchell’s the introduction to the new Folio Society edition of A Wizard of Earthsea in The Guardian, I would like to go back and reread the series.  Plus there were only  four books when I read it:  it has grown!

wizard of earthsea le guin 8504013716

Off to read one of my series books!

Calendars, “Just Not Trying Hard Enough,” & Ursula K. Le Guin’s Superb Stories, The Unreal and The Real

I can't forget it's January!

It’s January!

Some bloggers have calendars.  They mention on their sidebars what they’ll be reviewing when.

I have a calendar, but I’m not very organized.  I use it mainly for notes on what to chat about to my doctor.

Note:  Tell Dr. that I saw Iowa City Crash.

The Iowa City Crash

The Iowa City Crash

The Iowa City Crash is a rugby team.  I don’t know my doctor well–it’s usually, “You’re doing well and keep bicycling!”–but he has rugby paraphernalia in his office. Last summer I saw a Crash game.  I must admit I paid little attention because I was finishing something on my laptop.  Nonetheless, it was something to chat about.

Note.:  Learn the names of a few players and ask your husband to describe a couple of the “episodes” in the game, or whatever you call them. 

I learned Brad Fuhrmann, a coach and player, is Australian, and there are also four or five Irish players.

And I found a quote from Brad Fuhrman in a newspaper:  “We expect to win at least one game; otherwise we’re just not trying hard enough.”

Aren’t sports adorable?

If I could just use my calendar wisely, perhaps I could organize my blog along the same principle as chats with my doctor.

Tell blog audience that I read Ursula K. Le Guin’s The Unreal and The Real:  Selected Stories of Ursula K. Le Guin, Vol. Two, Outer Space, Inner Lands.

I do intend to write about it.  The thing is, I am writing about it in this very post.

Jan. 28I have one other thing planned, though I so far show no sign of writing it.

On Jan. 28, a round-up of Middlebrow American Women’s Literature: Jo-Ann Mapson’s Finding Casey, the sequel to the award-winning Solomon’s Oak; The Painted Girls by Cathy Marie Buchanan, author of The Day the Falls Stood Still); Whitney Otto’s Eight Girls Taking Photos; Sherry Jones’s Four Sisters, Four Queensand Haunting Jasmine by Anjali Banerjee.  

You’ll love my upcoming Middlebrow Women’s Lit post:  “otherwise I’m just not trying hard enough.”

And now on to:

left hand of darkness URSULA K. LE GUIN’S The Unreal and The Real:  Selected Stories of Ursula K. Le Guin, Vol. Two, Outer Space, Inner Lands. 

Ursula K. Le Guin was the first science fiction/fantasy writer I read as an adult.  Growing up, I read E. Nesbit’s books, Jonathan Key’s The Forgotten Door, and A Wrinkle in Time over and over, but then I gave up genre fiction. Later, in my twenties, a friend recommended  Le Guin’s The Left Hand of Darkness, and I was amazed to discover parallels between her work and literary writers like Borges and Calvino.  Several of her novels and story collections are also reminiscent of Doris Lessing’s, or vice versa.

And many of you know that.  But for those of you who don’t, I would put her in line for the Nobel Prize for Literature, except that it seems no American writer will ever win the Nobel again.

Unreal And Real outer space, inner lands le guinSmall Beer Press recently published two volumes of Le Guin’s stories, and I was eager to read them.  I read the second volume first, because it is a collection of her science fiction and fantasy stories, selected by Le Guin herself, while the first volume, Where on Earth, spotlights her more “realistic” fiction.  (And perhaps I’m not quite as interested in that.)

Le Guin writes in the introduction of Vol. 2:  Outer Space, Inner Lands about the blurring of boundaries between genre fiction and literature.  She writes about the  relationship between myth, legend, science fiction, fantasy, and magic realism.

She says of genre:

“Genre, a concept which could have served as a useful distinction of various kinds of fiction, has been degraded into a disguise for more value-judgment.  The various “genres” are now mainly commercial product-labels to make life easy for lazy readers, lazy critics, and the Sales Departments of publishers.”

“It’s not my job as a writer to make life easy for anybody.  Including myself.”

Many of Le Guin’s powerful books could be cross-listed as SF/fantasy and literature, but, with the exception of Lavinia, her historical novel about he Italian princess who marries Aeneas (in The Aeneid), I have found all of them in the SF section.  Booksellers shelf Doris Lessing’s science fiction in the literature section, because she began as a literary writer, but Le Guin, best known as an SF writer, and remarkably fluent,  doesn’t get the same courtesy.

Ursula K. Le Guin

Ursula K. Le Guin

There are many different kinds of stories in Outer Space, Inner Lands. Some of them take the form of ethnological reports on other planets.  In “Solitude,” an ethnologist and her two children, Borno and Serenity, spend several years on Eleven-Soro.  Narrated many years later by the ethnologist’s daughter Serenity in the form of a report, the story melds Serenity’s happy memories of her own coming of age with her mother’s sadness and isolation.  Serenity, who was a young child when they moved there, was accepted by the inhabitants of the “aunt-ring,”  learned the songs and stories the women told, and had an opportunity to “make her soul.”  Her mother was not allowed to attend their singing/storytelling sessions.

Serenity learned above all to avoid magic, tekell, “an art or power that violates natural law”:  the technology on her home planet, or even just one person trying to dominate another.   Her mother calls this superstition, but to Serenity it is common sense: even in marriage, there is tekell, because one person can control the other.   “You have no power over me,” she says to her mother when they want to take her back to their home planet.

The family cannot stay together on the planet.  Borno must leave with the other boys in adolescence to live away from women and jostle for power.   He sticks out the violent life for one year, then comes home and tells his mother he wants to go back to their planet.  Serenity’s dilemma is that she loves her family but utterly believes in the society she has been brought up in.

In another thoughful,  gripping story, “Nine Lives,” two men, Pugh and Martin, have been alone on Libra Exploratory Mission Base for years.  Their first glimpse of a member of an incoming support team on a video communicator floors them:  “Do they all look like that?  Martin, you and I are uglier than I thought.”

Le Guin writes about the difficulty of meeting strangers.  It is particularly tough for Martin and Pugh, alone for so many years.

“It is hard to meet a stranger.  Even the greatest extravert meeting even the greatest stranger knows a certain dread, though he may not know he knows it.  Will he make a fool of me wreck my image of myself invade me destroy me change me?  Yes, that he will.  There’s the terrible thing:  the strangeness of the stranger.”

But it is even more disturbing when  a support team emerges from the ship, and they are shocked to see  five men and five women clones–a tenclone. Later, nine of the clones die in a horrible earthquake, and the tenth, who almost dies, is in deep shock. He gradually learns from Martin and Pugh that doing the safe thing is not always the wise thing.  Breaking the rules can help one survive.

In my favorite story, “Betrayals,” an elderly woman has retired to a hut outside a remote village to meditate and learn to die.  She reads about a planet where there is always peace,  takes care of a dog and cat, and allows a Romeo-and-Juliet-type couple to take refuge in her house occasionally for love. But then she discovers that her neighbor, the Chief, a former tyrannical revolutionary leader who served time in prison, is ill with a cough that develops into pneumonia.  She doesn’t want to help him–she doesn’t care for him–he is there to die–but a lifetime of habit makes it necessary to do all she can.  She learns about the versatility of human beings, and that neither she, nor the chief are ready to die.

Great stories.  I like some better than others, but there is not a dud among them.

Now I must get my copy of Volume One.