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.
American fantasy and science fiction author (1929–2018)
Ursula K. Le Guin (21 October 1929 – 22 January 2018) was an American writer, known mostly for her work in science fiction and fantasy. She received the Hugo Award, Nebula Award, Locus Award, and World Fantasy Award, and was made a Grandmaster of Science Fiction in 2003.
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Please bring strange things.
Please come bringing new things.
Let very old things come into your hands.
Let what you do not know come into your eyes.
Let desert sand harden your feet.
Let the arch of your feet be the mountains.
Let the paths of your fingertips be your maps
And the ways you go be the lines of your palms.
Let there be deep snow in your inbreathing
And your outbreath be the shining of ice.
May your mouth contain the shapes of strange words.
May you smell food cooking you have not eaten.
May the spring of a foreign river be your navel.
May your soul be at home where there are no houses.
Walk carefully, well-loved one,
Walk mindfully, well-loved one,
Walk fearlessly, well-loved one.
Return with us, return to us,
Be always coming home.
"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."
"If it is a human thing to do to put something you want, because it's useful, edible, or beautiful, into a bag, or a basket, or a bit of rolled bark or leaf, or a net woven of your own hair, or what have you, and then take it home with you, home being another, larger kind of pouch or bag, a container for people, and then later on you take it out and eat it or share it or store it up for winter in a solider container or put it in the medicine bundle or the shrine or the museum, the holy place, the area that contains what is sacred, and then the next day you probably do much the same again — if to do that is human, if that's what it takes, then I am a human being after all. Fully, freely, gladly, for the first time....
[T]he 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." — "The Carrier Bag Theory of Fiction"
But I didn’t and still don’t like making a cult of women’s knowledge, preening ourselves on knowing things men don’t know, women’s deep irrational wisdom, women’s instinctive knowledge of Nature, and so on. All that all too often merely reinforces the masculinist idea of women as primitive and inferior – women’s knowledge as elementary, primitive, always down below at the dark roots, while men get to cultivate and own the flowers and crops that come up into the light. But why should women keep talking baby talk while men get to grow up? Why should women feel blindly while men get to think?
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Night falls; the traveler must pass down village streets, between the houses with yellow- lit windows, and on out into the darkness of the fields. Each alone, they go west or north, towards the mountains. They go on. 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.