"Ursula Le Guin at her best . . . This is an important collection of eloquent, elegant pieces by one of our most acclaimed contemporary writers." —Elizabeth Hand, The Washington Post Book World
"I have decided that the trouble with print is, it never changes its mind," writes Ursula K. Le Guin in her introduction to Dancing at the Edge of the World. But she has, and here is the record of that change in the decade since the publication of her last nonfiction collection, The Language of the Night. And what a mind—strong, supple, disciplined, playful, ranging over the whole field of its concerns, from modern literature to menopause, from utopian thought to rodeos, with an eloquence, wit, and precision that makes for exhilarating reading.
"If you are tired of being able to predict what a writer will say next, if you are bored stiff with minimalism, if you want excess and risk and intelligence and pure orneriness, try Le Guin." —Mary Mackey, San Francisco Chronicle
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Ursula K. Le Guin won the Hugo, Nebula, Gandalf, Kafka, and National Book Awards, and was the author of more than seventy-five books, including The Left Hand of Darkness, A Fisherman of the Inland Sea, Four Ways to Forgiveness, and many other beautifully wrought works of the imagination.
Cover,
ALSO BY URSULA K. LE GUIN,
Title Page,
Copyright,
INTRODUCTORY NOTE,
TALKS AND ESSAYS,
1976 The Space Crone,
Is Gender Necessary? Redux,
1978 "Moral and Ethical Implications of Family Planning",
1979 It Was a Dark and Stormy Night,
Working on "The Lathe",
1980 Some Thoughts on Narrative,
1981 World-Making,
Hunger,
Places Names,
1982 The Princess,
A Non-Euclidean View of California as a Cold Place to Be,
Facing It,
1983 Reciprocity of Prose and Poetry,
A Left-Handed Commencement Address,
Along the Platte,
1984 Whose Lathe?,
The Woman Without Answers,
The Second Report of the Shipwrecked Foreigner to the Kadanh of Derb,
1985 Room 9, Car 1430,
Theodora,
Science Fiction and the Future,
The Only Good Author?,
1986 Bryn Mawr Commencement Address,
Woman / Wilderness,
The Carrier Bag Theory of Fiction,
Heroes,
Prospects for Women in Writing,
Text, Silence, Performance,
1987 "Who is Responsible?",
Conflict,
"Where Do You Get Your Ideas From?",
1988 Over the Hills and a Great Way Off,
The Fisherwoman's Daughter,
REVIEWS,
1977 The Dark Tower, by C. S. Lewis,
1978 Close Encounters, Star Wars, and the Tertium Quid,
1979 Shikasta, by Doris Lessing,
1980 Two from "Venom",
Freddy's Book and Vlemk, by John Gardner,
The Marriages Between Zones Three, Four, and Five, by Doris Lessing,
Kalila and Dimna, retold by Ramsay Wood,
Unfinished Business, by Maggie Scarf,
Italian Folktales, by Italo Calvino,
1981 Peake's Progress, by Mervyn Peake,
1983 The Sentimental Agents, by Doris Lessing,
1984 Difficult Loves, by Italo Calvino,
"Forsaking Kingdoms": Five Poets,
1985 The Mythology of North America, by John Bierhorst,
1986 Silent Partners, by Eugene Linden,
Outside the Gates, by Molly Gloss,
Golden Days, by Carolyn See,
ACKNOWLEDGMENTS,
THE SPACE CRONE
(1976)
The menopause is probably the least glamorous topic imaginable; and this is interesting, because it is one of the very few topics to which cling some shreds and remnants of taboo. A serious mention of menopause is usually met with uneasy silence; a sneering reference to it is usually met with relieved sniggers. Both the silence and the sniggering are pretty sure indications of taboo.
Most people would consider the old phrase "change of life" a euphemism for the medical term "menopause," but I, who am now going through the change, begin to wonder if it isn't the other way round. "Change of life" is too blunt a phrase, too factual. "Menopause," with its chime-suggestion of a mere pause after which things go on as before, is reassuringly trivial.
But the change is not trivial, and I wonder how many women are brave enough to carry it out wholeheartedly. They give up their reproductive capacity with more or less of a struggle, and when it's gone they think that's all there is to it. Well, at least I don't get the Curse any more, they say, and the only reason I felt so depressed sometimes was hormones. Now I'm myself again. But this is to evade the real challenge, and to lose, not only the capacity to ovulate, but the opportunity to become a Crone.
In the old days women who survived long enough to attain the menopause more often accepted the challenge. They had, after all, had practice. They had already changed their life radically once before, when they ceased to be virgins and became mature women/wives/matrons/mothers/mistresses/whores/etc. This change involved not only the physiological alterations of puberty — the shift from barren childhood to fruitful maturity — but a socially recognized alteration of being: a change of condition from the sacred to the profane.
With the secularization of virginity now complete, so that the once awesome term "virgin" is now a sneer or at best a slightly dated word for a person who hasn't copulated yet, the opportunity of gaining or regaining the dangerous/sacred condition of being at the Second Change has ceased to be apparent.
Virginity is now a mere preamble or waiting room to be got out of as soon as possible; it is without significance. Old age is similarly a waiting room, where you go after life's over and wait for cancer or a stroke. The years before and after the menstrual years are vestigial: the only meaningful condition left to women is that of fruitfulness. Curiously, this restriction of significance coincided with the development of chemicals and instruments that make fertility itself a meaningless or at least secondary characteristic of female maturity. The significance of maturity now is not the capacity to conceive but the mere ability to have sex. As this ability is shared by pubescents and by postclimacterics, the blurring of distinctions and elimination of opportunities is almost complete. There are no rites of passage because there is no significant change. The Triple Goddess has only one face: Marilyn Monroe's, maybe. The entire life of a woman from ten or twelve through seventy or eighty has become secular, uniform, changeless. As there is no longer any virtue in virginity, so there is no longer any meaning in menopause. It requires fanatical determination now to become a Crone.
Women have thus, by imitating the life condition of men, surrendered a very strong position of their own. Men are afraid of virgins, but they have a cure for their own fear and the virgin's virginity: fucking. Men are afraid of crones, so afraid of them that their cure for virginity fails them; they know it won't work. Faced with the fulfilled Crone, all but the bravest men wilt and retreat, crestfallen and cockadroop.
Menopause Manor is not merely a defensive stronghold, however. It is a house or household, fully furnished with the necessities of life. In abandoning it, women have narrowed their domain and impoverished their souls. There are things the Old Woman can do, say, and think that the Woman cannot do, say, or think. The Woman has to give up more than her menstrual periods before she can do, say, or think them. She has got to change her life.
The nature of that change is now clearer than it used to be. Old age is not virginity but a third and new condition; the virgin must be celibate, but the crone need not. There was a confusion there, which the separation of female sexuality from reproductive capacity, via modern contraceptives, has cleared up. Loss of fertility does not mean loss of desire and fulfillment. But it does entail a change, a change involving matters even more important — if I may venture a heresy — than sex.
The woman who is willing to make that change must become pregnant with herself, at last. She must bear herself, her third self, her old age, with travail and alone. Not many will help her with that birth. Certainly no male obstetrician will time her contractions, inject her with sedatives, stand ready with forceps, and neatly stitch up the torn membranes. It's hard even to find an old-fashioned midwife, these days. That pregnancy is long, that labor is hard. Only one is harder, and that's the final one, the one that men also must suffer and perform.
It may well be easier to die if you have already given...
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Taschenbuch. Zustand: Neu. Neuware - 'Ursula Le Guin at her best . . . This is an important collection of eloquent, elegant pieces by one of our most acclaimed contemporary writers.' Elizabeth Hand, The Washington Post Book World'I have decided that the trouble with print is, it never changes its mind,' writes Ursula K. Le Guin in her introduction to Dancing at the Edge of the World. But she has, and here is the record of that change in the decade since the publication of her last nonfiction collection, The Language of the Night. And what a mindstrong, supple, disciplined, playful, ranging over the whole field of its concerns, from modern literature to menopause, from utopian thought to rodeos, with an eloquence, wit, and precision that makes for exhilarating reading.'If you are tired of being able to predict what a writer will say next, if you are bored stiff with minimalism, if you want excess and risk and intelligence and pure orneriness, try Le Guin.' Mary Mackey, San Francisco Chronicle. Artikel-Nr. 9780802135292
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