FreakAngels - 0 views
"We will need writers who can remember freedom": Ursula K Le Guin at the National Book ... - 0 views
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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.
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We live in capitalism. Its power seems inescapable. So did the divine right of kings. Any human 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.
Our Opinions Are Correct: Propaganda and mind control in science fiction - 0 views
On coming out as transgender in Donald Trump's America - Vox - 0 views
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I used to think I wanted to see June and the other women on the show persevere in the face of suffering, because on some level, I believed that to embrace my own womanhood was to embrace suffering. Now I realize that I do want to see Gilead burn. I don’t want suffering anymore. I want catharsis. And not just for me.
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As soon as I came out, an entire lifetime of unrealistic expectations for women’s beauty came crashing down on my head
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What I believed for too long, and what you might believe too, is that your body is not a gift but an obligation. That it is not who you are but a series of tasks assigned to you by the accident of your birth. This is not true. The best obligations — the only real obligations — are chosen. Your life is your life. It is worth fighting for.
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The Imaginative Reality of Ursula K. Le Guin | VQR Online - 1 views
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The founders of this anarchist society made up a new language because they realized you couldn’t have a new society and an old language. They based the new language on the old one but changed it enormously. It’s simply an illustration of what Orwell was saying in his great essay about how writing English clearly is a political matter.
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There are advantages and disadvantages to living a very long time, as I have. One of the advantages is that you can’t help having a long view. You’ve seen it come and seen it go. Something that’s being announced as the absolute only way to write, you recognize as a fashion, a fad, trendy—the way to write right now if you want to sell right now to a right now editor. But there’s also the long run to consider. Nothing’s deader than last year’s trend.
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Obviously, the present tense has certain uses that it’s wonderfully suited for. But recently it has been adopted blindly, as the only way to tell a story—often by young writers who haven’t read very much. Well, it’s a good way to tell some stories, not a good way to tell others. It’s inherently limiting. I call it “flashlight focus.” You see a spot ahead of you and it is dark all around it. That’s great for high suspense, high drama, cut-to-the-chase writing. But if you want to tell a big, long story, like the books of Elena Ferrante, or Jane Smiley’s The Last Hundred Years trilogy, which moves year by year from 1920 to 2020—the present tense would cripple those books. To assume that the present tense is literally “now” and the past tense literally remote in time is extremely naïve.
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