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In The Carrier Bag Theory of Fiction, visionary author Ursula K. Le Guin retells the story of human origin by redefining technology as a cultural carrier bag rather than a weapon of domination.
Hacking the linear, progressive mode of the Techno-Heroic, the Carrier Bag Theory of human evolution proposes: 'before the tool that forces energy outward, we made the tool that brings energy home.' Prior to the preeminence of sticks, swords and the Hero's long, hard, killing tools, our ancestors' greatest invention was the container: the basket of wild oats, the medicine bundle, the net made of your own hair, the home, the shrine, the place that contains whatever is sacred. The recipient, the holder, the story. The bag of stars.
This influential essay opens a portal to terra ignota: unknown lands where the possibilities of human experience and knowledge can be discovered anew.
With a new introduction by Donna Haraway, the eminent cyberfeminist, author of the revolutionary A Cyborg Manifesto and most recently, Staying with the Trouble and Manifestly Haraway. With images by Lee Bul, a leading South Korean feminist artist who had a retrospective at London's Hayward Gallery in 2018.
Hacking the linear, progressive mode of the Techno-Heroic, the Carrier Bag Theory of human evolution proposes: 'before the tool that forces energy outward, we made the tool that brings energy home.' Prior to the preeminence of sticks, swords and the Hero's long, hard, killing tools, our ancestors' greatest invention was the container: the basket of wild oats, the medicine bundle, the net made of your own hair, the home, the shrine, the place that contains whatever is sacred. The recipient, the holder, the story. The bag of stars.
This influential essay opens a portal to terra ignota: unknown lands where the possibilities of human experience and knowledge can be discovered anew.
With a new introduction by Donna Haraway, the eminent cyberfeminist, author of the revolutionary A Cyborg Manifesto and most recently, Staying with the Trouble and Manifestly Haraway. With images by Lee Bul, a leading South Korean feminist artist who had a retrospective at London's Hayward Gallery in 2018.
14 pages, Unbound
First published January 1, 1986
50 people are currently reading
6185 people want to read
About the author
Ursula K. Le Guin
973 books29.4k followersUrsula K. Le Guin published twenty-two novels, eleven volumes of short stories, four collections of essays, twelve books for children, six volumes of poetry and four of translation, and has received many awards: Hugo, Nebula, National Book Award, PEN-Malamud, etc. Her recent publications include the novel Lavinia, an essay collection, Cheek by Jowl, and The Wild Girls. She lived in Portland, Oregon.
She was known for her treatment of gender (The Left Hand of Darkness, The Matter of Seggri), political systems (The Telling, The Dispossessed) and difference/otherness in any other form. Her interest in non-Western philosophies was reflected in works such as "Solitude" and The Telling but even more interesting are her imagined societies, often mixing traits extracted from her profound knowledge of anthropology acquired from growing up with her father, the famous anthropologist, Alfred Kroeber. The Hainish Cycle reflects the anthropologist's experience of immersing themselves in new strange cultures since most of their main characters and narrators (Le Guin favoured the first-person narration) are envoys from a humanitarian organization, the Ekumen, sent to investigate or ally themselves with the people of a different world and learn their ways.
She was known for her treatment of gender (The Left Hand of Darkness, The Matter of Seggri), political systems (The Telling, The Dispossessed) and difference/otherness in any other form. Her interest in non-Western philosophies was reflected in works such as "Solitude" and The Telling but even more interesting are her imagined societies, often mixing traits extracted from her profound knowledge of anthropology acquired from growing up with her father, the famous anthropologist, Alfred Kroeber. The Hainish Cycle reflects the anthropologist's experience of immersing themselves in new strange cultures since most of their main characters and narrators (Le Guin favoured the first-person narration) are envoys from a humanitarian organization, the Ekumen, sent to investigate or ally themselves with the people of a different world and learn their ways.
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Displaying 1 - 30 of 535 reviews
April 17, 2020
It never occurred to me to think that the so-called Hero's Journey, with its Conflict and clear Villain, is just one more vestige of that very old story our culture decided it prefers most: Early man using a bone to kill, then raising it in adrenaline-spiked ecstasy; the bone becoming a rocket; and close-up to the baby, a boy of course, born in a Space now penetrated, colonised, dead to all but our purposes, like everything else. In that conception of reality, the Weapon is always our first cultural tool—the force that imposes to assert dominance.
The carrier bag theory of evolution, if I understand it (and I certainly don't well, not yet), posits that the first cultural tool was actually some kind of sack or sling—a vessel. What good does it do to dig up spuds if you can't contain the rest to take home? Ursula Le Guin doesn't much seem to care which tool came first, but it's satisfying enough to imagine that, way back in the time of Firsts, there was the tool that forces energy outward and the one that brings energy home, that contains it so that we may feed ourselves and others.
How does that perspective change stories, and the entire genre of science fiction?
The carrier bag theory of evolution, if I understand it (and I certainly don't well, not yet), posits that the first cultural tool was actually some kind of sack or sling—a vessel. What good does it do to dig up spuds if you can't contain the rest to take home? Ursula Le Guin doesn't much seem to care which tool came first, but it's satisfying enough to imagine that, way back in the time of Firsts, there was the tool that forces energy outward and the one that brings energy home, that contains it so that we may feed ourselves and others.
How does that perspective change stories, and the entire genre of science fiction?
April 16, 2021
short, sweet and like a firm hug in a kitchen with a whistling kettle
November 12, 2023
yeah sure i'll put this on my goodreads. why not. anything to encourage people to read it; it's like five minutes long and it's a very thoughtful examination of narrative, specifically the way narrative is shaped by a patriarchal drive toward conflict, violence, and war as the centerpoints of human existence.
The novel is a fundamentally unheroic kind of story. Of course the Hero has frequently taken it over, that being his imperial nature and uncontrollable impulse, to take everything over and run it while making stern decrees and laws to control his uncontrollable impulse to kill it. So the Hero has decreed through his mouthpieces the Lawgivers, first, that the proper shape of the narrative is that of the arrow or spear, starting here and going straight there and THOK! hitting its mark (which drops dead); second, that the central concern of narrative, including the novel, is conflict; and third, that the story isn't any good if he isn't in it.
I differ with all of this. I would go so far as to say that the natural, 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.
it's possible to read this essay in a gender essentialist way (the phallic spear! the phallic club!), but i don't think that's the major drive. le guin's point isn't War Is For Men Gathering Is For Women; her point is that placing all narratives, all human stories, in the language of war is a very narrow definition doing us more harm than good. i also just really like this as a craft thought as much as a human-philosophy thought; her novel Lavinia is a bit of a meandering one, without a rising-action-to-climax-to-falling-action type of plot structure, and it's a much more honest (and, to me, interesting) book for that. (i'm rereading this essay because lavinia had me thinking of it incessantly--something about the way le guin explores at the "woman's side" of the aeneid, a poem that is [among other things] very much about war and imperialism, feels like this essay made manifest. you could illustrate this essay, i think, with the image in that book of ascanius showing other men his father's shield, describing the battles it has seen and the battles it foretells, and lavinia crossing the courtyard as he does so, carrying her child on her shoulder the way aeneas carries that shield.)
anyway. le guin never missed
The novel is a fundamentally unheroic kind of story. Of course the Hero has frequently taken it over, that being his imperial nature and uncontrollable impulse, to take everything over and run it while making stern decrees and laws to control his uncontrollable impulse to kill it. So the Hero has decreed through his mouthpieces the Lawgivers, first, that the proper shape of the narrative is that of the arrow or spear, starting here and going straight there and THOK! hitting its mark (which drops dead); second, that the central concern of narrative, including the novel, is conflict; and third, that the story isn't any good if he isn't in it.
I differ with all of this. I would go so far as to say that the natural, 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.
it's possible to read this essay in a gender essentialist way (the phallic spear! the phallic club!), but i don't think that's the major drive. le guin's point isn't War Is For Men Gathering Is For Women; her point is that placing all narratives, all human stories, in the language of war is a very narrow definition doing us more harm than good. i also just really like this as a craft thought as much as a human-philosophy thought; her novel Lavinia is a bit of a meandering one, without a rising-action-to-climax-to-falling-action type of plot structure, and it's a much more honest (and, to me, interesting) book for that. (i'm rereading this essay because lavinia had me thinking of it incessantly--something about the way le guin explores at the "woman's side" of the aeneid, a poem that is [among other things] very much about war and imperialism, feels like this essay made manifest. you could illustrate this essay, i think, with the image in that book of ascanius showing other men his father's shield, describing the battles it has seen and the battles it foretells, and lavinia crossing the courtyard as he does so, carrying her child on her shoulder the way aeneas carries that shield.)
anyway. le guin never missed
October 5, 2024
Ten years ago I went eating in Oud Sluys (a Dutch 3 Michelin star restaurant, then listed top 15 in the world) and 'till this day I can still recall a certain light green dot of reduced vegetable 'stock' that was só packed full of flavours it contained multitudes. The 20 page essay The carrier bag theory of fiction reminds me of that experience. The words and ideas that Le Guin stuffed into this text are a destillation, and essence, an eau de vie of something much wider and richer. It is a pearl that stands for a sea.
June 21, 2024
sencillamente maravillosa
February 26, 2025
En este brevísimo ensayo, con una extensión de artículo de los que publicaba Gigamesh, Le Guin invita a repensar las escritura de historias y su análisis desde una noción distinta a la corriente habitual en los talleres de escritura o los blogs de medio pelo que, como el mío, se escriben desde recetas. Yéndose a su base antropológica, conecta las historias con los roles principales de los conseguidores de comida de las primeros grupos humanos y formula un encendido alegato en pro de la interpretación/concepción recolectora frente a la cazadora. No tengo ni idea de hasta qué punto es aplicable pero ya solo por cómo permite entender la escritura de muchas obras suyas, tan ajenas a las corrientes principales de la ciencia ficción y la fantasía, ya merece la pena leerlo.
Para su extensión, la edición se va un poco de precio. Pero ahora mismo es la única opción para leerlo en nuestra lengua.
Para su extensión, la edición se va un poco de precio. Pero ahora mismo es la única opción para leerlo en nuestra lengua.
April 1, 2021
Le Guin never fails in writing stories or essays that contain ideas that slap you round the face in the calmest way possibly. She is just the most amazingly thoughtful, grounded sci-fi writer. This little essay just details how much our notions of "heroics" or "heroes" are frankly crap and calls for a rethink of our storytelling priorities.
July 31, 2025
Perfecta.
January 16, 2021
"It’s unfamiliar, it doesn’t come easily, thoughtlessly, to the lips as the killer story does; but still, 'untold' was an exaggeration. People have been telling the life story for ages, in all sorts of words and ways. Myths of creation and transformation, trickster stories, folktales, jokes, novels...."
"The novel is a fundamentally unheroic kind of story. Of course the Hero has frequently taken it over, that being his imperial nature and uncontrollable impulse, to take everything over and run it while making stern decrees and laws to control his uncontrollable impulse to kill it."
"So, when I came to write science-fiction novels, I came lugging this great heavy sack of stuff, my carrier bag full of wimps and klutzes, and tiny grains of things smaller than a mustard seed, and intricately woven nets which when laboriously unknotted are seen to contain one blue pebble, an imperturbably functioning chronometer telling the time on another world, and a mouse’s skull; full of beginnings without ends, of initiations, of losses, of transformations and translations, and far more tricks than conflicts, far fewer triumphs than snares and delusions; full of space ships that get stuck, missions that fail, and people who don’t understand. I said it was hard to make a gripping tale of how we wrested the wild oats from their husks, I didn’t say it was impossible. Who ever said writing a novel was easy?"
"Finally, it’s clear that the Hero does not look well in this bag. He needs a stage or a pedestal or a pinnacle. You put him in a bag and he looks like a rabbit, like a potato."
"The novel is a fundamentally unheroic kind of story. Of course the Hero has frequently taken it over, that being his imperial nature and uncontrollable impulse, to take everything over and run it while making stern decrees and laws to control his uncontrollable impulse to kill it."
"So, when I came to write science-fiction novels, I came lugging this great heavy sack of stuff, my carrier bag full of wimps and klutzes, and tiny grains of things smaller than a mustard seed, and intricately woven nets which when laboriously unknotted are seen to contain one blue pebble, an imperturbably functioning chronometer telling the time on another world, and a mouse’s skull; full of beginnings without ends, of initiations, of losses, of transformations and translations, and far more tricks than conflicts, far fewer triumphs than snares and delusions; full of space ships that get stuck, missions that fail, and people who don’t understand. I said it was hard to make a gripping tale of how we wrested the wild oats from their husks, I didn’t say it was impossible. Who ever said writing a novel was easy?"
"Finally, it’s clear that the Hero does not look well in this bag. He needs a stage or a pedestal or a pinnacle. You put him in a bag and he looks like a rabbit, like a potato."
December 4, 2021
One of the best essays I read. I keep coming back to it for its concentrated speculative power that can go in so many directions. Lovely foundation to think and read with.
August 1, 2022
Assim como fala na sinopse deste livro, a grande escritora de ficção científica, Ursula K. LeGuin vem propor em A Teoria da Bolsa de Ficção um contrponto às leituras masculinistas e violentas da produção de ficção (científica ou nã0). É uma teoria que vem contra a Jornada do Herói e também contra as ideias de que diálogos devem ser brigas, socos, beats. Ela vai contra o pensar a trama como o espeto, a espada, o obelisco, as formas fálicas que atravessam, violentam, brutalizam e direcionam para um único caminho de posibilidades. Ela escolhe a direção da forma da bolsa, de um invólucro que contém as coisas, assim como as frases contém palavras e as palavras contém significados. Em um texto curto, a autora expõe uma teoria rica, que pode proporcionar mais desmembramentos por estudiosos da criação literária e temas além. Incrível! Vale aplaudir também a nota da tradutora no final do livro, explicando suas decisões de uso de palavras e significados. Contudo, tenho minhas ressalvas à edição do livro feita pela n-1 editora. Sei que é para ser um livro-objeto, um livro-arte, mas para mim não funcionou. Costurar as páginas da edição como bolsos e colocar imagens dentro pode ser um conceito legal, mas na prática deixa o livro ruim de manusear e esse parece ser um livro que vou voltar mais e mais vezes. Poderia ser um livro pocket com mais páginas e o bolso na capa traseira, por exemplo, em capa dura. Talvez custasse o mesmo - alto - valor deste livro costurado. Também achei enrolada e rocambolesca a introdução do livro que, na minha concepção poderia ter sido descartada porque não esclarece nada sobre o ensaio. De toda forma, recomendo que leiam esse ensaio de LeGuin, mesmo que seja num livro em outro formato.
December 30, 2022
Comentário
⭐⭐⭐⭐
Ursula K. Le Guin
“A mão esquerda das trevas”
Tradução de Fátima Andrade
“A Ficção como Cesta: Uma Teoria e Outros Textos”
Tradução de Sofia Gonçalves
Ursula K. Le Guin faz parte da lista de autores que sempre quis ler. Mas que nunca li até que este ano em Janeiro deste ano disse que seria em 2022. Mas só em Dezembro, e no âmbito da iniciativa #eternasescritoras é que finalmente li o livro. E acho que só o li todo porque fui tendo a companhia/provocação da Catarina Durão Machado.
Para complicar o processo decidi a meio da leitura de “A mão esquerda das trevas” ler o pequeno volume de ensaios “A Ficção como Cesta: Uma Teoria e Outros Textos”. Na realidade ainda bem que o fiz porque um dos ensaio ajudou-me bastante a ler o livro de ficção. E mostrou igualmente a complexidade do pensamento e da proposta intelectual da autora.
E que achei eu dos dois livros de Ursula K. Le Guin que li? Provocadores em termos intelectuais. Le Guin é uma autora que me obriga a pensar e a reflectir sobre os mundo que (re)cria, sobre a carga alegórica da sua obra. Assim em “A mão esquerda das trevas” temos o repensar dos regimes de género - o que faz desta obra um histórico hino feminista na literatura do século XX -, o questionar das dicotomias típicas da Guerra Fria, ou a reprodução gélida dos campos de concentração (quasi GULAG). A autora vai, capítulo a capitulo, criando mundos novos que me obrigaram a parar e a tomar notas simplificadas da trama para poder acompanhar o livro.
E foi ai que me senti mais perdido. Não estando habituado a ler ficção cientifica, ou mesmo fantasia, ler um livro deste tipo pode ser um esforço algo difícil. Fui me socorrendo de notas e comentários sobre o livro de modo a conseguir chegar ao fim. Mas assumo que tem mais a ver com a minha dificuldade com ler ficção especulativa.
Por fim gostaria de destacar o ensaio “A ficção como cesta: um teoria” em que a autora nos propõe uma leitura do romance e da ficção como um processo de partilha e cuidado e não como reprodução do heroísmo masculinizado de muita da literatura que lemos.
Perguntam: vais querer ler mais livros da autora? Sim quero. E por onde devo ir?
#livro #literatura #leitor #leitores #leitura #literaturanorteamericana
#ficçãocientífica
#ursulakleguin
#ensaio
#book #bookstagram #bookclub #bookstagramportugal #bookworm #booknerd #booklover
⭐⭐⭐⭐
Ursula K. Le Guin
“A mão esquerda das trevas”
Tradução de Fátima Andrade
“A Ficção como Cesta: Uma Teoria e Outros Textos”
Tradução de Sofia Gonçalves
Ursula K. Le Guin faz parte da lista de autores que sempre quis ler. Mas que nunca li até que este ano em Janeiro deste ano disse que seria em 2022. Mas só em Dezembro, e no âmbito da iniciativa #eternasescritoras é que finalmente li o livro. E acho que só o li todo porque fui tendo a companhia/provocação da Catarina Durão Machado.
Para complicar o processo decidi a meio da leitura de “A mão esquerda das trevas” ler o pequeno volume de ensaios “A Ficção como Cesta: Uma Teoria e Outros Textos”. Na realidade ainda bem que o fiz porque um dos ensaio ajudou-me bastante a ler o livro de ficção. E mostrou igualmente a complexidade do pensamento e da proposta intelectual da autora.
E que achei eu dos dois livros de Ursula K. Le Guin que li? Provocadores em termos intelectuais. Le Guin é uma autora que me obriga a pensar e a reflectir sobre os mundo que (re)cria, sobre a carga alegórica da sua obra. Assim em “A mão esquerda das trevas” temos o repensar dos regimes de género - o que faz desta obra um histórico hino feminista na literatura do século XX -, o questionar das dicotomias típicas da Guerra Fria, ou a reprodução gélida dos campos de concentração (quasi GULAG). A autora vai, capítulo a capitulo, criando mundos novos que me obrigaram a parar e a tomar notas simplificadas da trama para poder acompanhar o livro.
E foi ai que me senti mais perdido. Não estando habituado a ler ficção cientifica, ou mesmo fantasia, ler um livro deste tipo pode ser um esforço algo difícil. Fui me socorrendo de notas e comentários sobre o livro de modo a conseguir chegar ao fim. Mas assumo que tem mais a ver com a minha dificuldade com ler ficção especulativa.
Por fim gostaria de destacar o ensaio “A ficção como cesta: um teoria” em que a autora nos propõe uma leitura do romance e da ficção como um processo de partilha e cuidado e não como reprodução do heroísmo masculinizado de muita da literatura que lemos.
Perguntam: vais querer ler mais livros da autora? Sim quero. E por onde devo ir?
#livro #literatura #leitor #leitores #leitura #literaturanorteamericana
#ficçãocientífica
#ursulakleguin
#ensaio
#book #bookstagram #bookclub #bookstagramportugal #bookworm #booknerd #booklover
July 22, 2024
Siden mammutjægerne ridsede deres jagtscener ind i klippehulens væg har historier skullet handle om at dræbe og erobre og om heltene (og dvs. mændene) der gjorde det. Ursula Le Guin påpeger at historiens første redskab sandsynligvis ikke var et slagvåben i abens hånd, men noget at bære de indsamlede bær, nødder og flyvehavre hjem i - en bærepose. Så i stedet for dræberhistorier drømmer hun om skabelses- og forvandlingsmyter, svindlerhistorier, folkeeventyr, vittigheder og romaner. Romaner kan være vævede net med knuder og scifi en realistisk, frem for mytologisk, genre.
Det er et fint lille essay om de metaforer vi bruger og hvordan det former vores fortællinger.
Genlæst 7/24 efter at Kim de l'Horizon refererede til den i Blutbuch - det er stadig godt.
Det er et fint lille essay om de metaforer vi bruger og hvordan det former vores fortællinger.
Genlæst 7/24 efter at Kim de l'Horizon refererede til den i Blutbuch - det er stadig godt.
November 19, 2022
I came here after reading this one quote below and I am still trying to process the essay. Authors really give us strange, unusual perspectives which once we read seem so obvious. This essay is the kind that needs to be read again and again and would probably keep adding meaning to itself and for me as time passes.
The quote:
The quote:
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 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
April 16, 2025
Mit Ursula K. Le Guins großen Fantasyromanen hatte ich bisher Probleme: zu schematisch, zu didaktisch, zu unbelebt durch die Charaktere. Sie schien mir immer mehr daran interessiert, Utopien/Dystopien zu erkunden als eine Geschichte zu erzählen. Nach dem Lesen dieser Essaysammlung verstehe ich ihren Ansatz besser, auch mein auf Protagonist:innen fokussiertes Lesen. Heißt nicht, dass ich zum nächsten Roman von ihr greife, aber insbesondere "Ein Kampf ohne Ende" und "Ein nicht-euklidischer Blick auf Kalifornien als kalten Ort in spe" werde ich ganz bestimmt noch öfter lesen und zitieren.
March 23, 2025
i like this
August 4, 2024
sobre cómo se han narrado históricamente los relatos,pero sobre todo sobre como No se han narrado !!!!!!!🏹🦣
En mi deseo de ser también humana, busqué pruebas de mi humanidad. Pero, si esto era un requisito previo, el crear un arma y matar con ella, entonces yo era o extremadamente defectuosa como ser humano, o no era ser humano en absoluto. Así es, dijeron. Lo que eres es una mujer. Posiblemente en absoluto humana
En mi deseo de ser también humana, busqué pruebas de mi humanidad. Pero, si esto era un requisito previo, el crear un arma y matar con ella, entonces yo era o extremadamente defectuosa como ser humano, o no era ser humano en absoluto. Así es, dijeron. Lo que eres es una mujer. Posiblemente en absoluto humana
November 6, 2022
absolutamente loca!!!!!!!!! siento que este ensayo ha cambiado una parte muy profunda e integra a quien soy ahora
October 5, 2022
Es tan pequeño (50pgs.) que lo comento por acá. Me encanta como piensa esta autora y como problematiza en este ensayo la manera en que influye la reproducción continúa de un mismo relato desde el comienzo de los tiempos...
Nos invita a salir de la estructura y de la lógica del héroe como centro de un relato que siempre gira en torno al conflicto y a pensar en darle voz a la historia no contada. Sin dudas un texto para hacer dialogar con otros ✨
Nos invita a salir de la estructura y de la lógica del héroe como centro de un relato que siempre gira en torno al conflicto y a pensar en darle voz a la historia no contada. Sin dudas un texto para hacer dialogar con otros ✨
October 23, 2021
Es war mir - wie immer - eine Freude, Ursula K. Le Guins Gedanken zu folgen.
March 17, 2024
I've read this essay a few times already, and each time it fills me with tenderness and hope (mixed with a bit of despair, too). I was utterly delighted it has been published as a tiny little book too, since now I get to carry it around as a physical reminder of what kind of stories I want to tell.
May 22, 2024
Only about 5 pages but this force of a storyteller managed to make me cry while explaining evolution, the tools of narrative and being a feminist, a god damn accurate representation of womanhood all at the same time.
January 26, 2022
i love her so much
September 30, 2023
“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.”
February 17, 2025
perfect begin voor elke valentijnsdag
July 18, 2025
"Dije que era difícil hacer un relato apasionante de cómo sacamos la avena salvaje de sus cáscaras, no dije que fuera imposible". un tema súper interesante, pero qué corto.....m hubiese encantado q tuviese 100 páginas al menos. pero está deliciosamente escrito y sólo m dio ganas d leer más d Ursula K Le Guin y teoría literaria y modos d narración y etcetcetc
July 11, 2024
kannattaa lukee banana splitin kera !!!
October 21, 2024
WHAT AN ABSOLUTE BANGER
January 10, 2025
to be super real i do not like ursula Kroeber le guin i think she is mid. this tiny book is so funny the introduction was ridiculous -- sometimes donna haraway is so genius & other times i'm like this is so silly undergraduate like this is barely anything -- the preface talking about hildegard of bingen & mysticism & shit... framing it like i'm about to be enlightened little red book bible cutting edge theory style when the actual essay is just a relic of second wave feminism i.e. patriarchy = bad. hero's journey = man narrative. yonic symbol good. boob joke. like ok. i also read that on tumblr in 2012
November 18, 2021
oh wow wow this was so good, I've never read any of le guin's work and I've been meaning to get into it so I've been collecting recs from friends to see where I should start. I heard someone saying this essay was sort of a nice introduction to how she approaches writing so I decided this would be the first thing I'd check out and wow... yes ... very excited to actually check out her novels :')
Displaying 1 - 30 of 535 reviews