Dancing at the Edge of the World: Thoughts on Words, Women, Places

Dancing at the Edge of the World: Thoughts on Words, Women, Places

by Ursula K. Le Guin

Audio CD(Unabridged)

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Overview

"Insightful, impassioned, sometimes lyrical, often funny . . . a trove of delights."--Los Angeles Times Book Review. "Eloquent, elegant . . . funny, sharp . . . provocative."--Washington Post

Product Details

ISBN-13: 9781982618919
Publisher: Blackstone Publishing
Publication date: 01/22/2019
Edition description: Unabridged
Product dimensions: 5.20(w) x 5.70(h) x (d)

About the Author

Ursula K. Le Guin (1929-2018) was an American author of novels, children's books, and short stories, mainly in the genres of fantasy and science fiction. She has also written poetry, literary criticism, and essays. She was widely recognized as one of the greatest science fiction writers in the history of the genre. She won both the Hugo and Nebula Awards on several occasions, as well as the National Book Award, the PEN/Malamud Award, and many other honors and prizes. In 2014, she was awarded the National Book Foundation Medal for Distinguished Contribution to American Letters.


Gabrielle de Cuir, award-winning narration, has narrated over two hundred titles and specializes in fantasy, humor, and titles requiring extensive foreign language and accent skills. She was a cowinner of the Audie Award for best narration in 2011 and a three-time finalist for the Audie and has garnered six AudioFile Earphones Awards. Her "velvet touch" as an actor's director has earned her a special place in the audiobook world as the foremost producer for bestselling authors and celebrities.

Hometown:

Portland, Oregon

Date of Birth:

October 21, 1929

Place of Birth:

Berkeley, California

Education:

B.A., Radcliffe College; M.A., Columbia University, 1952

Read an Excerpt

CHAPTER 1

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 birth to others or yourself, at least once before. This would be an argument for going through all the discomfort and embarrassment of becoming a Crone. Anyhow it seems a pity to have a built-in rite of passage and to dodge it, evade it, and pretend nothing has changed. That is to dodge and evade one's womanhood, to pretend one's like a man. Men, once initiated, never get the second chance. They never change again. That's their loss, not ours. Why borrow poverty?

Certainly the effort to remain unchanged, young, when the body gives so impressive a signal of change as the menopause, is gallant; but it is a stupid, self-sacrificial gallantry, better befitting a boy of twenty than a woman of forty-five or fifty. Let the athletes die young and laurel-crowned. Let the soldiers earn the Purple Hearts. Let women die old, white-crowned, with human hearts.

If a space ship came by from the friendly natives of the fourth planet of Altair, and the polite captain of the space ship said, "We have room for one passenger; will you spare us a single human being, so that we may converse at leisure during the long trip back to Altair and learn from an exemplary person the nature of the race?" — I suppose what most people would want to do is provide them with a fine, bright, brave young man, highly educated and in peak physical condition. A Russian cosmonaut would be ideal (American astronauts are mostly too old). There would surely be hundreds, thousands of volunteers, just such young men, all worthy. But I would not pick any of them. Nor would I pick any of the young women who would volunteer, some out of magnanimity and intellectual courage, others out of a profound conviction that Altair couldn't possibly be any worse for a woman than Earth is.

What I would do is go down to the local Woolworth's, or the local village marketplace, and pick an old woman, over sixty, from behind the costume jewelry counter or the betel-nut booth. Her hair would not be red or blonde or lustrous dark, her skin would not be dewy fresh, she would not have the secret of eternal youth. She might, however, show you a small snapshot of her grandson, who is working in Nairobi. She is a bit vague about where Nairobi is, but extremely proud of the grandson. She has worked hard at small, unimportant jobs all her life, jobs like cooking, cleaning, bringing up kids, selling little objects of adornment or pleasure to other people. She was a virgin once, a long time ago, and then a sexually potent fertile female, and then went through menopause. She has given birth several times and faced death several times — the same times. She is facing the final birth/death a little more nearly and clearly every day now. Sometimes her feet hurt something terrible. She never was educated to anything like her capacity, and that is a shameful waste and a crime against humanity, but so common a crime should not and cannot be hidden from Altair. And anyhow she's not dumb. She has a stock of sense, wit, patience, and experiential shrewdness, which the Altaireans might, or might not, perceive as wisdom. If they are wiser than we, then of course we don't know how they'd perceive it. But if they are wiser than we, they may know how to perceive that inmost mind and heart which we, working on mere guess and hope, proclaim to be humane. In any case, since they are curious and kindly, let's give them the best we have to give.

The trouble is, she will be very reluctant to volunteer. "What would an old woman like me do on Altair?" she'll say. "You ought to send one of those scientist men, they can talk to those funny-looking green people. Maybe Dr. Kissinger should go. What about sending the Shaman?" It will be very hard to explain to her that we want her to go because only a person who has experienced, accepted, and acted the entire human condition — the essential quality of which is Change — can fairly represent humanity. "Me?" she'll say, just a trifle slyly. "But I never did anything."

But it won't wash. She knows, though she won't admit it, that Dr. Kissinger has not gone and will never go where she has gone, that the scientists and the shamans have not done what she has done. Into the space ship, Granny.

CHAPTER 2

IS GENDER NECESSARY? REDUX

(1976/1987)

"Is Gender Necessary?" first appeared in Aurora, that splendid first anthology of science fiction written by women, edited by Susan Anderson and Vonda N. McIntyre. It was later included in The Language of the Night. Even then I was getting uncomfortable with some of the statements I made in it, and the discomfort soon became plain disagreement. But those were just the bits that people kept quoting with cries of joy.

It doesn't seem right or wise to revise an old text severely, as if trying to obliterate it, hiding the evidence that one had to go there to get here. It is rather in the feminist mode to let one's changes of mind, and the processes of change, stand as evidence — and perhaps to remind people that minds that don't change are like clams that don't open. So I here reprint the original essay entire, with a running commentary in bracketed italics. I request and entreat anyone who wishes to quote from this piece henceforth to use or at least include these reconsiderations. And I do very much hope that I don't have to print re-reconsiderations in 1997, since I'm a bit tired of chastising myself.

In the mid-1960s the women's movement was just beginning to move again, after a fifty-year halt. There was a groundswell gathering. I felt it, but I didn't know it was a groundswell; I just thought it was something wrong with me. I considered myself a feminist; I didn't see how you could be a thinking woman and not be a feminist; but I had never taken a step beyond the ground gained for us by Emmeline Pankhurst and Virginia Woolf.

[Feminism has enlarged its ground and strengthened its theory and practice immensely, and enduringly, in these past twenty years; but has anyone actually taken a step "beyond" Virginia Woolf? The image, implying an ideal of "progress," is not one I would use now.]

Along about 1967, I began to feel a certain unease, a need to step on a little farther, perhaps, on my own. I began to want to define and understand the meaning of sexuality and the meaning of gender, in my life and in our society. Much had gathered in the unconscious — both personal and collective — which must either be brought up into consciousness or else turn destructive. It was that same need, I think, that had led Beauvoir to write The Second Sex, and Friedan to write The Feminine Mystique, and that was, at the same time, leading Kate Millett and others to write their books, and to create the new feminism. But I was not a theoretician, a political thinker or activist, or a sociologist. I was and am a fiction writer. The way I did my thinking was to write a novel. That novel, The Left Hand of Darkness, is the record of my consciousness, the process of my thinking.

Perhaps, now that we have all [well, quite a lot of us, anyhow] moved on to a plane of heightened consciousness about these matters, it might be of some interest to look back on the book, to see what it did, what it tried to do, and what it might have done, insofar as it is a "feminist" [strike the quotation marks, please] book. (Let me repeat that last qualification, once. The fact is that the real subject of the book is not feminism or sex or gender or anything of the sort; as far as I can see, it is a book about betrayal and fidelity. That is why one of its two dominant sets of symbols is an extended metaphor of winter, of ice, snow, cold: the winter journey. The rest of this discussion will concern only half, the lesser half, of the book.)

[This parenthesis is overstated; I was feeling defensive, and resentful that critics of the book insisted upon talking only about its "gender problems," as if it were an essay not a novel. "The fact is that the real subject of the book is ..." This is bluster. I had opened a can of worms and was trying hard to shut it. "The fact is," however, that there are other aspects to the book, which are involved with its sex/gender aspects quite inextricably.]

It takes place on a planet called Gethen, whose human inhabitants differ from us in their sexual physiology. Instead of our continuous sexuality, the Gethenians have an oestrus period, called kemmer. When they are not in kemmer, they are sexually inactive and impotent; they are also androgynous. An observer in the book describes the cycle:

In the first phase of kemmer [the individual] remains completely androgynous. Gender, and potency, are not attained in isolation. ... Yet the sexual impulse is tremendously strong in this phase, controlling the entire personality. ... When the individual finds a partner in kemmer, hormonal secretion is further stimulated (most importantly by touch — secretion? scent?) until in one partner either a male or female hormonal dominance is established. The genitals engorge or shrink accordingly, foreplay intensifies, and the partner, triggered by the change, takes on the other sexual role (apparently without exception). ... Normal individuals have no predisposition to either sexual role in kemmer; they do not know whether they will be the male or the female, and have no choice in the matter. ... The culminant phase of kemmer lasts from two to five days, during which sexual drive and capacity are at maximum. It ends fairly abruptly, and if conception has not taken place, the individual returns to the latent phase and the cycle begins anew. If the individual was in the female role and was impregnated, hormonal activity of course continues, and for the gestation and lactation periods this individual remains female. ... With the cessation of lactation the female becomes once more a perfect androgyne. No physiological habit is established, and the mother of several children may be the father of several more.

Why did I invent these peculiar people? Not just so that the book could contain, halfway through it, the sentence "The king was pregnant" — though I admit that I am fond of that sentence. Not, certainly not, to propose Gethen as a model for humanity. I am not in favor of genetic alteration of the human organism — not at our present level of understanding. I was not recommending the Gethenian sexual setup: I was using it. It was a heuristic device, a thought-experiment. Physicists often do thought-experiments. Einstein shoots a light ray through a moving elevator; Schrödinger puts a cat in a box. There is no elevator, no cat, no box. The experiment is performed, the question is asked, in the mind. Einstein's elevator, Schrödinger's cat, my Gethenians, are simply a way of thinking. They are questions, not answers; process, not stasis. One of the essential functions of science fiction, I think, is precisely this kind of question-asking: reversals of a habitual way of thinking, metaphors for what our language has no words for as yet, experiments in imagination.

The subject of my experiment, then, was something like this: Because of our lifelong social conditioning, it is hard for us to see clearly what, besides purely physiological form and function, truly differentiates men and women. Are there real differences in temperament, capacity, talent, psychic processes, etc.? If so, what are they? Only comparative ethnology offers, so far, any solid evidence on the matter, and the evidence is incomplete and often contradictory. The only going social experiments that are truly relevant are the kibbutzim and the Chinese communes, and they too are inconclusive — and hard to get unbiased information about. How to find out? Well, one can always put a cat in a box. One can send an imaginary, but conventional, indeed rather stuffy, young man from Earth into an imaginary culture which is totally free of sex roles because there is no, absolutely no, physiological sex distinction. I eliminated gender, to find out what was left. Whatever was left would be, presumably, simply human. It would define the area that is shared by men and women alike.

(Continues…)


Excerpted from "Dancing at the Edge of the World"
by .
Copyright © 1989 Ursula K. Le Guin.
Excerpted by permission of Grove Atlantic, Inc..
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.

Table of Contents

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,

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