Guinness Love Quotes

Love doesn't just sit there, like a stone, it has to be made, like bread; remade all the time, made new.

A profound love between two people involves, after all, the power and chance of doing profound hurt.

I had forgotten how much light there is in the world, till you gave it back to me.

No, I don't mean love, when I say patriotism. I mean fear. The fear of the other. And its expressions are political, not poetical: hate, rivalry, aggression.

It is our suffering that brings us together. It is not love. Love does not obey the mind, and turns to hate when forced. The bond that binds us is beyond choice. We are brothers. We are brothers in what we share. In pain, which each of us must suffer alone, in hunger, in poverty, in hope, we know our brotherhood. We know it, because we have had to learn it. We know that there is no help for us but from one another, that no hand will save us if we do not reach out our hand. And the hand that you reach out is empty, as mine is. You have nothing. You possess nothing. You own nothing. You are free. All you have is what you are, and what you give.

How does one hate a country, or love one? Tibe talks about it; I lack the trick of it. I know people, I know towns, farms, hills and rivers and rocks, I know how the sun at sunset in autumn falls on the side of a certain plowland in the hills; but what is the sense of giving a boundary to all that, of giving it a name and ceasing to love where the name ceases to apply? What is love of one's country; is it hate of one's uncountry? Then it's not a good thing. Is it simply self-love? That's a good thing, but one mustn't make a virtue of it, or a profession... Insofar as I love life, I love the hills of the Domain of Estre, but that sort of love does not have a boundary-line of hate. And beyond that, I am ignorant, I hope.

I think," Tehanu said in her soft, strange voice, "that when I die, I can breathe back the breath that made me live. I can give back to the world all that I didn't do. All that I might have been and couldn't be. All the choices I didn't make. All the things I lost and spent and wasted. I can give them back to the world. To the lives that haven't been lived yet. That will be my gift back to the world that gave me the life I did live, the love I loved, the breath I breathed.

Rowena Clark and I had met on the first day of our mixed media class. I’d sat down at her table and said, “Mind if I join you? Figure the best way to learn about art is to sit with a masterpiece.” Maybe I was in love, but I was still Adrian Ivashkov. Rowena had fixed me with a flat look. “Let’s get one thing straight. I can see through crap a mile away, and I like girls, not guys, so if you can’t handle me telling you what’s what, then you’d better take your one-liners and hair gel somewhere else. I don’t go to this school to put up with pretty boys like you. I’m here to face dubious employment options with a painting degree and then go get a Guinness after class.” I’d scooted my chair closer to the table. “You and I are going to get along just fine.

Not even need and love can defeat fate...

How does one hate a country, or love one?... I know people, I know towns, farms, hills and rivers and rocks, I know how the sun at sunset in autumn falls on the side of a certain plowland in the hills; but what is the sense of giving a boundary to all that, of giving a name and ceasing to love where the name ceases to apply? What is the love of one's country; is it hate of one's uncountry? Then it's not a good thing.

Love doesn't just sit there, like a stone, it has to be made, like bread; re-made all the time, made new. When it was made, they lay in each other's arms, holding love, asleep.

For in this love he now felt there was compassion: without which love is untempered, and is not whole, and does not last.

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.

For it seemed to me, and I think to him, that it was from that sexual tension between us, admitted now and understood but not assuaged, that the great and sudden assurance of friendship between us rose: a friendship so much needed by us both in our exile, and already so well proved in the days and nights of our better journey, that it might as well be called, now as later, love. But it was from the difference between us, not from the affinities and likenesses, but from the difference, that that love came: and it was itself the bridge, the only bridge, across what divided us. For us to meet sexually would be for us to meet once more as aliens. We had touched, in the only way we could touch. We left it at that. I do not know if we were right.

I have given my love to what is worthy of love. Is that not the kingdom and the unperishing spring?

Oh, never and forever aren't for mortals, love. But we won't be parted till I know it's right that we part.

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.

I found out I was in love with you, winter before last," she said. "I wasn't going to say anything about it because - well, you know. If you'd felt anything like that for me, you'd have known I did. But it wasn't both of us. So there was no good in it. But then, when you told us you're leaving ... At first I thought, all the more reason to say nothing. But then I thought, that wouldn't be fair. To me, partly. Love has a right to be spoken. And you have a right to know that somebody loves you. That somebody has loved you, could love you. We all need to know that. [...]

Love that wants only to get, to possess, is a monstrous thing

As often as we made love I remembered what my poet told me, that this man was born of a goddess, the force that moves the stars and the waves of the sea and couples the animals in the fields in spring, the power of passion, the light of the evening star.

What is love of one's country; is it hate of one's uncountry? Then it's not a good thing. Is it simply self-love? That's a good thing, but one musn't make a virtue of it, or a profession...Insofar as I love life, I love [my country], but that sort of love does not have a boundary-line of hate. And beyond that, I am ignorant, I hope.

It is not death that allows us to understand each other, but poetry.

Love doesn’t just sit there, like a stone, it has to be made, like bread; remade all the time, made new. —Ursula K. Le Guin

Honor can exist anywhere, love can exist anywhere, but justice can exist only among people who found their relationships upon it.

There are talking dogs all over the place, unbelievably boring they are, on and on and on about sex and shit and smells, and smells and shit and sex, and do you love me, do you love me, do you love me.

What is the sense of giving a boundary to all that, of giving it a name and ceasing to love where the name ceases to apply? What is love of one's country; is it hate of one's uncountry?

I have told the story I was asked to tell. I have closed it, as so many stories close, with a joining of two people. What is one man's and one woman's love and desire, against the history of two worlds, the great revolutions of our lifetimes, the hope, the unending cruelty of our species? A little thing. But a key is a little thing, next to the door it opens. If you lose the key, the door may never be unlocked. It is in our bodies that we lose or begin our freedom, in our bodies that we accept or end our slavery. So I wrote this book for my friend, with whom I have lived and will die free.

I wondered, not for the first time, what patriotism is, what the love of country truly consists of, how that yearning loyalty that had shaken my friend's voice arises: and how so real a love can become, too often, so foolish and vile a bigotry. Where does it go wrong?

If you can see a thing whole," he said, "it seems that it's always beautiful. Planets, lives. . . . But close up, a world's all dirt and rocks. And day to day, life's a hard job, you get tired, you loose the pattern. You need distance, interval. The way to see how beautiful earth is, is to see it from the moon. The way to see how beautiful life is, is from the vantage point of death." "That's all right for Urras. Let it stay off there and be the moon-I don't want it! But I am not going to stand up on a gravestone and look down on life and say, 'O lovely!' I want to see it whole right in the middle of it, here, now. I don't give a hoot for eternity." "It's nothing to do with eternity," said Shevek, grinning, a thin shaggy man of silver and shadow. "All you have to do to see life as a whole is to see it as mortal. I'll die, you'll die; how could we love each other otherwise? The sun's going to burn out, what else keeps it shining?" "Ah! your talk, your damned philosophy!" "Talk? It's not talk. It's not reason. It's hand's touch. I touch the wholeness, I hold it. Which is moonlight, which is Takver? How shall I fear death? When I hold it, when I hold in my hands the light-" "Don't be propertarian," Takver muttered. "Dear heart, don't cry." "I'm not crying. You are. Those are your tears." "I'm cold. The moonlight's cold." "Lie down." A great shiver went through his body as she took him in her arms. "I'm afraid, Takver," he whispered.

They made love. Love doesn't just sit there, like a stone, it has to be made, like bread; re-made all the time, made new. When it was made, they lay in each other's arms, holding love, asleep.

And so, because he won't let himself be hurt, he does wrong to those he loves best. And then he sees that, and after all, it hurts him.

Dear God, if I made it through this alive and conscious, my name deserved to be added to some X-rated category in the Guinness Book of World Records or something. -Emma

What is the sense of giving a boundary to all... of giving it a name and ceasing to love where the name ceases to apply?

A friend. What is a friend, in a world where any friend may be a lover at a new phase of the moon? Not I, locked in my virility: no friend to Therem Harth, or any other of his race. Neither man nor woman, neither and both, cyclic, lunar, metamorphosing under the hand's touch, changelings in the human cradle, they were no flesh of mine, no friends; no love between us.

This concern, feebly called '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.

I know people, I know towns, farms, hills and rivers and rocks, I know how the sun at sunset in autumn falls on the side of a certain ploughland in the hills; but what is the sense of giving a boundary to all that, of giving it a name and ceasing to love where the name ceases to apply? What is love of one's country, is it hate of one's uncountry? Then it's not a good thing. Is it simply self-love? That's a good thing, but one mustn't make a virtue of it, or a profession...

Later I would read Ursula K. Le Guin's comment: "I am a slow unlearner. But I love my unteachers.

He had always loved her, but had not understood that he loved her beyond anyone and anything. When he was with her, even when he was down on the docks thinking of her, he was alive.

I expect it will turn out that sexual intercourse is possible between Gethenian double-sexed and Hainish-norm one-sexed human beings, though such intercourse will inevitably be sterile. It remains to be proved; Estraven and I proved nothing except perhaps a rather subtler point.

Modern life assaults us with an infinite range of things we could do, we would love to do, or some people tell us we should do. But we are not God and we are neither infinite nor eternal. We are quite simply finite. We have only so many years, so much energy, so many gray cells, and so many bank notes in our wallets. 'Life is too short to...' eventually shortens to 'life is too short.

Well," he said slowly, "sometimes there's a passion that comes in its springtime to ill fate or death. And because it ends in its beauty, it's what the harpers sing of and the poets make stories of: the love that escapes the years.... "All or nothing, the true lover says, and that's the truth of it. My love will never die, he says. He claims eternity. And rightly. How can it die when it's life itself? What do we know of eternity but the glimpse we get of it when we enter in that bond?

Since he was very young he had known that in certain ways he was unlike anyone else he knew. For a child the consciousness of such difference is very painful, since, having done nothing yet and being incapable of doing anything, he cannot justify it. The reliable and affectionate presence of adults who are also, in their own way, different, is the only reassurance such a child can have; and Shevek had not had it. His father had indeed been utterly reliable and affectionate. Whatever Shevek was and whatever he did, Palat approved and was loyal. But Palat had not had this curse of difference. He was like the others, like all the others to whom community came so easy. He loved Shevek, but he could not show him what freedom is, that recognition of each person's solitude which alone transcends it.

He had been taught as a child that Urras was a festering mass of inequity, iniquity, and waste. But all the people he met, and all the people he saw, in the smallest country village, were well dressed, well fed, and contrary to his expectations, industrious. They did not stand about sullenly waiting to be ordered to do things. Just like Anaresti, they were simply busy getting things done. It puzzled him. He had assumed that if you removed a human being's natural incentive to work -- his initiative, his spontaneous creative energy -- and replaced it with external motivation and coercion, he would become a lazy and careless worker. But no careless workers kept those lovely farmlands, or made the superb cars and comfortable trains. The lure and compulsion of profit was evidently a much more effective replacement of the natural initiative than he had been led to believe.

A refurbished Star Wars is on somewhere or everywhere. I have no intention of revisiting any galaxy. I shrivel inside each time it is mentioned. Twenty years ago, when the film was first shown, it had a freshness, also a sense of moral good and fun. Then I began to be uneasy at the influence it might be having. The first bad penny dropped in San Francisco when a sweet-faced boy of twelve told me proudly that he had seen Star Wars over a hundred times. His elegant mother nodded with approval. Looking into the boy's eyes I thought I detected little star-shells of madness beginning to form and I guessed that one day they would explode. 'I would love you to do something for me,' I said. 'Anything! Anything!' the boy said rapturously. 'You won't like what I'm going to ask you to do,' I said. 'Anything, sir, anything!' 'Well,' I said, 'do you think you could promise never to see Star Wars again?' He burst into tears. His mother drew herself up to an immense height. 'What a dreadful thing to say to a child!' she barked, and dragged the poor kid away. Maybe she was right but I just hope the lad, now in his thirties, is not living in a fantasy world of secondhand, childish banalities.

Not even need and love can defeat fate, Lavinia. Aeneas' gift is to know his fate, what he must do, and do it. In spite of need. In spite of love.

I'll die, you'll die; how could we love each other otherwise? The sun's going to burn out, what else keeps it shining?

Love doesn’t just sit there, like a stone, it has to be made, like bread; remade all the time, made new.

Life loves to know itself, out to its furthest limits; to embrace complexity is its delight. Our difference is our beauty.

A woman has her Juno, just as a man has his Genius; they are names for the sacred power, the divine spark we each of us have in us. My Juno can't "get into" me, it is already my deepest self. The poet was speaking of Juno as if it were a person, a woman, with likes and dislikes: a jealous woman. The world is sacred, of course, it is full of gods, numina, great powers and presences. We give some of them names--Mars of the fields and the war, Vesta the fire, Ceres the grain, Mother Tellus the earth, the Penates of the storehouse. The rivers, the springs. And in the storm cloud and the light is the great power called the father god. But they aren't people. They don't love and hate, they aren't for or against. They accept the worship due them, which augments their power, through which we live.

I don't know. I love the idea of democracy, the hope, yes, I love that. I couldn't live without that. But the country? You mean the thing on the map, lines, everything inside the lines is good and nothing outside them matters? How can an adult love such a childish idea?

He wished he were at his home in Abuja with a glass of cool Guinness, watching Star Wars on his high-definition widescreen television. He loved Star Wars, especially the more recent instalments. There was such honour in Star Wars. In another life, he’d have made a great Jedi knight. Being a vigilante loyal only to justice was always better than being any kind of head of state.

I've loved you since the first moment I saw you," he said at last, the words rushed and full of rolling emotions. "Sitting there in powder blue and waiting for your killer so you could turn the table and slaughter his heart instead." - Guin (Pleasure)

The reality of our life is in love, in solidarity,” said a tall, soft-eyed girl. “Love is the true condition of human life.” Bedap shook his head. “No. Shev’s right,” he said. “Love’s just one of the ways through, and it can go wrong, and miss. Pain never misses. But therefore we don’t have much choice about enduring it! We will, whether we want to or not.

She never saw why something could not be. Another reason he loved her.

How does one hate a country, or love one? [...] What is the sense of giving a boundary [...] of giving a name and ceasing to love where the name ceases to apply?

I didn't know you well at all. Only, when you spoke, I seemed to see clear into you, into the center.

I use your love as a man burns a candle, burns it away, to light his steps.

had not yet grown into the generosity of heart that would let him simply accept that love; he thought he had to earn it by proving himself superior to it.

And I wondered, not for the first time, what patriotism is, what the love of country truly consists of, how that yearning loyalty that had shaken my friend’s voice arises, and how so real a love can become, too often, so foolish and vile a bigotry. Where does it go wrong?

My Dream Date. Putting Pink Floyd on loop in at least a 5-CD rotation or on spotify or something, getting real high on hash while naked, making love on and off for hours, lying on the bed eating cheesy crackers and sipping a quality beer like Tetley's, Guinness or Pilsner Urquell. Repeat as needed.

We came, Takver thought, from a great distance to each other. We have always done so. Over great distances, over years, over abysses of chance. It is because he comes from so far away that nothing can separate us. Nothing, no distances, no years, can be greater than the distance that's already between us, the distance of our sex, the differences of our being, our minds; that gap, that abyss which we bridge with a look, with a touch, with a word, the easiest thing in the world. Look how far away he is, asleep. Look how far away he is, he always is. But he comes back, he comes back, he comes back....

The scale is wrong. What can a single human brain achieve against something so vast?” “A single human brain can perceive pattern on the scale of stars and galaxies,” Tomiko said, “and interpret it as Love.

Time says “Let there be” every moment and instantly there is space and the radiance of each bright galaxy. And eyes beholding radiance. And the gnats’ flickering dance. And the seas’ expanse. And death, and chance.

What you love, you will love. What you undertake you will complete. You are a fulfiller of hope; you are to be relied on. But seventeen years give little armor against despair…Consider, Arren. To refuse death is to refuse life.

I think,” Tehanu said in her soft, strange voice, “that when I die, I can breathe back the breath that made me live. I can give back to the world all that I didn’t do. All that I might have been and couldn’t be. All the choices I didn’t make. All the things I lost and spent and wasted. I can give them back to the world. To the lives that haven’t been lived yet. That will be my gift back to the world that gave me the life I did live, the love I loved, the breath I breathed.

No, that’s true … You hate Orgoreyn, don’t you?’ ‘Very few Orgota know how to cook. Hate Orgoreyn? No, how should I? How does one hate a country, or love one? Tibe talks about it; I lack the trick of it. I know people, I know towns, farms, hills and rivers and rocks, I know how the sun at sunset in autumn falls on the side of a certain ploughland in the hills; but what is the sense of giving a boundary to all that, of giving it a name and ceasing to love where the name ceases to apply? What is love of one’s country; is it hate of one’s uncountry? Then it’s not a good thing. It is simply self-love? That’s a good thing, but one mustn’t make a virtue of it, or a profession … Insofar as I love life, I love the hills of the Domain of Estre, but that sort of love does not have a boundary-line of hate. And beyond that, I am ignorant, I hope.

Where my love is going There will I go. Where his boat is rowing I will row. We will laugh together, Together we will cry. If he lives I will live, If he dies I die. Where my love is going There will I go. Where his boat is rowing I will row.

Yes, I love him. Why did you ask that?" [...]"How can you... How do you..." But Pugh could not tell him. "I don't know," he said, "it's practice, partly. I don't know. We're each of us alone, to be sure. What can you do but hold your hand out in the dark?

This challenge means that each of us as apologists must examine our own hearts. Have we loved enough to listen, or is it that we love to hear the sound of our own answers? Are we really arguing for Christ, or are we expressing our need always to be right?

How does one hate a country, or love one? Tibe talks about it; I lack the trick of it. I know people, I know towns, farms, hills and rivers and rocks, I know how the sun at sunset in autumn falls on the side of a certain plowland in the hills; but what is the sense of giving a boundary to all that, of giving it a name and ceasing to love where the name ceases to apply? What is love of one's country; is it hate of one's uncountry? Then it's not a good thing. Is it simply self-love? That's a good thing, but one mustn't make a virtue of it, or a profession...Insofar as I love life, I love the hills of the Domain of Estre, but that sort of love does not have a boundary-line of hate. And beyond that, I am ignorant, I hope.

She didn't even ask me if I was going to go on flying. She knew I would. I don't understand the people who have wings and don't use them. I suppose they're interested in having a career. Maybe they were already in love with somebody on the ground. But it seems… I don't know. I can't really understand it. Wanting to stay down. Choosing not to fly. Wingless people can't help it, it's not their fault they're grounded. But if you have wings...

Since he was very young he had known that in certain ways he was unlike anyone else he knew. For a child the consciousness of such difference is very painful, since, having done nothing yet and being incapable of doing anything, he cannot justify it. The reliable and affectionate presence of adults who are also, in their own way, different, is the only reassurance such a child can have; and Shevek had not had it. His father had indeed been utterly reliable and affectionate. Whatever Shevek was and whatever he did, Palat approved and was loyal. But Palat had not had this curse of difference. He was like the others, like all the others to whom community came so easy. He loved Shevek, but he could not show him what freedom is, that recognition of each person’s solitude which alone transcends it.

Scholarly translations of the Tao Te Ching as a manual for rulers use a vocabulary that emphasizes the uniqueness of the Taoist “sage,” his masculinity, his authority. This language is perpetuated, and degraded, in most popular versions. I wanted a Book of the Way accessible to a present-day, unwise, unpowerful, and perhaps unmale reader, not seeking esoteric secrets, but listening for a voice that speaks to the soul. I would like that reader to see why people have loved the book for twenty-five hundred years.

I wonder if men find it easier than women do to consider people not as bodies, as lives, but as numbers, figures, toys of the mind to be pushed about a battleground of the mind. This disembodiment gives pleasure, exciting them and freeing them to act for the sake of acting, for the sake of manipulating the figures, the game pieces. Love of country, or honor, or freedom, then, may be names they give that pleasure to justify it to the gods and to the people who suffer and kill and die in the game. So those words—love, honor, freedom—are degraded from their true sense. Then people may come to hold them in contempt as meaningless, and poets must struggle to give them back their truth.

An Odonian undertook monogamy just as he might undertake a joint enterprise in production, a ballet or a soap-works. Partnership was a voluntarily constituted federation like any other. So long as it worked, it worked, and if it didn't work it stopped being. It was not an institution but a function. It had no sanction but that of private conscience.

Three things that, seeking increase, strengthen soul: love, learning, liberty.

What I know is this, I am going to love people. They will never know it. But I am going to be a great lover. I know how. I have practiced.

Oh, don't get me started! I love fantasy, I read it for pleasure, even after all these years. Pat McKillip, Ursula Le Guin and John Crowley are probably my favorite writers in the field, in addition to all the writers in the Endicott Studio group - but there are many others I also admire. In children's fantasy, I'm particularly keen on Philip Pullman, Donna Jo Napoli, David Almond and Jane Yolen - though my favorite novels recently were Midori Snyder's Hannah's Garden, Holly Black's Tithe, and Neil Gaiman's Coraline. I read a lot of mainstream fiction as well - I particularly love Alice Hoffman, A.S. Byatt, Sara Maitland, Sarah Waters, Sebastian Faulks, and Elizabeth Knox. There's also a great deal of magical fiction by Native American authors being published these days - Louise Erdrich's Antelope Wife, Alfredo Vea Jr.'s Maravilla, Linda Hogan's Power, and Susan Power's Grass Dancer are a few recent favorites. I'm a big fan of Jane Austen, Charlotte Bronte, Charles Dickens, and Anthony Trollope - I re-read Jane Austen's novels in particular every year.Other fantasists say they read Tolkien every year, but for me it's Austen. I adore biographies, particularly biographies of artists and writers (and particularly those written by Michael Holroyd). And I love books that explore the philosophical side of art, such as Lewis Hyde's The Gift, Carolyn Heilbrun's Writing a Woman's Life, or David Abram's Spell of the Sensuous. (from a 2002 interview)

They asked me to tell you what it was like to be twenty and pregnant in 1950 and when you tell your boyfriend you’re pregnant, he tells you about a friend of his in the army whose girl told him she was pregnant, so he got all his buddies to come and say, “We all fucked her, so who knows who the father is?” And he laughs at the good joke…. What was it like, if you were planning to go to graduate school and get a degree and earn a living so you could support yourself and do the work you loved—what it was like to be a senior at Radcliffe and pregnant and if you bore this child, this child which the law demanded you bear and would then call “unlawful,” “illegitimate,” this child whose father denied it … What was it like? […] It’s like this: if I had dropped out of college, thrown away my education, depended on my parents … if I had done all that, which is what the anti-abortion people want me to have done, I would have borne a child for them, … the authorities, the theorists, the fundamentalists; I would have born a child for them, their child. But I would not have born my own first child, or second child, or third child. My children. The life of that fetus would have prevented, would have aborted, three other fetuses … the three wanted children, the three I had with my husband—whom, if I had not aborted the unwanted one, I would never have met … I would have been an “unwed mother” of a three-year-old in California, without work, with half an education, living off her parents…. But it is the children I have to come back to, my children Elisabeth, Caroline, Theodore, my joy, my pride, my loves. If I had not broken the law and aborted that life nobody wanted, they would have been aborted by a cruel, bigoted, and senseless law. They would never have been born. This thought I cannot bear. What was it like, in the Dark Ages when abortion was a crime, for the girl whose dad couldn’t borrow cash, as my dad could? What was it like for the girl who couldn’t even tell her dad, because he would go crazy with shame and rage? Who couldn’t tell her mother? Who had to go alone to that filthy room and put herself body and soul into the hands of a professional criminal? – because that is what every doctor who did an abortion was, whether he was an extortionist or an idealist. You know what it was like for her. You know and I know; that is why we are here. We are not going back to the Dark Ages. We are not going to let anybody in this country have that kind of power over any girl or woman. There are great powers, outside the government and in it, trying to legislate the return of darkness. We are not great powers. But we are the light. Nobody can put us out. May all of you shine very bright and steady, today and always.

Page 15, paperback version by Virago Press 1997: ... Let me ask you this, Mr Ai: do you know, by your own experience, what patriotism is?” ‘No’, I said, shaken by the force of the intese personality suddenly turning itself wholly upon me. ‘I don´t think I do. If by patriotism you don´t mean the love of one`s homeland, for that I do know.’ ‘No, I don’t mean love, when I say patriotism. I mean fear. The fear of the other. And its expressions are political, not poetical: hate, rivalry, aggression. It grows in us, that fear. It grows in us year by year. We’ve followed our road too far. And you, who hardly know what I’m talking about, who show us the new road –‘ He broke off. After a while he went on, in control again, cool and polite: ‘It’s because of fear that I refuse to urge your cause with the king, now. But not fear for myself, Mr. Ai. I’m not acting patriotically. There are, after all, other nations on Gethen.

I can’t decide which color I am. I mean, my father was a black, a real black—oh, he had some white blood, but he was a black—and my mother was a white, and I’m neither one. See, my father really hated my mother because she was white. But he also loved her. But I think she loved his being black much more than she loved him. Well, where does that leave me? I never have figured out.” “Brown,” he said gently, standing behind her chair. “Shit color.” “The color of the earth.

How does one hate a country, or love one? Tibe talks about it; I lack the trick of it. I know people, I know towns, farms, hills and rivers and rocks, I know how the sun at sunset in autumn falls on the side of a certain plowland in the hills; but what is the sense of giving a boundary to all that, of giving it a name and ceasing to love where the name ceases to apply? What is love of one's country; is it hate of one's uncountry? Then it's not a good thing. Is it simply self-love? That's a good thing, but one mustn't make a virtue of it, or a profession… Insofar as I love life, I love the hills of the Domain of Estre, but that sort of love does not have a boundary-line of hate. And beyond that, I am ignorant, I hope.

Arren waited for him in the hot, leaf-speckled sunlight. He knew that Sparrowhawk was ashamed to burden Arren with his emotion, and indeed there was nothing the boy could do or say. But his heart went out utterly to his companion, not now with that first romantic ardour and adoration, but painfully as if a link were drawn forth from the very inmost of it and forged into an unbreaking bond. For in this love he now felt there was compassion: without which love is untempered, and is not whole, and does not last.

Sublime Books The Known World, by Edward P. Jones The Buried Giant, by Kazuo Ishiguro A Thousand Trails Home, by Seth Kantner House Made of Dawn, by N. Scott Momaday Faithful and Virtuous Night, by Louise Glück The Left Hand of Darkness, by Ursula K. Le Guin My Sentence Was a Thousand Years of Joy, by Robert Bly The World Without Us, by Alan Weisman Unfortunately, It Was Paradise, by Mahmoud Darwish Collected Fictions, by Jorge Luis Borges, trans. Andrew Hurley The Xenogenesis Trilogy, by Octavia E. Butler Map: Collected and Last Poems, by Wisława Szymborska In the Lateness of the World, by Carolyn Forché Angels, by Denis Johnson Postcolonial Love Poem, by Natalie Diaz Hope Against Hope, by Nadezhda Mandelstam Exhalation, by Ted Chaing Strange Empire, by Joseph Kinsey Howard Tookie’s Pandemic Reading Deep Survival, by Laurence Gonzales The Lost City of the Monkey God, by Douglas Preston The House of Broken Angels, by Luis Alberto Urrea The Heartsong of Charging Elk, by James Welch Selected Stories of Anton Chekhov, trans. Richard Pevear and Larissa Volokhonsky The Sound of a Wild Snail Eating, by Elisabeth Tova Bailey Let’s Take the Long Way Home, by Gail Caldwell The Aubrey/Maturin Novels, by Patrick O’Brian The Ibis Trilogy, by Amitav Ghosh The Golden Wolf Saga, by Linnea Hartsuyker Children of Time, by Adrian Tchaikovsky Coyote Warrior, by Paul VanDevelder Incarceration Felon, by Reginald Dwayne Betts Against the Loveless World, by Susan Abulhawa Waiting for an Echo, by Christine Montross, M.D. The Mars Room, by Rachel Kushner The New Jim Crow, by Michelle Alexander This Is Where, by Louise K. Waakaa’igan I Will Never See the World Again, by Ahmet Altan Sorrow Mountain, by Ani Pachen and Adelaide Donnelley American Prison, by Shane Bauer Solitary, by Albert Woodfox Are Prisons Obsolete?, by Angela Y. Davis 1000 Years of Joys and Sorrows, by Ai Weiwei Books contain everything worth knowing except what ultimately matters. —Tookie * * * If you are interested in the books on these lists, please seek them out at your local independent bookstore. Miigwech! Acknowledgments

He stopped, for saying the truth aloud was unendurable. It was not shame that stopped him, but fear, the same fear. He knew now why this tranquil life in sea and sunlight on the rafts seemed to him like an afterlife or a dream, unreal. It was because he knew in his heart that reality was empty: without life or warmth or color or sound: without meaning. There were no heights or depths. All this lovely play of form and light and color on the sea and in the eyes of men, was no more than that: a playing of illusions on the shallow void.

Of course, the books you read early, before 20, and love passionately, they get to you. Even if later on you can’t read them again. You were shaped by certain books. All of us that read a lot, we’re partly book-manufactured. It’s really hard to talk about the influence of such books on you because it goes so deep. It’s like, what was your father’s influence on you, what was your mother’s influence. How can you say? You grew up with it. So, you will find I dodge all questions about favorite books and so on. What does it matter what I like?

I will not go with you, nor will I be a slave of any Greek. The Earth Mother keeps me here. And you must go a long way for a long time, you must go, my sweet husband until at last, you come to the Western Land. There you will be a king and have a queen. No tears for me, but let your love guard our sun!

And I did nothing, nothing but try to hide from the horror of dying." He stopped, for saying the truth aloud was unendurable. It was not shame that stopped him, but fear, the same fear. He knew now why this tranquil life in sea and sunlight on the rafts seemed to him like an after-life or a dream, unreal. It was because he knew in his heart that reality was empty: without life or warmth or color or sound: without meaning. There were no heights or depths. All this lovely play of form and light and color on the sea and in the eyes of men, was no more than that, a playing of illusions on the shallow void.

If by patriotism you don’t mean the love of one’s homeland, for that I do know.” “No, I don’t mean love, when I say patriotism. I mean fear. The fear of the other. And its expressions are political, not poetical: hate, rivalry, aggression. It grows in us, that fear. It grows in us year by year. We’ve followed our road too far.

~Enueg II world world world and the face grave cloud against the evening de moriturus nihil nisi and the face crumbling shyly too late to darken the sky blushing away into the evening shuddering away like a gaffe veronica mundi veronica munda give us a wipe for the love of Jesus sweating like Judas tired of dying tired of policemen feet in marmalade perspiring profusely heart in marmalade smoke more fruit the old heart the old heart breaking outside congress doch I assure thee lying on O'Connell Bridge gogglin at the tulips of the evening the green tulips shining round the corner like an anthrax shining on Guinness's barges the overtone the face too late to brighten the sky doch doch I assure thee

They did not use the sonic stunners but the foray gun, the ancient weapon that fires a set of metal fragments in a burst. They shot to kill him. He was dying when I got to him, sprawled and twisted away from his skis that stuck up out of the snow, his chest half shot away. I took his head in my arms and spoke to him, but he never answered me; only in a way he answered my love for him, crying out through the silent wreck and tumult of his mind as consciousness lapsed, in the unspoken tongue, once, clearly, 'Arek!' Then no more. I held him, crouching there in the snow, while he died. They let me do that. Then they made me get up, and took me off one way and him another, I going to prison and he into the dark.

I read a postelection blog post by the great Ursula K. Le Guin that said that we should stop using the metaphors of war. We should not think in terms of enemies and battles, because such thoughts, in themselves, change who we are. We need to be like water, she wrote. Water can be "divided and defiled, yet continues to be itself and to always go in the direction it must go." The water metaphor takes me many places. It takes me to the melting Arctic ice and the rising sea levels. It takes me to the Gulf of Mexico and Deepwater Horizon. It takes me to the toxic tap water of Flint, Michigan, and Corpus Christi, Texas, and Hoosick Falls, New York. It takes me to the water cannons used against you. But it also takes me to you, oh water protectors!

When did it become impossible for our government to ask its citizens to refrain from short-term gratification in order to serve a greater good? Was it around the time we first began hearing about how no red-blooded freedom-loving American should have to pay taxes? I was certainly never in love with the mere idea of “doing without,” as Puritans are. But I admit I’m depressed by the idea that we can’t even be asked to consider doing without in order to give or leave enough for people who need it or will need it, including, possibly, ourselves. Is the red-blooded freedom-loving American so infantile that he has to be promised whatever he wants right now this moment? Or, to put it less fancifully, if citizens can’t be asked to refrain from steak on Tuesdays, how can industries and corporations be asked to refrain from the vast and immediate profits they make from destabilizing the climate and destroying the environment?

Much of the greatness of the human spirit can be seen in our passionate pursuit of knowledge, truth, justice, beauty, perfection, and love. At the same time, few things are so haunting as the stories of the very greatest seekers falling short. Leonardo da Vinci's magnificent failures point to a very personal entry point to the wonder of calling - when something more than human seeking is needed if seeking is to be satisfied, then calling means that seekers themselves are sought.

It puzzled him. He had assumed that if you removed a human being’s natural incentive to work—his initiative, his spontaneous creative energy—and replaced it with external motivation and coercion, he would become a lazy and careless worker. But no careless workers kept those lovely farmlands, or made the superb cars and comfortable trains. The lure and compulsion of profit was evidently a much more effective replacement of the natural initiative than he had been led to believe. He

It is our suffering that brings us together. It is not love. Love does not obey the mind, and turns to hate when forced. The bond that binds us is beyond choice. We are brothers. We are brothers in what we share. In pain, which each of us must suffer alone, in hunger, in poverty, in hope, we know our brotherhood. We know it, because we have had to learn it. We know that there is no help for us but from one another, that no hand will save us if we do not reach out our hand. And the hand that you reach out is empty, as mine is. You have nothing. You possess nothing. You own nothing. You are free. All you have is what you are, and what you give. “I am here because you see in me the promise, the promise that we made two hundred years ago in this city—the promise kept. We have kept it, on Anarres. We have nothing but our freedom. We have nothing to give you but your own freedom. We have no law but the single principle of mutual aid between individuals. We have no government but the single principle of free association. We have no states, no nations, no presidents, no premiers, no chiefs, no generals, no bosses, no bankers, no landlords, no wages, no charity, no police, no soldiers, no wars. Nor do we have much else. We are sharers, not owners. We are not prosperous. None of us is rich. None of us is powerful. If it is Anarres you want, if it is the future you seek, then I tell you that you must come to it with empty hands. You must come to it alone, and naked, as the child comes into the world, into his future, without any past, without any property, wholly dependent on other people for his life. You cannot take what you have not given, and you must give yourself. You cannot buy the Revolution. You cannot make the Revolution. You can only be the Revolution. It is in your spirit, or it is nowhere.

Thank you Neil, and to the givers of this beautiful reward, my thanks from the heart. My family, my agent, editors, know that my being here is their doing as well as mine, and that the beautiful reward is theirs as much as mine. And I rejoice at accepting it for, and sharing it with, all the writers who were excluded from literature for so long, my fellow authors of fantasy and science fiction—writers of the imagination, who for the last 50 years watched the beautiful rewards go to the so-called realists. 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. Right now, I think we need writers who know the difference between the production of a market commodity and the practice of an art. Developing written material to suit sales strategies in order to maximize corporate profit and advertising revenue is not quite the same thing as responsible book publishing or authorship. (Thank you, brave applauders.) Yet I see sales departments given control over editorial; I see my own publishers in a silly panic of ignorance and greed, charging public libraries for an ebook six or seven times more than they charge customers. We just saw a profiteer try to punish a publisher for disobedience and writers threatened by corporate fatwa, and I see a lot of us, the producers who write the books, and make the books, accepting this. Letting commodity profiteers sell us like deodorant, and tell us what to publish and what to write. (Well, I love you too, darling.) Books, you know, they’re not just commodities. The profit motive often is in conflict with the aims of art. 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. I have had a long career and a good one. In good company. Now here, at the end of it, I really don’t want to watch American literature get sold down the river. We who live by writing and publishing want—and should demand—our fair share of the proceeds. But the name of our beautiful reward is not profit. Its name is freedom. Thank you.

Do the people in this country approve of this war?" [...]. "Approve? You don't think we'd lie down and let the damned Thuvians walk all over us? Our status as a world power is at stake!" "But I mean the people, not the government. The... the people who must fight." "What's it to them? They're used to mass conscriptions. It's what they're for, my dear fellow! To fight for their country. And let me tell you, there's no better soldier on earth than the Ioti man of the ranks, once he's broken in to taking orders. In peacetime he may spout sentimental pacifism, but the grit's there, underneath. The common soldier hs always been our greatest resource as a nation. It's how we became the leader we are." "By climbing up on a pile of dead children?" [...]. "No,"[...] "you'll find the soul of the people true as steel, when the country's threatened. A few rabble-rousers in Nio and the mill towns make a big noise between wars, but it's grand to see how people close ranks when the flag's in danger. You're unwilling to believe that, I know. The trouble with Odonianism, [...], is that it's womanish. It simply doesn't include the virile side of life. 'Blood and steel, battle's brightness,' as the old poet says. It doesn't understand courage--love of the flag." [...] "That may be true, in part. At least, we have no flags.

A New Year's Blessing 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 on 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.

Finally, some people tell me that they avoid science fiction because it’s depressing. This is quite understandable if they happened to hit a streak of post-holocaust cautionary tales or a bunch of trendies trying to outwhine each other, or overdosed on sleaze-metal-punk-virtual-noir Capitalist Realism. But the accusation often, I think, reflects some timidity or gloom in the reader’s own mind: a distrust of change, a distrust of the imagination. A lot of people really do get scared and depressed if they have to think about anything they’re not perfectly familiar with; they’re afraid of losing control. If it isn’t about things they know all about already they won’t read it, if it’s a different color they hate it, if it isn’t McDonald’s they won’t eat at it. They don’t want to know that the world existed before they were, is bigger than they are, and will go on without them. They do not like history. They do not like science fiction. May they eat at McDonald’s and be happy in Heaven." Pro: "But what I like in and about science fiction includes these particular virtues: vitality, largeness, and exactness of imagination; playfulness, variety, and strength of metaphor; freedom from conventional literary expectations and mannerism; moral seriousness; wit; pizzazz; and beauty. Let me ride a moment on that last word. The beauty of a story may be intellectual, like the beauty of a mathematical proof or a crystalline structure; it may be aesthetic, the beauty of a well-made work; it may be human, emotional, moral; it is likely to be all three. Yet science fiction critics and reviewers still often treat the story as if it were a mere exposition of ideas, as if the intellectual “message” were all. This reductionism does a serious disservice to the sophisticated and powerful techniques and experiments of much contemporary science fiction. The writers are using language as postmodernists; the critics are decades behind, not even discussing the language, deaf to the implications of sounds, rhythms, recurrences, patterns—as if text were a mere vehicle for ideas, a kind of gelatin coating for the medicine. This is naive. And it totally misses what I love best in the best science fiction, its beauty." "I am certainly not going to talk about the beauty of my own stories. How about if I leave that to the critics and reviewers, and I talk about the ideas? Not the messages, though. There are no messages in these stories. They are not fortune cookies. They are stories.