Breaking open
Wild prayer

Ursula Le Guin on the truth of fantasy

Studio Muse 1

Like just about everyone else in the Mythic Arts field, I've been rocked by the death of Ursula Le Guin -- not only one of the greatest writers of our age, but also a vital, necessary figure for my generation of fantasy writers, editors, and illustrators. We entered the field in the late '70s and '80s when women were few and still unwelcome by a daunting number of professional colleagues, readers, and reviewers. Ursula was a guiding light, encouraging some of us directly, and many more through the pages of her books. In honor of her influential presence in American Arts & Letters for half a century (her first novel was published in 1966), I've gathered together all of the posts from the Myth & Moor archives related to her work. You'll find them here. The following post first appeared on Myth & Moor two years ago.

From The Language of the Night by Ursula K. Le Guin:

Dragon hatchling by Alan Lee"I believe that maturity is not an outgrowing but a growing up: than an adult is not a dead child, but a child who has survived. I believe that all the best faculties of a mature human being exist in the child, and that if these faculties are encouraged in youth they will act wisely and well in the adult, but if they are repressed and denied in the child they will stunt and cripple the adult personality. And finally, I believe that one of most deeply human, and humane, of these faculties is the power of imagination: so that it is our pleasant duty, as librarians, or teachers, or parents, or writers, or simply as grownups, to encourage that faculty of imagination in our children, to encourage it to grow freely, to flourish like the green bay tree, by giving it the best, absolutely the the best and purest, nourishment that it can absorb. And never, under any circumstances, to squelch it, or sneer at it, or imply that it is childish, or unmanly, or untrue.

"For fantasy is true, of course. It isn't factual, but it's true. Children know that. Adults know it too and that's precisely why many of them are afraid of fantasy. They know that its truth challenges, even threatens, all that is false, all that is phony, unnecessary, and trivial in the life they have let themselves be forced into living. They are afraid of dragons because they are afraid of freedom.

Dragon by Alan Lee

On my desk

"So I believe that we should trust our children. Normal children do not confuse reality and fantasy -- they confuse them much less often than we adults do (as a certain great fantasist pointed out in a story called 'The Emperor's New Clothes'). Children know perfectly well that unicorns aren't real, but they also know that books about unicorns, if they are good books, are true books. All too often, that's more than Mummy and Daddy know; for, in denying their childhood, the adults have denied half their knowledge, and are left with the sad, sterile little fact: 'Unicorns aren't real.' And that fact is one that never got anyone anywhere (except in the story 'The Unicorn in the Garden,' by another great fantasist, in which it is shown that a devotion to the unreality of unicorns may get you straight into the loony bin.) It is by such statements as, 'Once upon a time there was a dragon,' or 'In a hole in the ground there lived a hobbit' -- it is by such beautiful non-facts that we fantastic human beings may arrive, in our peculiar fashion, at truth." 

Unicorn by Alan Lee & John Howe

Studio Muse 2Words: The passage above is from "Why Are Americans Afraid of Dragons?" by Ursula K. Le Guin, which first appeared in PNLA Quarterly 38 (1974), and can also be found in her essay collection The Language of the Night (GP Putnams, 1979). Drawings: The two dragon drawings are by Alan Lee, and the unicorn drawing by Alan Lee & John Howe. Photographs: A quiet morning the studio. All rights to the text and art above reserved by the author and artists.

Comments