#buffalo gals and other animal presences

[arloqui]

Buffalo Gals and Other Animal Presences: Four Cat Poems, Ursula K. Le Guin.

Life Sciences: New Poems, 2006-2010, IV. Developmental Ontology, en Finding My Elegy, Ursula K. Le Guin.

Sixty Odd (1994.1999), en Finding My Elegy, Ursula K. Le Guin.

Life Sciences: New Poems, 2006-2010, IV. Developmental Ontology, en Finding My Elegy, Ursula K. Le Guin.

Los poemas se encuentran en: Ursula K. Le Guin, Entre las Avenas Silvestres. Ensayos y Poemas, trad. de Andrés González, 2023.

[rollercoasterwords]

Hi rae!!

Recently read compass rose by le guin, it has been sitting on my shelf for years but i finally got the motivation to read it after r recommended a story from it to s in atwmd (beautiful beautiful story btw i still reread it from time to time). Anyways first story i read from le guin was the ones who walk away from omelas and the stories from the compass rose was also very compelling (i especially liked the eye altering and sq) and i want to read more from her work but don't know where to start since she has such a large collection. Do you have any recommendations from her?

Anyways hope you have a good day <3

wait that’s crazy i haven’t actually read the compass rose myself only the wife’s story!! put it in atwmd bc the publication dates worked & it had that story so cool that u owned a copy…honestly have not read le guin extensively other than some short stories (omelas, wife’s story) & a wizard of earthsea which i did like! but did not end up continuing the series bc i got distracted by other things…also started reading the left hand of darkness & got distracted w other things i do wanna return 2 that one day tho. & our minds must be linked bc i JUST started a different le guin anthology that i picked up at a used book store a few days ago!! ‘buffalo gals and other animal presences’ it has the wife’s story as well which is why i picked it up! so while i don’t have many recs i will have 2 let u know how this anthology is once i finish it…

[red-ibis-red]

That was Coyote's craziness, what they called her craziness. She wasn't afraid.

—Ursula K. LeGuin, Buffalo Gals and Other Animal Presences

[swiftful-thinking13]

If you are a fan of short stories = Buffalo Gals and Other Animal Presences by Ursula K Le Guin If you like sci-fi or enjoyed Dune = The Left Hand of Darkness by Ursula K Le Guin If you want some Hilarious British YA Novel Fun that's easy to read = the Confessions of Georgia Nicolson by Georgia Nicolson (this is a little dated so it's also a Throwback)

Thank you so much 😍😍 I will add these recs to my list! (fun fact: my absolute favorite short story of all time is Roman Fever by Edith Wharton. it’s iconic as fuck)

[aynur-dogan]

Meşhur yazan Ursula K.Le Guin hayatını kaybetti

Ursula K.Le Guin diyince eğer hatırlamayacaklarınız olacaktır fakat Yerdeniz öyküleri diyince inanırım okumasanız da bileceksiniz diye düşünüyorum. İşte Yerdeniz serisi dıştan birçok kitaba ve kısa öyküye imza atan Ursula K.Le Guin‘in hayatını kaybetmiş olduğu açıklandı. Son aylarda manâlı esenlik problemleri yaşayan ve 88 yaşlarında hayatını kaybeden meşhur yazarın ölüm sebebi ile ilgili bir data ise verilmedi. Yazarın ölümünü ise oğlu Theo-Downes Le Guin doğrulamış. 1929 senesinde California’da doğan Ursula Kroeber Le Guin bilhassa değindiği mükemmel bilim kurgu türündeki eserler ile tüm dünyada hatırı sayılır bir fanatik kitlesine ulaşmıştı. Değindiği kitaplar 40’dan artı dile çevrilen ve milyonlarca kişiye ulaşan Ursula K.Le Guin aşağıdaki kitap ve kısa öykülere imza atmıştı. Romanları Lavinia, 2008 Powers, 2007 Voices, 2006 Gifts, 2004 Earthsea 5: The Other Wind, 2001 The Telling, 2000 Always Coming Home, 1985 Earthsea 4: Tehanu, 1990 The Eye of the Heron, 1983 The Beginning Place, 1980 Malafrena, 1979 Very Far Away from Anywhere Else, 1976 The Word for World is Forest, 1976 The Dispossessed, Lahza Ambiguous Utopia, 1974 Earthsea 3: The Farthest Shore, 1972 The Lathe of Heaven, 1971 Earthsea 2: The Tombs of Atuan, 1970 The Left Hand of Darkness, 1969 Earthsea 1: A Wizard of Earthsea, 1968 City of Illusion, 1967 Planet of Exile, 1966 Rocannon’s World, 1966 Öykü kitapları Changing Planes, 2003 The Birthday of the World, 2002 Tales from Earthsea, 2001 Unlocking the Air, 1996 Four Ways to Forgiveness, 1995 A Fisherman of the Inland Sea, 1994 Searoad, 1991 Buffalo Gals, and Other Animal Presences, 1987 The Compass Rose, 1982 Orsinian Tales, 1976 The Wind’s Twelve Quarters, 1975 Makaleler The Wave in the Mind, 2004 Steering the Craft, 1998 Dancing beygir the Edge of the World, 1992 The Language of the Night, 1989 Şiirler Sixty Odd, 1999 Going Out with Peacocks, 1994 Blue Moon Over Thurman Street (Roger Dorband’la beraber), 1994 Wild Oats and Fireweed, 1988 Hard Words, 1981 Wild Angels, 1974

OKUDUYSANIZ yada IZLEDIYSENIZ PAYLAŞIN LÜTFEN HERKES OKUSUN Read the full article

[lawrence-xx]

DONNA HARAWAY: STORY TELLING FOR EARTHLY SURVIVAL, Fabrizio Terranova 

Lorang : Comment les orthodontistes savaient-ils s’arrêter? s’ils corrigaient la mâchoire

L’orthodoncie s’est axée sur le profil facial, puisé directement dans cette anthropologie raciale

L’angle facial est celui des statues grecques.

C’est un choix idiosyncratique, et non historique.

Bibliothèque:

How to suppress Women’s Writing, Joanna Russ

Native Tongue, Suzette Haden Elgn

Feminist fabulation : Space/Postmodern Fiction, Marleen S.Barr

The Female Man, Joanna Russ (surtout)

Buffalo gals other animal presences, Ursula K Leguin

Dream Snake, Vondan McIntyre

Memoirs of Spacewoman, Naomi Mitchison (surtout)

Wildseed, Octavia E. Butler

Samuel R. Delany, Neveryona

Picnic  on paradise, Joanna Russ (surtout)

The moon is a harsh mistress, Robert A. Heinlein

Lectures

Primate Visions

Cyborg Manifesto

Rusten Hogness

Vinciane Despret, Isabelle Stengers, Bruno Latour et moi jouons (au jeu de la ficelle)jouons ensemble à ce jeu de manières différents parce que nous avons une sorte d’amour pour les relais que l pour les relais 

Comment se fait il que l���écriture et les auteur.s de la SF ne deviennent pas des illustrations d’arguments ou de pensées, mais des pensées elles--mêmes.

La SF traverse une sorte de métamorphose, de transmutation, c’est cela la pratique théorique.

Et des femmes ont compris qu’elles étaient systématiquement effacées par les opérateurs puissants de la pensée masculiniste, par les pratiques masculinistes tant des institutions que des individus. 

Notre pensée est vite effacée.

Et je pense que l’une des pratiques féministes, celle de Le Guin, d’isabelle, de Vinciane, la mienne, nous essayons encore de l’apprendre à Bruno. 

Nous devons être très précises à propos de l’histoire des idées et de la créativité particulière, l’originalité, l’importance de la pensée d’autres femmes.

Nous parlerons de cette histoire des enfants du souterrain, de l’obscure, de la nuit, et la non capacité, la non-action, la non-réussite, non pas comme une maivaise chose mais comme ce sol de l’âme humane et peut e^tre pas seulement les âmes humaines, se font.

Et ce que nous devons faire c’est pensées, avec les autres.

Certaines des meilleures pensées sont faites sur le récit

“Nous avons besoin de nouveaux types de récits”

We must change the stories

Celle des premiers mots, des premières armes magnifiques, les histoires de tuerie, de triomphes, qui sont une seconde naissance, lorsque l’on tue.

Sarte écrit que ce n’est pas une seconde naissance que nous deveons humaines

La première est celle que donnent les femmes, la terre, le sol.

La conquête de soi qui suit une mission dont la réussite est tragique, le type de cosnciecne qu’est la consciecne humaine, c’est cela la seconde naissance. C’est ce non sens qui a dominé nos histoires. 

[A propos de l’idolatrie, de Dieu]

L’échec de la nomination, celui de donner des noms positifs. C’est à ce moment d’échec que l’on touche à un “cela”, quelque soit “cela”. quelque chose qui n’est pas un mensonge. Dès que ovus nommez Dieu, vous êtes un.e idolâtre. La manière de rendre présent le “cela”, la seule manière de la perdurer est de continuer constamment à faire des choses positives.

Une guerre qui doit prendre part à une proposition de paix

L’important est ce tissage de liens que nous créons au long de notre vie. J’aimerais voir un dispositif légal permettant plus facilement d’adopter des adultes, de construire légalement des familles prtoetctvies , d, l’organisation de rituel qui célèbrent l’âge adulte, ou le fait d’avoir des enfants. J’aimerais voir qqch qui la célèbre, pas la voir comme une tragédie

[red-ibis-red]

She sat down and began patting her hands on the dirt in a soft four-four rhythm and singing under her breath, one of the endless tuneless songs that kept time from running too fast, that wove the roots of trees and bushes and ferns and grass in the web that held the stream in the streambed and the rock in the rock's place and the earth together. And the child lay listening. "I love you," she said. Coyote went on singing.

—Ursula K. LeGuin, Buffalo Gals and Other Animal Presences

[red-ibis-red]

Why do animals in kids' books talk? Why do animals in myths talk? How come the prince eats a burned fish-scale and all of a sudden understands what the mice in the wall are saying about the kingdom? How come on Christmas night the beasts in the stables speak to one another in human voices? Why does the tortoise say, "Ill race you," to the hare, and how does Coyote tell Death, "I'll do exactly what you tell me!" Animals don't talk—everybody knows that.

—Ursula K. LeGuin, Buffalo Gals and other Animal Presences

[red-ibis-red]

“I knew a trick once where I could throw my eyes way up into a tree and see everything from up there, and then whistle, and they'd come back into my head.”

—Ursula K LeGuin, Buffalo Gals and Other Animal Presences

[red-ibis-red]

"I don't know," Chickadee said. Her voice indoors was quite soft and pleasant. “I guess we do things the way they always were done. When your people and my people lived together, you know. And together with everything else here. The rocks, you know. The plants and everything." She looked at the basket of willowbark, fernroot, and pitch, at the blackened rocks that were heating in the fire. "You see how it all goes together?”

—Ursula K. LeGuin, Buffalo Gals and Other Animal Presences

[red-ibis-red]

The child sat down nearby on the hot sand and tried to move her right hand. It was glued to the skin around her eye by dried blood. At the little tearing away pain, she whimpered; though it was a small pain it frightened her. The coyote came over close and poked its long snout into her face. Its strong, sharp smell was in her nostrils. It began to lick the awful, aching blindness, cleaning and cleaning with its curled, precise, strong wet tongue, until the child was able to cry a little with relief, being comforted.

—Ursula K. LeGuin, Buffalo Gals and Other Animal Presences

[red-ibis-red]

"OK," the coyote said, "let's go!" And set off without a backward glance. The child scrambled to her feet and followed. Where are we going?" she said, and the coyote, trotting on down along the creek, answered, "On down along the creek…”

Ursula K. LeGuin, Buffalo Gals and Other Animal Presences