Children S Authors

"It did not matter, after all. He was only one man. One man’s fate is not important. “If it is not, what is?” He could not endure those remembered words."

"The High-Intelligence Life Forms of the planet, of which there were at least three species, all of low technological achievement, they would ignore or enslave or extirpate, whichever was most convenient. For to an aggressive people only technology mattered."

"“Long ago we parted,” said the slight, still man of the Fiia. “Longer ago we were one. What we are not, they are. What we are, they are not. Think of the sunlight and the grass and the trees that bear fruit, Semley; think that not all roads that lead down lead up as well.”"

"In general I evade “virtual experiences,” which were always recorded in better weather than it is today and which take the novelty out of everything you’re about to see without giving any real information."

"I am no judge of danger. Only the brave can be that. Thrills and chills which to some people are the spice of life take the flavor right out of mine. When I’m frightened, food is sawdust—sex, with its vulnerability of body and soul, is the last thing I want—words are meaningless, thought incoherent, love paralysed. Cowardice of this degree is, I know, uncommon. Many people would have to hang by their teeth from a frayed cord suspended by a paper clip from a leaking hot air balloon over the Grand Canyon in order to feel what I feel standing on the third step of a stepladder trying to put millet in the bird feeder. And they’d find the terror exhilarating and take up skydiving as soon as their broken pelvis mended. Whereas I descend slowly from the stepladder, clutching at the porch rail, and swear I’ll never go above six inches again."

"It is sad that so lovely a plane must not be visited, fortunate that those who have glimpsed it have been able to describe it for us. Still, some people go there. Ordinarily selfish people justify their invasion of Zuehe by the familiar expedient of considering themselves as not like all those other people who go to Zuehe and spoil it. Extremely selfish people go to Zuehe to boast about it, precisely because it is fragile, destructible, therefore a trophy."

"I am not comfortable with the phrase “specific obsession,” but “cultural instinct” is worse."

"Are you happy if you aren’t conscious of being happy? What is consciousness? Is consciousness the great boon we consider it? Which is better off, a lizard basking in the sun or a philosopher? Better off in what way and for what? There have been lizards for longer than there have been philosophers. Lizards do not bathe, do not bury their dead, and do not perform scientific experiments. There have been many more lizards than philosophers. Are lizards, then, a more successful species than philosophers? Does God love lizards better than he loves philosophers?"

"People who sleep only two or three hours in the twenty-four are always geniuses. The ones you hear about, anyway. Never mind if the ones you don’t hear about are dolts. Insomnia is genius. It must be. Think of all the work you could do, the thoughts you could think, the books you could read, the love you could make, while the dull clods lie snoring."

"I have not tried to investigate it. It’s no use. There is no information about corporations. There is only disinformation. Even after they collapse, imploding into a cratered ruin stinking of burnt stockholder and surrounded by an impenetrable barrier formed by members of Congress and other government officials holding hands and wearing yellow tape marked Private Property, No Trespassing, Keep Out, No Hunting, Fishing, or Accounting—even then there is no truth in them."

"After hard fighting, when six or seven men had been wounded or killed, the war chiefs on both sides would simultaneously declare a victory."

"Some dreams tell us what we wish to believe. Some dreams tell us what we fear. Some dreams are of what we know though we may not know we knew it. The rarest dream is the dream that tells us what we have not known."

"The Veksi are an angry species. Their social life consists largely of arguments, recriminations, quarrels, fights, outbursts of fury, fits of the sulks, brawls, feuds, and impulsive acts of vengeance."

"In fact, the Veksi resolutely ignore visitors from other planes, considering them to be the impotent and evil-smelling ghosts of dead enemies who will go away if no attention at all is paid to them. This has generally proved to be true."

"“And your soul is in your body.” “Such as tripe?”"

"I expect people who don’t look like me not to be like me, a reasonable expectation, as expectations go; but it makes my mind slow to admit that people who look like me may not be like me."

"Airplanes are cramped, jammed, hectic, noisy, germy, alarming, and boring, and they serve unusually nasty food at utterly unreasonable intervals. Airports, though larger, share the crowding, vile air, noise, and relentless tension, while their food is often even nastier, consisting entirely of fried lumps of something; and the places one has to eat it in are suicidally depressing. On the airplane, everyone is locked into a seat with a belt and can move only during very short periods when they are allowed to stand in line waiting to empty their bladders until, just before they reach the toilet cubicle, a nagging loudspeaker harries them back to belted immobility. In the airport, luggage-laden people rush hither and yon through endless corridors, like souls to each of whom the devil has furnished a different, inaccurate map of the escape route from hell. These rushing people are watched by people who sit in plastic seats bolted to the floor and who might just as well be bolted to the seats. So far, then, the airport and the airplane are equal, in the way that the bottom of one septic tank is equal, all in all, to the bottom of the next septic tank."

"The untold story mothers the lie."

"And fourteen—fourteen is such a fearful age, when you find out so fast what you’re capable of being, but also what a toll the world expects."

"Josef liked to read books, not pack them."

"For heroes do not make history—that is the historians’ job—but, passive, let themselves be borne along, swept up to the crest of the tide of change, of chance, of war."

"If you deny any affinity with another person or kind of person, if you declare it to be wholly different from yourself—as men have done to women, and class has done to class, and nation has done to nation—you may hate it, or deify it, but in either case you have denied its spiritual equality, and its human reality. You have made it into a thing, to which the only possible relationship is a power relationship. And thus you have fatally impoverished your own reality."

"He had been a handsome man, when they married, fourteen years ago. A handsome, happy man, proud and kind, very good at his work. There had been a splendor to him, a wholeness. That was gone. There was no more room in the world for whole people, they took up too much space. What she had done to him was only a part of the general program for cutting him and people like him down to size, for chopping and paring and breaking up, so that in the texture of life nothing large, nothing hard, nothing grand should remain."

"He sat still a long time. Music will not save us, Otto Egorin had said. Not you, or me, or her, the big golden-voiced woman who had no children and wanted none; not Lehmann who sang the song; not Schubert who had written it and was a hundred years dead. What good is music? None, Gaye thought, and that is the point. To the world and its states and armies and factories and Leaders, music says, “you are irrelevant”; and, arrogant and gentle as a god, to the suffering man it says only, “Listen.” For being saved is not the point. Music saves nothing. Merciful, uncaring, it denies and breaks down all the shelters, the houses men build for themselves, that they may see the sky."

"What the devil do you come to me for? And burst into tears? And then tell me thanks very much for your suggestion but I shall continue to attempt the impossible? The arrogance, the unreasonableness—no, I can endure all that—but the stupidity, the absolute stupidity of artists, I cannot stand it any longer!"

"A man, he walked with men across a barren plain blue with flowers in brief April; they shared with him their anger, their barren helpless obduracy and the brief blue fire of their anger."

"I was afraid I’d fail. So I didn’t work."

"He had waked her; he had given her what she lacked, and what few men could have given her: the sense of peril, which is the root of love."

"What is an anarchist? One who, choosing, accepts the responsibility of choice."

"What was the good working for freedom all your life and ending up without any freedom at all?"

"After a lifetime of living on hope because there is nothing but hope, one loses the taste for victory."

"Favoritism, elitism, leader-worship, they crept back and cropped out everywhere. But she had never hoped to see them eradicated in her lifetime, in one generation; only Time works the great changes."

"As we did without clergy, let us do without soldiers. The joy built upon successful slaughter is not the right kind of joy; it will not do; it is fearful and it is trivial. A boundless and generous contentment, a magnanimous triumph felt not against some outer enemy but in communion with the finest and fairest in the souls of all men everywhere and the splendor of the world’s summer: this is what swells the hearts of the people of Omelas, and the victory they celebrate is that of life."

"The trouble is that we have a bad habit, encouraged by pedants and sophisticates, of considering happiness as something rather stupid. Only pain is intellectual, only evil interesting. This is the treason of the artist: a refusal to admit the banality of evil and the terrible boredom of pain. If you can’t lick ’em, join ’em. If it hurts, repeat it. But to praise despair is to condemn delight, to embrace violence is to lose hold of everything else."

"They can keep their God, they can keep their Light. I want the world back. I want questions, not the answer. I want my own life back, and my own death!"

"Hughes, who had entered the space program from astrophysics, came with a very good record, in fact a brilliant one. This troubled many of his military superiors, to whom high intelligence was a code word for instability and insubordination."

"Shelley was kicked out of Oxford—I think the story is unauthenticated, but who cares—because he painted a sign on the end wall of a dead-end alley: THIS WAY TO HEAVEN. I feel that every now and then his sign needs repainting."

"There is not much good spending twelve hours a day in a black hole in the ground all your life long if there’s nothing there, no secret, no treasure, nothing hidden."

"No granite is so hard as hatred and no clay so cold as cruelty."

"Unless physical action reflects psychic action, unless the deeds express the person, I get very bored with adventure stories; often it seems that the more action there is, the less happens."

"Many feminists have been grieved or aggrieved by The Left Hand of Darkness because the androgynes in it are called ‘he’ throughout. In the third person singular, the English generic pronoun is the same as the masculine pronoun. A fact worth reflecting upon. And it’s a trap, with no way out, because the exclusion of the feminine (she) and the neuter (it) from the generic/masculine (he) makes the use of either of them more specific, more unjust, as it were, than the use of ‘he.’ And I find made-up pronouns, ‘te’ and ‘heshe’ and so on, dreary and annoying."

"Mede spoke with amused tolerance, as physicists generally speak of biologists."

"“Do you mean,” Lidi said in a tone of deep existential disgust, “that we have to believe in it to make it work?” “You have to believe in yourself in order to act, don’t you?” Tai said. “No,” the navigator said. “Absolutely not. I don’t believe in myself. I know some things. Enough to go on.”"

"“Mysticism,” she said, in the tone of voice of one warning a companion about dog-shit on the path."

"We are volcanoes. When we women offer our experience as our truth, as human truth, all the maps change. There are new mountains."

"Morning comes whether you set the alarm or not."

"The dance of renewal, the dance that made the world, was always danced here at the edge of things, on the brink, on the foggy coast."

"I believe that maturity is not an outgrowing, but a growing up: that an adult is not a dead child, but a child who 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 well and wisely in the adult, but that if they are repressed and denied in the child they will stunt and cripple the adult personality. And finally, I believe that one of the most deeply human, and humane, of these faculties is the power of imagination: so that it is our pleasant duty ... 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 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."

"If you cannot or will not imagine the results of your actions, there's no way you can act morally or responsibly. Little kids can't do it; babies are morally monsters—completely greedy. Their imagination has to be trained into foresight and empathy."

"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 production of a market commodity and the practice of an art. The profit motive is often in conflict with the aims of art. We live in capitalism. Its power seems inescapable; so did the divine right of kings. … 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’ve had a long career and a good one, in good company, and here, at the end of it, I really don’t want to watch American literature get sold down the river. ... The name of our beautiful reward is not profit. Its name is freedom."