Tales from Earthsea

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The insects parted with their names in vast clouds and swarms of ephemeral syllables buzzing and stinging and humming and flitting and crawling and tunneling away. But how unbelievably primitive the message had had to be! Due to all these bizarre events, Ged, a wandering wizard, is investigating the cause.

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Урсула Ле Гуин — одна из самых ярких и самобытных на небосклоне американской «мягкой» гуманитарной научной фантастики. Большую славу ей принесли произседения из «Хайнского» цикла Хайн — гипотетическая сверхцивилизация, «прародительница» разумной жизни в Галактике , образуя органическую и богатую оригинальными деталями и находками историю будущего. В отличие от П. Экумена, чья история, описанная в шести романах и полутора десятках повестей и рассказов, простирается на несколько тысяч лет, начиная с XXIII-XXIV вв. Произведения Хайнского цикла поражают богатством представленных в них культур что неудивительно для автора, выросшего в семье антропологов и этнографов ; также беспрецедентна в подобной литературе психологическая глубина характеров — землян и инопланетян. My perceptions of time are confused, but I think it has been several days since I realized I could no longer keep my emotions under aesthetic control, and now the physical breakdown is also nearly complete. I cannot accomplish any of the greater motions. Breathing, in this heavy foreign air, grows more difficult. When the paralysis reaches my chest I shall die: probably tonight. If it intended all along to starve me, why not simply withhold food? But instead of that it gave me plenty of food, mountains of food, all the greenbud leaves I could possibly want. Only they were not fresh. They had been picked; they were dead; the element that makes them digestible to us was gone, and one might as well eat gravel. Yet there they were, with all the scent and shape of greenbud, irresistible to my craving appetite. Not at first, of course. I told myself, I am not a child, to eat picked leaves! But the belly gets the better of the mind. After a while it seemed better to be chewing something, anything, that might still the pain and craving in the gut. So I ate, and ate, and starved. It is a relief, now, to be so weak I cannot eat. The same elaborately perverse cruelty marks all its behavior. And the worst thing of all is just the one I welcomed with such relief and delight at first: the maze. I was badly disoriented at first, after the trapping, being handled by a giant, being dropped into a prison; and this place around the prison is disorienting, spatially disquieting, the strange, smooth, curved wall-ceiling is of an alien substance and its lines are meaningless to me. So when I was taken up and put down, amidst all this strangeness, in a maze, a recognizable, even familiar maze, it was a moment of strength and hope after great distress. It seemed pretty clear that I had been put in the maze as a kind of test or investigation, that a first approach toward communication was being attempted. I tried to cooperate in every way. It is intelligent, highly intelligent, that is clear from a thousand evidences. We are both intelligent creatures, we are both maze-builders: surely it would be quite easy to learn to talk together! If that were what the alien wanted. But it is not. I do not know what kind of mazes it builds for itself. The ones it made for me were instruments of torture. The mazes were, as I said, of basically familiar types, though the walls were of that foreign material much colder and smoother than packed clay. The alien left a pile of picked leaves in one extremity of each maze, I do not know why; it may be a ritual or superstition. The first maze it put me in was babyishly short and simple. Nothing expressive or even interesting could be worked out from it. The second, however, was a kind of simple version of the Ungated Affirmation, quite adequate for the reassuring, outreaching statement I wanted to make. And the last, the long maze, with seven corridors and nineteen connections, lent itself surprisingly well to the Maluvian mode, and indeed to almost all the New Expressionist techniques. Adaptations had to be made to the alien spatial understanding, but a certain quality of creativity arose precisely from the adaptations. I worked hard at the problem of that maze, planning all night long, reimagining the lines and spaces, the feints and pauses, the erratic, unfamiliar, and yet beautiful course of the True Run. Next day when I was placed in the long maze and the alien began to observe, I performed the Eighth Maluvian in its entirety. It was not a polished performance. I was nervous, and the spatio-temporal parameters were only approximate. But the Eighth Maluvian survives the crudest performance in the poorest maze. I have seen them performed by a very old person, so old and stiff-jointed that he could only suggest the movements, hint at them, a shadow-gesture, a dim reflection of the themes: and all who watched were inexpressibly moved. There is no nobler statement of our being. Performing, I myself was carried away by the power of the motions and forgot that I was a prisoner, forgot the alien eyes watching me; I transcended the errors of the maze and my own weakness, and danced the Eighth Maluvian as I have never danced it before. When it was done, the alien picked me up and set me down in the first maze—the short one, the maze for little children who have not yet learned how to talk. Was the humiliation deliberate? Now that it is all past, I see that there is no way to know. But it remains very hard to ascribe its behavior to ignorance. After all, it is not blind. It has eyes, recognizable eyes. They are enough like our eyes that it must see somewhat as we do. It has a mouth, four legs, can move bipedally, has grasping hands, etc. And yet, fish school and dance and, in their own stupid way, communicate! The alien has never once attempted to talk with me. It has been with me, watched me, touched me, handled me, for days: but all its motions have been purposeful, not communicative. It is evidently a solitary creature, totally self-absorbed. This would go far to explain its cruelty. I noticed early that from time to time it would move its curious horizontal mouth in a series of fairly delicate, repetitive gestures, a little like someone eating. At first I thought it was jeering at me; then I wondered if it was trying to urge me to eat the indigestible fodder; then I wondered if it could be communicating labially. I studied its lip-motions and tried hard to imitate them. It did not respond. It stared at me briefly and then went away. In fact, the only indubitable response I ever got from it was on a pitifully low level of interpersonal aesthetics. It was tormenting me with knob-pushing, as it did once a day. I had endured this grotesque routine pretty patiently for the first several days. If I pushed one knob I got a nasty sensation in my feet, if I pushed a second I got a nasty pellet of dried-up food, if I pushed a third I got nothing whatever. Obviously, to demonstrate my intelligence I was to push the third knob. But it appeared that my intelligence irritated my captor, because it removed the neutral knob after the second day. I could not imagine what it was trying to establish or accomplish, except the fact that I was its prisoner and a great deal smaller than it. When I tried to leave the knobs, it forced me physically to return. I must sit there pushing knobs for it, receiving punishment from one and mockery from the other. The deliberate outrageousness of the situation, the insufferable heaviness and thickness of this air, the feeling of being forever watched yet never understood, all combined to drive me into a condition for which we have no description at all. The nearest thing I can suggest is the last interlude of the Ten Gate Dream, when all the feintways are closed and the dance narrows in and in until it bursts terribly into the vertical. I cannot say what I felt, but it was a little like that. If I got my feet stung once more, or got pelted once more with a lump of rotten food, I would go vertical forever…I took the knobs off the wall they came off with a sharp tug, like flowerbuds , laid them in the middle of the floor, and defecated on them. The alien took me up at once and returned to my prison. It had got the message, and had acted on it. But how unbelievably primitive the message had had to be! And the next day, it put me back in the knob room, and there were the knobs as good as new, and I was to choose alternate punishments for its amusement…Until then I had told myself that the creature was alien, therefore incomprehensible and uncomprehending, perhaps not intelligent in the same manneras we, and so on. But since then I have known that, though all that may remain true, it is also unmistakably and grossly cruel. When it put me into the baby maze yesterday, I could not move. After a while it took me out again, gently enough. There is the ultimate perversity of its behavior: it has never once touched me cruelly. It set me down in the prison, locked the gate, and filled up the trough with inedible food. Then it stood two-legged, looking at me for a while. Its face is very mobile, but if it speaks with its face I cannot understand it, that is too foreign a language. And its body is always covered with bulky, binding mats, like an old widower who has taken the Vow of Silence. But I had become accustomed to its great size, and to the angular character of its limb-positions, which at first had seemed to be saying a steady stream of incoherent and mispronounced phrases, a horrible nonsense-dance like the motions of an imbecile, until I realized that they were strictly purposive movements. Now I saw something a little beyond that, in its position. There were no words, yet there was communication. I saw, as it stood watching me, a clear signification of angry sadness—as clear as the Sembrian Stance. There was the same lax immobility, the bentness, the assertion of defeat. Never a word came clear, and yet it told me that it was filled with resentment, pity, impatience, and frustration. It told me it was sick of torturing me, and wanted me to help it. I am sure I understood it. I tried to answer. Only tell me what it is you want. It has never understood. And now I have to die. No doubt it will come in to watch me die; but it will not understand the dance I dance in dying. She Unnames Them MOST OF THEM ACCEPTED NAMELESSNESS with the perfect indifference with which they had so long accepted and ignored their names. Whales and dolphins, seals and sea otters consented with particular grace and alacrity, sliding into anonymity as into their element A faction of yaks, however, protested. They discussed the matter all summer. The councils of the elderly females finally agreed that though the name might be useful to others, it was so redundant from the yak point of view that they never spoke it themselves, and hence might as well dispense with it After they presented the argument in this light to their bulls, a full consensus was delayed only by the onset of severe early blizzards. Among the domestic animals, few horses had cared what anybody called them since the failure of Dean Swift's attempt to name them from their own vocabulary. Cattle, sheep, swine, asses, mules, and goats, along with chickens, geese, and turkeys, all agreed enthusiastically to give their names back to the people to whom -- as they put it -- they belonged. A couple of problems did come up with pets. The cats of course steadfastly denied ever having had any name other than those selfgiven, unspoken, effanineffably personal names which, as the poet named Eliot said, they spend long hours daily contemplating -- though none of the contemplators has ever admitted that what they contemplate is in fact their name, and some onlookers have wondered if the object of that meditative gaze might not in fact be the Perfect, or Platonic, Mouse. In any case it is a moot point now. It was with the dogs, and with some parrots, lovebirds, ravens, and mynahs that the trouble arose. These verbally talented individuals insisted that their names were important to them, and flatly refused to part with them. But as soon as they understood that the issue was precisely one of individual choice, and that anybody who wanted to be called Rover, or Froufrou, or Polly, or even Birdie in the personal sense, was perfectly free to do so, not one of them had the least objection to parting with the lower case or, as regards German creatures, uppercase generic appellations poodle, parrot dog, or bird, and all the Linnaean qualifiers that had trailed along behind them for two hundred years like tin cans tied to a tail. The insects parted with their names in vast clouds and swarms of ephemeral syllables buzzing and stinging and humming and flitting and crawling and tunneling away. As for the fish of the sea, their names dispersed from them in silence throughout the oceans like faint, dark blurs of cuttlefish ink, and drifted off on the currents without a trace. None were left now to unname, and yet how close I felt to them when I saw one of them swim or fly or trot or crawl across my way or over my skin, or stalk me in the night, or go along beside me for a while in the day. They seemed far closer than when their names had stood between myself and them like a clear barrier: so close that my fear of them and their fear of me became one same fear. And the attraction that many of us felt, the desire to smell one another's smells, feel or rub or caress one another's scales or skin or feathers or fur, taste one another's blood or flesh, keep one another warm, -- that attraction was now all one with the fear, and the hunter could not be told from the hunted, nor the eater from the food. This was more or less the effect I had been after. It was somewhat more powerful than I had anticipated, but I could not now, in all conscience, make an exception for myself. I resolutely put anxiety away, went to Adam, and said, 'You and your father lent me this -- gave it to me, actually. It's been really useful, but it doesn't exactly seem to fit very well lately. But thanks very much! It's really been very useful. One of my reasons for doing what I did was that talk was getting us nowhere; but all the same I felt a little let down. I had been prepared to defend my decision. And I thought that perhaps when he did notice he might be upset and want to talk. I put some things away and fiddled around a little, but he continued to do what he was doing and to take no notice of anything else. I hope the garden key turns up. In fact I had only just then realized how hard it would have been to explain myself. I could not chatter away as I used to do, taking it all for granted. My words now must be as slow, as new, as single, as tentative as the steps I took going down the path away from the house, between the dark-branched, tall dancers motionless against the winter shining. WINTER'S KING By Ursula K. Le Guin When I wrote this story, a year before I began the novel The Left Hand of Darkness, I did not know that the inhabitants of the planet Winter or Gethen were androgynes. In the third person singular, the English generic pronoun is the same as the masculine pronoun. A fact worth reflecting upon. In revising the story for this edition, I saw a chance to redress that injustice slightly. In this version, I use the feminine pronoun for all Gethenians--while preserving certain masculine titles such as King and Lord, just to remind one of the ambiguity. This may drive some nonfeminists mad, but that's only fair. The androgyny of the characters has little to do with the events of this story, but the pronoun change does make it clear that the central, paradoxical relationship of parent and child is not, as it may have seemed in the other version, a kind of reverse Oedipus twist, but something less -familiar and more ambiguous. Evidently my unconscious mind knew about the Gethenians long before it saw fit to inform me. It's always doing things like that. When whirlpools appear in the onward run of time and history seems to swirl around a snag, as in the curious matter of the Succession of Karhide, then pictures come in handy: snapshots, which may be taken up and matched to compare the parent to the child, the young king to the old, and which may also be rearranged and shuffled till the years run straight. For despite the tricks played by instantaneous interstellar communication and just-sub-lightspeed interstellar travel, time as the Plenipotentiary Axt remarked does not reverse itself; nor is death mocked. Thus, although the best-known picture is that dark image of a young king standing above an old king who lies dead in a corridor lit only by mirror-reflections of a burning city, set it aside a while. Look first at the young king, a nation's pride, as bright and fortunate a soul as ever lived to the age of twenty-two; but when this picture was taken the young king had her back against a wall. She was filthy, she was trembling, and her face was blank and mad, for she had lost that minimal confidence in the world which is called sanity. She fell in a clattering, chattering heap to the floor. Not red tiles, not parquetry, not urine-stained cement, but the wood floor of the room in the tower, the little tower bedroom where she was safe, safe from her ogre parent, the cold, mad, uncaring king, safe to play cat's cradle with Piry and to sit by the fireside on Borhub's warm lap, as warm and deep as sleep. But there was no hiding, no safety, no sleep. The person dressed in black had come even here and had hold of her head, lifted it up, lifted on thin white strings the eyelids she tried to close. She was allowed to breathe. She had recognized the black one in time. И форматы здесь другие. Переводы есть здесь: UPD Релиз обновлен 06.
The ones it made for me were instruments of torture. Adaptations had to be made to the alien spatial understanding, but a certain quality of creativity arose precisely from the adaptations. I tried to answer. If you have ISBNs with ePub Bud, you may still manage them here. It stared at me briefly and then went away. These verbally talented individuals insisted that their names were important to them, and flatly refused to part with them. And the worst thing of all is just the one I welcomed with such relief and delight at first: the maze. Breathing, in this heavy foreign air, grows more difficult.