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by Ursula K. Le Guin
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  • Author:
    Ursula K. Le Guin
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    Gollancz (1989)
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    320 pages
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    1476 kb
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    1833 kb
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ALSO BY URSULA K. LE GUIN FICTION The Earthsea Cycle: A Wizard of Earthsea The Tombs of Atuan The Farthest Shore Tehanu: The . Thoughts on words, women, places.

ALSO BY URSULA K. LE GUIN FICTION The Earthsea Cycle: A Wizard of Earthsea The Tombs of Atuan The Farthest Shore Tehanu: The Last Book of Earthsea The Left Hand o.

Dancing at the Edge of the World is a 1989 nonfiction collection by Ursula K. Le Guin. Within the categories, the works are organized chronologically, and are further marked by what Le Guin calls the Guide Ursuline-a system of symbols denoting the main theme of the works. The four themes with which she categorizes the essays are feminism, social responsibility, literature and travel.

Ursula K. Le Guin (Author). Lewis collection and an essay titled "Where Do you Get Your Ideas From". Both readings were informative but the essay was of particularly interest. Le Guin ponders storytelling and women writing in this quick, readable collection, mixed with a few commencement addresses, defenses of her novels, and cultural criticisms. Some essays are certainly stronger than others - I did not find it to be uniformly impressive - but it was an enjoyable introduction to her work and thinking.

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Ursula Le Guin at her best. This is an important collection of eloquent, elegant pieces by one of our most acclaimed contemporary writers. Elizabeth Hand, The Washington Post Book World I have decided that the trouble with print is, it never changes its mind, writes Ursula K. Le Guin in her introduction to Dancing at the Edge of the World. Le Guin was born Ursula Kroeber in Berkeley, California on October 21, 1929. She received a bachelor's degree from Radcliffe College in 1951 and a master's degree in romance literature of the Middle Ages and Renaissance from Columbia University in 1952. She won a Fulbright fellowship in 1953 to study in Paris, where she met and married Charles Le Guin. Her first science-fiction novel, Rocannon's World, was published in 1966

Ursula Le Guin at her best.

Billy Granson
I love the essays she writes about life, writing and her philosophical insights into what it is to be human.
We studied this book in our Sunday School class and it was very interesting. It collects a lot of Ms Le Guin's writing and is very thought provoking and engaging.
Dancing at the End of the World - Ursula K. Le Guin [2014-03-10 513]

"Dancing at the End of the World" (1989) is a collection of essays, talks, reviews and some travel notes by the highly esteemed author Ursula K. Le Guin. For many years I have greatly admired her novels particularly "The Lathe of Heaven". I am cautiously optimistic that by reading non-fiction books by authors I hold in high esteem I may become more nuanced in my appreciation of their fiction.

I sought out this book because I had reviewed the table of contents on the ISFDB (Internet Science Fiction Data Base) and I greatly desired to read a couple of items - a book review of a C.S. Lewis collection and an essay titled "Where Do you Get Your Ideas From". Both readings were informative but the essay was of particularly interest. To summarize ideas flow up from the subconscious and are an amalgamation of life experiences.

I surveyed the book from cover to cover sampling a page or two from each entry. To be honest, with one exception, and the two pieces noted I passed on the other writings. The unexpected gem of this book for this reader was a diary like essay about Ms. LeGuin's experiences during filming of her novel "The Lathe of Heaven" - note the 1980 version! Very interesting and informative indeed to this reader since I was not previously aware it had be make into a movie and as it turns out twice - but that's another story altogether.
Written as if on a vacation in the form of bad female poetry. Not worth it.
I had never read a word of Ursula K. Le Guin until I recently picked up "Dancing at the Edge of the World," a chronologically arranged collection of essays, talks and book reviews written by Le Guin during the period 1976 through 1988. It is a collection that is intended, in the author's words, "[to] provide a sort of mental biography, a record of responses to ethical and political climates, of the transforming effect of certain literary ideas, and of the changes of a mind."
Each of the essays listed in the table of contents is denoted with a glyph that categorizes the essay as dealing with feminism, social responsibility, literature, or travel. This categorization gives the reader a good idea of the range of the collection and of Le Guin's interests, which extend far beyond the science fiction genre for which she is most well known.
The quality of the essays is uneven. Some of the travel pieces are soporific ("Places Names," "Along the Platte" and "Over the Hills and a Great Way Off"), although they might be more interesting to readers who have been to the places Le Guin describes. Other pieces seem to suffer from the loss caused by transforming what were originally spoken presentations into writing. The feminist writings in some cases are the victim of changing times. What is useful, however, even in these weaker pieces, are Le Guin's introductions, which provide a useful contextual background that helps the reader understand the import of the essay.
While some of the essays are unremarkable, there also are several exceptional writings that are worth the price of admission. I refer, in particular, to the 1988 essay, "The Fisherman's Daughter," which provides a provocative and interesting discussion of women and writing, a text that follows in the line from Virginia Woolf's "A Room of One's Own" through Tillie Olsen's "Silences," drawing heavily on both authors for another view of this much discussed literary/feminist theme. I also refer to the essays from 1986, a very good year for Le Guin insofar as the six essays included here from that year all provide interesting and worthwhile glimpses at why her writing is so well regarded. In particular, I enjoyed "Bryn Mawr Commencement Address" and "Text, Silence, Performance," two essays that illuminate the ways in which spoken and written language, and the privileging of certain communicative forms over others, affects the world.
Despite the shortcomings of some of its essays, "Dancing at the Edge of the World" provides a fascinating picture of Le Guin's worldview, successfully painting the "mental biography" of one of America's more interesting and accomplished writers during one decade of her life.
This book presents a body of one woman's opinions. This might not sound like much but, given that these are Ursula Le Guin's opinions, it is well worth reading. She writes entertainingly and even though she wants to make you think it does not hurt one bit. Given the dearth of decent criticism of Science Fiction available at student level prices this is an excellent introduction to the genre for them. It is probably the first time most of them will have discovered serious thought behind SF. She also addresses other issues, often concerning her own experiences and the problems of being a woman writer, which would make this a useful text for anyone interested in gender studies. To sum up, buy it; it is very good; you will read these essays more than once, guaranteed.
It is like one long interview with Ursula. And give us the fee that we know her and her body (of work) better.

I especially like her talk about working on the "Lath of Heaven" movie. Read and find out what she thinks.

The book covers 10 years of interviews, essays, papers, speeches, and related information. It is sort of like the little extras and the voice-overs that you get at the end of DVD's now days. However there are no pictures.
Around pp. 165-167, in the essay "The Carrier Bag Theory of Fiction," LeGuin discusses the possibility that the first human invention was not the weapon, but the container -- the sling, the sack, the bag, the carrier. (I remembered it as "the vessel," but that term doesn't appear in the book.) What good is generating a lot of stuff to eat if you don't have any way to get it back to camp? She argues the point persuasively and passionately.

I read this book in 1991 or 1992, nearly 20 years ago. I've not seen the idea anywhere else (although she cites an anthropologist writing in 1975) but it has shaped my perception since. Not to diminish the rest of the book, but this single idea in this one essay is, I believe, worth getting the whole book for.